IMPORTANT NOTE:
You do NOT have to register to read, post, listen or contribute. If you simply wish to remain fully anonymous, you can still contribute.
|
Home  Forums |
|
|
|
|
Topic History of: Interesting article that echoes some of music's experience.
Max. showing the last 5 posts - (Last post first)
|
de-caf |
50-50? who's the mug? 70-30 or even 80-20 is realistic unless you are signing to a cowboy outfit in which case you deserve it |
|
Notcyrilshane |
"what do music publishers do anyway, apart from taking 50% of songwriters' and composers' royalties? "
Come on JK, let's have your answer to that one  |
|
DJones |
"as most releases will be self financed and self published"
Agree. But most / almost all of the successful releases will be connected (in one way or the other) to UMG/SONY/WMG.
"The majors will launch their own version [of independent A&R] once they realise the advantages thereof"
The major labels have used (independent) labels, managers, agents, music publishers, and external A&R-men for decades as talent scouts. In the 60s there was no infrastructure in Britan to be succesful as an independent: Chris Blackwell (Island), Andrew Loog Oldham (Immediate), Lionel Bart (Gimmick), David Platz (Fly), Dick James (DJM), Girogio Gomelski (Marmelade), Phil Solomon (Major Minor) etc.
had to go through the majors. This changed in the 70s when JK used Decca/PolyGram. But even Island and Virgin were sold eventually.
One of the major (pun indented) reasons for the many problems the majors had to deal with since the 90s was caused by the integration of the "independent" sector: By buying everyone the (then) big six destroyed the infrastructure they dependent on for A&R, market research etc.
"Also a&r will revert back to a music driven model rather than profit driven"
This points to another problem: The state of (the evolution of) music. Why hasn't there be a new trend/style in the last 20 years? see Simon Reynolds' Retromania |
|
Music Biz Lawyer |
I think that maybe money will be removed from the equation altogether, as more and more artists make their self-recorded material available for free on the Soundcloud and MySpace-style portals, or downloadable via ITunes or Amazon. If they want some PRS income, they can always join MCPS/PRS without already having a publishing deal. Lets face it, what do music publishers do anyway, apart from taking 50% of songwriters' and composers' royalties? 
Incidentally, the same thing is starting to happen with digital book publishing, If you are lucky enough to own a Kindle, a browse through the offerings of the Kindle Bookstore will confirm this. In a lot of cases, because they're are no publishers or distributors involved, the selling prices can be dramatically cut.  |
|
JK2006 |
Island was not really a UK Indie label in the early 60s. In fact, Chris Blackwell put Millie on Fontana for My Boy Lollipop because Island were not a "real" label. Chris then formed Brit Records with Chris Peers. Great product but, again, not successful. It was my UK Records that really cracked it commercially. At least, that's how I remember it. |
|
|
|
|
