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PRESS OFFICER WANTED Leading independent music PR company looking for a Press Officer with experience in both online and traditional PR. Must be passionate, enthusiastic, intelligent, and a creative thinker. Knowledge of communications: PR, marketing, and blogging would be ideal, but not essential. If you are looking for a challenge within a dynamic company, please forward a copy of your CV to: [email protected] -- Advertise your jobs here: £100 for five editions - [email protected] |
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![]() 26 or younger and have never attended MIDEM? Grab your reduction now! Networking: Seek out key contacts and extend your professional network; make deals with your partners and identify new business opportunities. Educational content: access to the renowned MidemNet digital business conference at no extra cost; get concrete, practical knowledge and training from experts through workshops. Live concerts: hook up with partners and new contacts at the Opening and Closing Night Parties; discover new international artists with Talent showcases. MIDEM: the one stop destination for the world’s music community, 23-27 January 2010. Register now! Click here -- MIDEM 2010, Cannes: Intimate club venue available for hire in the Palais du Festival - to showcase your artists and bands. www.splashpromotions.co.uk - www.leylinepromotions.com -- SHOREDITCH OFFICE, 764 SQUARE FOOT (15-20 DESKS), £1000 PER MONTH -- Advertise your stuff here: £120 for five editions - [email protected] |
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![]() ROBBIE CONSIDERING CITY FUNDING FOR FUTURE ALBUMS Williams is, of course, at the end of his four album recording deal with EMI. That deal was big news when signed in 2002, partly because of its size - the record company reportedly committed to investing £80 million in the Robster - but also because it was one of the first high profile 360 degree deals, giving EMI a cut of the singer's live and sponsorship revenues. At the time the boss of management company ie:music, Tim Clark, told CMU that he, Williams and business partner David Enthoven had also considered going it alone back then, and not doing a deal with any record company. The attraction of staying with EMI though, Clark said, was not so much the large cash investment. Obviously that sweetened things, but Clark was confident even then that there were other sources of investment. The value of doing business with EMI, he said, was the global distribution and marketing infrastructure that comes with a major label deal. While EMI were never especially involved in Williams' touring and sponsorship activity, despite getting a nominal cut of those revenues, they still play an important role in the global release of his records. But he added that as the digital music market grew it became more viable for small companies like ie:music to handle global record releases. Plus, of course, major record companies - and especially EMI - are now much more used to providing distribution and marketing support on a service provider basis, rather than through a traditional record deal. Anyway, Clark has told reporters that he and the ie team are now looking at all options for the next stage of Robbie's career, which includes talking to a number of major record companies, as well as alternative investors, including City types. It's thought Team Robbie are looking for about £50 million this time, again offering a cut of future album, touring and sponsorship revenues to investors. Clark: "Obviously we are talking to several record companies about a new deal for Robbie, but we are also looking at talking broadly to all potential investors, including financial institutions". BRONFMAN WINS LAWSUIT OVER PROCEEDS OF WARNER PURCHASE Richard Snyder, a former CEO of publishers Simon & Schuster, sued Bronfman in 2007. He claimed he helped Bronfman plan his big Warner purchase, and had been promised a cut of the proceeds of the acquisition as part of a gentleman's agreement. Said cut never materialised, which is why Snyder sued. A lower court previously rejected Snyder's claim and, according to the New York Times, the New York State Court Of Appeals yesterday upheld that ruling. JACKSOUL FRONTMAN DIES Jacksoul won much acclaim in their home country for their four albums, the first released back in 1996. All were nominated for Juno Awards, the Canadian equivalent of the BRITSs, and in 2001 and 2007 they won the Juno for Best R&B/Soul Recording. But recent years had been stressful for the band ever since Neale was involved in a serious motor accident when hit by a car while driving his Vespa motor scooter in Toronto on August 2007. The accident left him in a coma, and while he did recover from the ordeal, his recovery was slow going. Nevertheless, it was announced earlier this year that a new Jacksoul album would be released, featuring songs written before the accident, but recorded this year. However, Neale was battling with lung cancer at the same time as recovering from his accident, and yesterday that was a battle lost. Neale's death shocked many who knew him, who felt the singer was finally getting over his illness. Among those paying tribute was Greg Nori, formerly of Canadian rock group Treble Charger, who once worked with Neale at Sony. He told reporters: "This guy was an extremely, extremely generous person. [He] was always 120% to me, as an individual, he really was. I always had a really great friendship with him and we had a great respect for each other. I never saw the guy get mad. He only had positive energy about him. That's my recollection of him. Never, ever did I see any kind of jealousy out of him, or negativity". Confirming Neale's passing, his wife Michaela said in a statement: "Through all his challenges, Haydain's sense of humour and love of music were ever-present. He constantly brightened the room with his singing and his smile. His joyful presence and beautiful voice will be missed by us all". PETER KAY TO HOST BRITS? Here's what a 'source' said: "Peter was the clear first choice and everything has now been agreed. It's a special BRITs because it's the 30th anniversary so we needed a big name.There's no one with a better pedigree or a better style of delivery which appeals to all ages". Yeah, it must be a lie, none of that makes any sense. -------------------------------------------------- PRS TO RUN ITS OWN BLUE PLAQUE SCHEME The first such plaque will be plonked on the Goods Yard at the East Anglian Railway Museum near Colchester where Blur famously played their first ever gig. A second will be placed on a housing block in Deptford in south east London where it turns out Dire Straits performed together for the first time. The society is welcoming suggestions for future plaques from the public, and will consult its 60,000 members to confirm a site really was the home of an important band's first performance. Confirming the Heritage Award Scheme, PRS chairman Ellis Rich told CMU: "Celebrating this country's musical heritage is a great thing to do and these plaques will be springing up all over the country. The UK has given the world some fantastic songwriters and performers which enrich our lives and provide the music we love; I'm proud that their humble musical beginnings will now be marked for all to see". More info on the scheme is at www.prsformusic.com/heritageaward EVERYTHING EVERYTHING SIGN TO GEFFEN Well, last week the band signed to Universal's Geffen division, which hopefully means that will finally happen when they release their debut album next year. GUETTA PRODUCING ROWLAND -------------------------------------------------- TIMBALAND ERASES CHRIS BROWN FROM NEW SINGLE However, unlike some US artists and producers, Timbaland has not specifically refused to work with Brown, and his manager insists the R&B star's vocals were removed from the new track for entirely creative rather than political reasons. That creative decision, Timbaland's manager insists, was reached by both the producer and Brown himself. Which may well be true. However we do know that, given Brown's involvement in the track is widely known, the producer decided to change the song's name from 'Maniac' to 'The One I Love' after Brown's maniac moment earlier this year. Rapper DOE, who also guests on the song, confirmed this to TMZ recently. MEW ANNOUNCE LIVE ALBUM Here's the tracklist: Intro -------------------------------------------------- FEVER RAY ANNOUNCES LIVE ALBUM Here's the tracklist, even though I've already told you exactly what's on it: If I Had A Heart -------------------------------------------------- FREE COURTEENERS DOWNLOAD The Manchester band are giving away a new track, 'Cross My Heart And Hope To Fly', which will appear on their new album when it is released next February. The free track will be available to download from the band's website, though not until 7 Dec, so you'll have to wait a little bit longer. When it happens the download will be available from www.thecourteeners.com PULLED APART BY HORSES UK TOUR 3 Dec: High Wycombe, Bucks New Union U2 TO HEADLINE GLASTONBURY 2010 Announcing the booking, Michael Eavis told reporters: "The 26 year old rumour has finally come true. At last, the biggest band in the world are going to play the best festival in the world! Nothing could be better for our 40th anniversary party. And there are even more surprises in the pipeline..." The band will fly over to the UK during their US tour especially to play the event, which isn't going to quiet those people who have been suggesting that U2 don't care as much for the environment as perhaps they would like us to think. Another band rumoured to be playing the festival next year are the Pet Shop Boys, although they told BBC 6music last week that they're yet to be asked. The one and only time they have played the event was in 2000, of which Neil Tenant said: "We played the main stage at nine thirty on Saturday night, and it was an amazing experience. We wondered whether Glastonbury wanted to see the Pet Shop Boys. Whether we were too dance, or pop, or something for them. But it really went down fantastically well". MMF LAUNCH INDUCTION DAY FOR NEW MANAGERS Commenting on the new training event, MMF CEO Jon Webster told CMU: "There is a growing, unsatisfied demand for a short entry level course to complement our existing training that will enable new managers to begin launching new business that will the bedrock of tomorrow's music industry". Contact [email protected] for more details. ALBUM REVIEW: Cold Cave - Love Comes Close (Matador Records) 'Love Comes Close' (but apparently it won't tear us apart) is the debut album from the aforementioned band, and kudos to them for recreating a sound that is far more authentic to its heroes than the likes of some unmentionable musicians that have cropped up seemingly everywhere as of late. It begins and ends a little slow, but with that, it's a grower, until its warps and droning scuzzy bleeps are embedded in your brain and stomach like a bad hangover. It's unabashedly nostalgic; it owes that to its influences though, and you can't argue with Cold Cave when they clearly know who those influences are. Cabaret Voltaire-esque 'The Laurels of Erotomania' and the almost sing-a-long verse-and-chorus 'Youth And Lust' are perhaps the most accessible tracks on 'Love Comes Close', and proof that the experimental can sound both authentic and comprehensible at the same time, if done right. TW Physical release: 2 Nov Buy from iTunes MORE IDLE EMI SPECULATION They note Terra Firma's recent report regarding EMI's performance in the financial year ending 31 Mar this year, in which revenue and profits were up, the latter considerably. EMI's recordings division, where most of the firm's problems are deemed to lie, saw revenues grow 4.6% to £1.095 billion, while profits before deductions were up 217% to £163 million. The major's publishing division saw revenues rise 7.4% to £468 million with profits up 20% to £135 million. All of which means overall EMI Group's revenues were £1.56 billion with profits of £298 million. So all pretty good really, and definitely an improvement on EMI before Terra Firma's acquisition. But, Billboard points out, you would expect a company brought into private ownership to see some growth shortly after the new management is installed. Especially at EMI, which was widely believed to be suffering from some serious mismanagement prior to Terra Firma's purchase. More importantly than that, the £298 million in profits is before deductions. Deductions include interest payments to Citigroup, which Billboard reckon could be up to £196 million a year, swallowing up half of EMI's profits, even when the more buoyant EMI Music Publishing is taken into account. Meanwhile, other monies that may have to be discounted from the bottom line profit figure might, Billboard argues, push the company into a loss overall. The basic gist of Billboard's report, therefore, is that Terra Firma have perhaps achieved more in turning round EMI's fortunes than cynical journalists like me normally admit, but that the major remains weak, not least because of the £2.5 billion in debt commitments its owners saddled it with when they acquired the company. With time - ie years - things could still be turned around. Had the credit crunch not happened, which would have allowed Citigroup and Terra Firma to sell on EMI's debts and share the risk, time would probably not have been a problem. But in the current credit climate, it's harder to buy time. Which brings us back to our usual conclusion on this - how long will Terra Firma continue to operate with the weight that is EMI around their necks before they decide to cut their losses? Many think not long enough to make EMI a success. Read Billboard's report here: tinyurl.com/billboardonemi -------------------------------------------------- IS BORDERS ON THE BRINK? You might remember that Ernst & Young, the book and music sellers' auditors, questioned the commercial viability of the UK Borders business back in August, shortly after the MBO that changed the company's ownership. It seems they were right to do so, with the chain's current backers now looking to bail. But the Ernst & Young report, coupled with news at least one publisher is now refusing to supply the bookseller over credit concerns, has led many to speculate a buyer won't be found and Borders will be the latest brand to disappear off the high street. Both HMV and WH Smiths expressed interest in taking over the chain, but talks with both seemingly broke off without conclusion. The company's financial advisors subsequently announced the firm was up for sale in an ad in the Financial Times. Borders management have said little about the sale, though CEO Philip Downer reportedly told staff in a memo last week that they had "received an unsolicited approach from an interested party", and that the company had therefore "retained a corporate finance specialist to investigate future possibilities for the business, in line with best practice". Downer has always stood by the viability of the company since he led the aforementioned management buy out, and was speaking optimistically about the firm's future as recently as last month. But an increasing number of commentators now seem convinced Borders will be one of a number of retailers to go under in the run up to or shortly after Christmas. The bloke I sat next to on Radio 5Live's 'Wake Up To Money' yesterday reckoned fifteen big retailers will go out of business in the next quarter, Borders most likely among them. -------------------------------------------------- WOOLIES MIGHT RETURN TO THE HIGH STREET Shop Direct acquired the Woolies name in order to launch a website selling the sorts of things that used to be sold in Woolworths shops. That etail operation launched in June and seems to be going very well. Now management there are considering a new venture that could bring Woolworths back into the physical world. CEO Mark Newton-Jones told reporters this week: "In the new year we will consider approaches from interested third parties. We believe it could be a successful chain of up to 200 stores, supported by the buying power of Shop Direct". That implies that Shop Direct, owned by Daily Telegraph proprietors the Barclay brothers, wouldn't take the risk in launching physical stores itself, but rather would franchise out the brand's name and product ranges to others interested in running a high street retail operation. If Woolworths does return to the high street, new company Alworths could find itself saddled with a trademark dispute. Alworths was set up by a former Woolworths executive called Andy Latham, and will take over five old Woolworths stores, providing Woolies-style shops. Shop Direct have reportedly already accused Latham of choosing a name too similar to the Woolworths trademark they now own. Whether any new Woolies on the high street would have a serious music department we don't know. The original Woolworths - once the biggest player in British music retail - had already cut back its CD departments prior to its demise last year, of course, and it seems unlikely music product would be an area where any new Woolies operators would see the potential for quick profits. -------------------------------------------------- UNIVERSAL INTERNATIONAL APPOINT NEW MARKETING MAN He will report to Max Hole, who confirmed the appointment yesterday, telling CMU: "Andrew is a great executive and a great music man. No one is better qualified to continue and enhance our unbeatable track record of driving hits around the world and breaking new artists of all music genres". WE7 IPHONE APP COMING IN 2010 The company therefore needs to be confident it has the ad revenues to help cover the extra licensing costs such a boost in interest would force them to pay. Such caution, Purdham told the conference, will ultimately see them win out as streaming service of choice over Spotify who, he reckons, are haemorrhaging too much cash too quickly by rushing the development of their consumer offer. -------------------------------------------------- LOTS OF CHATTER ABOUT SPOTIFY ROYALTIES Spotify have, of course, been very vague about how much they are paying record companies and collecting societies for the rights to play music, though it is widely assumed their label royalty payments must be more than those of other online music services, simply because major record companies would only have licensed their tunes to such a user-friendly totally on-demand service if the price was right. That said, it's also assumed that the collecting societies, who licence tracks on behalf of the music publishers, must have offered Spotify a below rate card deal, because if the digital service was paying PRS and their like the going rate they'd be haemorrhaging cash left, right and centre. Either way, the latest chatter on Spotify royalties stems from reports that Lady Gaga recently received a Spotify royalty cheque from the Swedish equivalent of PRS for just $167. This has led to much chattering that either Spotify are screwing the artists or, perhaps, the major record companies, who are shareholders in the streaming music company, are taking the lion's share of any royalty revenues. The pro-file-sharing brigade have used the story to justify music fans accessing other free but illegal sources of content, arguing that the per-play fee to Lady Gaga must be so small that she's not really any worse off if people steal her music. Torrent Freak quote a Swedish artist called Magnus Uggla who recently withdrew his music from Spotify when he saw how small his royalty cheque from the streaming music company was, declaring: "I'd rather be raped by The Pirate Bay than have my music on Spotify". His anger seemed to be framed more at Spotify's major label shareholders than the technology firm's management. Of course the Lady Gaga royalty story, even if true, tells us next to nothing. First we don't know what period the royalty payment covered. Second, presumably Swedish collecting society STIM only pays out for Swedish plays of Gaga's music, and we don't know how much her music is played there, nor what she's getting from PRS for Spotify plays in the UK. Also, STIM may well be offering Spotify bargain basement rates to help them get off the ground. And the $167 may be Gaga's personal cut of a bigger pay out to the singer's publishing company. Plus she co-writes all her songs, so may only be receiving a small cut of the overall royalty paid on those songs, depending on the deal between her and her songwriting collaborators. And none of this accounts for what the recording royalty may have been. True this would have been paid to Gaga's record company, but is likely to have been much bigger than the publishing royalty collected by STIM. Whether Gaga would get a cut of recording royalty money, and if so how much, will, of course, depend on her record contract with Universal. The fact that additional money, over and above Gaga's $167, goes to multi-national record companies and music publishers will not impress the pro-P2P lobby of course. Though said corporates would presumably point out that without their initial investment in the Gaga brand she wouldn't be able to earn thousands just by showing up to events. Of course, the fact that the major record companies sweeten their digital deals by taking large upfront payments and equity, none of which has to be shared with artists, is an issue for the wider music industry. Especially if record companies then accept much lower per-play royalties, reducing the monies earned by artists. And of course royalty rates for services like Spotify are a big issue in general - given the digital service providers tell us said royalties need to be slashed long term, while labels, publishers, artists and songwriters all haggle for bigger digital revenues. So lots to talk about. But I'm far from convinced by the argument that if Lady Gaga only got $167 from her most recent Spotify royalty cheque from STIM then people might as well steal her digital tunes rather than access them via a licensed platform. EVANS WANTS STUART FOR NEWS TOTAL ROCK WORLD ALBUM CHART 1. Muse - The Resistance (Warner Bros) BIEBER COMMENTS ON MALL MALARKY |
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SUBSCRIPTIONS>> CMU Daily is a free daily e-bulletin for people working in the music industry and music media, delivered direct to your PC each morning. If you want to stop receiving this e-bulletin click the 'unsubscribe' button below and follow the instructions. If any of your colleagues want to receive the CMU Daily tell them to email their name, company, job title and email to [email protected]. If you would like to recieve the CMU Daily as a text email, send a blank email from the email address you are registered at to [email protected]. MEDIA PEOPLE>> If you are looking for an independent quote on anything to do with the music business, or you need someone to come on your TV or radio show and talk music business, then we can help. There's nothing we don't know about. Email requests to [email protected] or call 020 7099 9050. CMU is published by and (c) UnLimited Media - www.unlimitedmedia.co.uk Send news stories to [email protected]. If we don't respond directly, we do apologise, only we get sent hundreds of emails a day and don't have time to respond to every one of them. However we do check every email sent to the musicnews email address, and do pull out stories that we feel are relevant to our readers. Send CDs for review to CMU, UnLimited Media, 221-222 Shoreditch High Street, London, E1 6PJ. |
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