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CMU Info
Top Stories
Abbey Road up for sale
In The Pop Courts
TV-Links case goes the way of Oink
The Knack's Doug Fieger dies
Reunions & Splits
Blakfish split mid-tour
In The Studio
Mark Ronson side project get recording
Release News
We Are The World 2010 is online
Buzzin Fly mark 50th release
Gigs & Tours News
Edwyn Collins, Ed Harcourt and more for Mavis launch
Festival News
Festival line-up update
Album review: Gil Scott-Heron - I'm New Here (XL Recordings)
The Music Business
Musicians Union launch 'music supported here' campaign
Trailer and Reprise merge
EMI and Disney extend licensing alliance
Calvin Harris to launch record label
The Digital Business
7Digital link with Last.fm on Blackberry app
The Media Business
BBC Trust publish Radio 2 and 6music report
Kerrang! Radio partners with Slicethepie
Chart Of The Day
Total Rock World Album Chart
And finally...
Porn still loves you, John Mayer

Formed in 2006, The Postmarks are an indie-pop band from Pompano Beach, Florida. The group were discovered by producer Andy Chase, and subsequently signed to his Unfiltered Records label; first releasing an EP of remixes on iTunes followed by their eponymous debut album in 2007, which was met with critical acclaim. The band have a range of influences, including film soundtracks, French pop and 60s psychedelia. With their new album 'Memoirs At The End Of The World' out this week, we caught up with frontwoman Tim Yehezkely to ask the Same Six.

Q1 How did you start out making music?
Before any of us met, we were all writing and recording our own songs. Jon was in a few local bands and scored some soundtracks for indie films; Chris was also in a band and produced local musicians' albums in his home studio; and I was writing songs on guitar, accordion, and piano and recording them on my four-track. When I met Chris, he had an album's worth of songs already written for our would-be project. Initially I only liked two them! But I decided to invest some blind faith in us working together, confident it would turn out alright. We all had similar tastes in music, and a mutual respect for the background of musical influences each of us was coming from. I trusted we would evolve as a band and eventually explore other musical territories that were more true to us as a group. So, we went with it, and it was fun, challenging and a valuable learning experience. Overall, Jon mainly worked on the arrangements with Chris, I wrote all the lyrics and put in my two cents here and there, Andy [Chase] took it to the next level with mixing the record, and that's how the first album was born.

Q2 What inspired your latest album?
When we were up in NYC in 2007 finishing off the mixing and mastering, and doing photo shoots for, the debut album, we were already thinking about what we wanted the next one to sound like. There was a general consensus that we should venture into new territories, like exploring cinematic themes, and allowing more grit and darkness to find its way into our sound. Not a hopeless or depressing darkness, but something moody, nighttime, mysterious. Then, later on, after touring that first record, we realised that, while soft and gentle songs are a joy to write and record, they came across somewhat lifeless in a live setting. So, we decided that for the next album we needed more energy in the set, to make it something we could dance to and have as much fun playing live as we had recording it.

Q3 What process do you go through in creating a track?
For me, I write the music first. I come up with a verse, a chorus, a bridge. Or if someone else already has the song structure in place, I just listen to it and see how it makes me feel. Then I have to find the melody if there isn't one already. Or I might try to find a different melody. If the song is fun and catchy, or moves me in some way, then it's really easy to find. If I'm not feeling it, I will listen to it over and over and over until it starts to reveal itself to me. Once there is a solid melody I start playing with words to fit to the melody and try to match the words to the mood of the song. I try to let it tell me what direction it wants to go and find words to help it get there. Sometimes it doesn't work so I just throw words at it and let them stick where they may. Sometimes they fall into place perfectly and sometimes no matter what they don't seem to fit. Anyway, that's my part of it. As far as the recording part is concerned, Postmarks tracks are built up very meticulously but I'm not involved in that. Jon and Chris could explain all the recording, editing, layering, and arranging. I just come in to record vocals when most of the groundwork is in place.

Q4 Which artists influence your work?
In general: Film soundtracks, French pop, 60s psychedelic, 90s dream pop. In specific: Ennio Morricone, Françoise Hardy, The Zombies, Lush.

Q5 What would you say to someone experiencing your music for the first time?
I would say, listen to it with headphones a few times! There's a lot going on in these songs, there are a lot of layers in the sound and in the words and you probably won't get it all on first listen (especially from low quality mp3s!). There is something there for everyone, and some of it takes time to grow on you. Some of it might grab you right away. There is a lot of love and attention to detail in everything we do, and it can only be truly appreciated and experienced by those who can surrender themselves to the music.

Q6 What are your ambitions for your latest album, and for the future?
We hope the album will have a wider release around the world, we hope it is received well, we hope to tour more of the world and we wish to continue creating and performing music because that is what we love to do! It would also be great to have the opportunity to score soundtracks, collaborate with other songwriters and musicians we respect, and, of course, to continue evolving as artists until we die.

MORE>> www.thepostmarks.com

Archie Bronson Outfit are set to release their third album, 'Coconut', via Domino on 1 Mar. Produced by Tim Goldsworthy of DFA (or formerly of DFA, depending who you believe), the album is a more beat-driven, bass-heavy affair than previous outings, putting an interesting and instantly appealing spin on the band's sound.

You can get yourself a taste of the album in the shape of 'Shark's Tooth', its first single, which is officially released on Monday, but is available as a free download (well, assuming you apply no monetary value to your email address) from the band's official website, which is linked below.

Also linked below is a video trailer featuring a sixty second burst of tracks from 'Coconut'. These guys are good at videos, and initial copies of the album will also feature a DVD containing videos for all ten songs. Assuming you like what you see and hear, you might also want to check out these guys live when they tour the UK and Ireland in March.


UnLimited Creative is the creative services agency owned by CMU publishers UnLimited Media. We work with music and media companies, consumer brands, and other marketing and PR agencies, providing these services:

Marketing & PR: We devise and run marketing and PR campaigns, specialising in the youth and student markets, music and cultural products and marketing partnerships.

Content: We provide entertainment content to brands and media. We develop content strands. We produce original content. We manage content delivery.

Design & Print: We provide design, print and contract publishing services. We create brand identities. We design and produce websites. We produce & print marketing materials and corporate media.

Media & PR Training: We provide PR, media and music business training. We offer a menu of seminars. We develop bespoke courses. We develop out-reach training as part of CSR programmes.

To read about past projects click here. To discuss how we can help your company or project, email chris@unlimitedmedia.co.uk
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Henry VIII to be staged at Globe
Sheila Hancock calls for better roles for older women
National Gallery staff plan strike
Culture Minister confirms product placement green light
Google respond fast to buzz critics
6music red button service gets over a million views
Southbank Centre launches Latin festival
Merton criticises film festival for allegedly dropping him
Zellweger to judge at Berlin Film Festival

According to The Financial Times, EMI is currently considering offers from a number of parties interested in purchasing the legendary Abbey Road studios. The major is considering offloading the iconic recording facility in a bid to fill the much publicised gap in its finances. The paper says that five separate sources have confirmed to them that EMI bosses are indeed in talks with various bidders for a sale which could raise tens of millions of pounds.

Although one of the most iconic recording studios in the world, thanks largely to its association with The Beatles, the large size of the main Abbey Road studio means that it is rather expensive to hire, and competition from cheaper set-ups has led to a decline in its use. It does, however, remain one of the few studios large enough to accommodate a full orchestra, and so has been used by a number of film companies in recent years, including the likes of the 'Lord Of The Rings' trilogy.

There is also speculation that if a sale does indeed go ahead, the brand name could be separated from the building, in that the real estate would be sold to one buyer, and the rights to use the name to another. That would presumably mean the former would convert the building into apartments or offices, because, as one source told the FT, if you were planning on continuing to run the complex as a studio facility you really would need the famous name to justify the costs you have to charge to use the place.

Said source said: "The brand is worth more than the building ... anybody who wants the studios will want the brand. What you have is a very, very expensive piece of heritage. [Because of the costs], if an [average] artist goes to a label and asks to record at Abbey Road they will be met with maniacal laughter".

The house at 3 Abbey Road was bought by EMI in 1929 for £100,000 and converted into the world's first custom-built studios. It became the last EMI-owned recording studio in the UK (and one of only two in the world, with Capitol Studios in LA) after the closure of the much-loved (in the industry), more cost efficient and more often used Olympic Studios in south west London last year.

EMI has so far offered no comment on the situation.

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A court case with similarities to the much previously reported Oink case has reached its conclusion, again with the content owner lobby losing, and this time with a potentially important ruling on the European Commerce Directive being made.

This wasn't a music case, but instead centred on TV-Links, a website that operated as a directory to TV programmes that had been uploaded to video websites like YouTube. Users could find a TV show they liked, and then link to video sites which were currently hosting episodes of that show for on-demand streaming.

The site was useful because YouTube et al had started to respond to so called take-down notices issued by the makers of uploaded TV programmes who hadn't given permission for their content to be uploaded. This trend meant that videos that were available at a specific YouTube link one day would be gone the next. Because TV-Links was constantly looking for new uploads on numerous video sharing websites, it meant that when access to one programme on YouTube (or whatever) was blocked, TV-Links helped people find the show they wanted to watch on another website.

Although helping users to stream TV programmes, rather than download music files, there were similarities between Oink and TV-Links in that both provided links to a lot of unlicensed content on the internet, and in doing so both made it easier for others to infringe copyrights, by accessing (streaming or downloading) content without the permission of said content's owners. Another similarity was that neither Oink nor TV-Links hosted any infringing content on their own servers, so neither could be done for direct copyright infringement.

With TV companies objecting to the fact that TV-Links was, in essence, reducing the effectiveness of the take-down notices they were busy issuing to the likes of YouTube - because the service ensured its users had pretty much constant access to unlicensed TV shows, even though YouTube et al were frequently blocking access to specific uploads - the UK authorities, backed by anti-piracy brigade FACT, moved to close down the service and prosecute the people behind it, in particular Dave Rock.

As with Oink founder Alan Ellis, the issue was what to charge Rock with, given he hadn't committed any direct copyright infringement. As previously reported, in English law the concept of 'authorising infringement' - where people are liable for infringement simply by helping (or 'authorising') others to infringe - isn't especially well defined, and therefore less useful to content owners than the similar concept of 'contributory infringement', used in the successful US legal fights against Napster and Grokster.

Like with Ellis, the authorities made their main charge against Rock 'conspiracy to defraud', but this is a hard crime to prove when there was no real evidence Rock was deliberately trying to profit at the TV industry's detriment. Unlike in the Oink case, copyright infringement claims were also included in the prosecution's case against Rock, though it's not entirely clear what these were specifically.

Either way, when the case went to court last month Rock's defence team raised a number of points of law and asked for the case to be dismissed. The judge hearing the case - Judge Ticehurst - this week concurred with those reps and threw the case out of court, denying Team FACT the right to appeal. Ticehurst in particular focused on the so called European Commerce Directive, section 17 of which, he said, provided a defence for Rock against any liability for the infringing activities of websites his service linked to.

I'm not sure how wide a precedent that might set regards other websites and online communities providing links to infringing content, including music, but I think it's fair to say that if you want to stop websites that simply help others to infringe, then English copyright law, as it currently stands, isn't overly helpful. Perhaps the music industry would have been better off getting Peter Mandelson to sort out this part of the UK copyright system, rather than focusing on all things three-strikes.

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Doug Fieger, frontman of The Knack, who were best known for their 1979 hit 'My Sharona', died on Sunday, aged 57, it has been announced. He had been suffering from cancer for a number of years.

Fieger first became known as the bassist for Sky, who recorded two albums for RCA in 1970 and 1971. After that band split, he performed with a number of other acts, before forming The Knack in 1978. The band quickly became popular in LA, and 'My Sharona', a song dedicated to Fieger's then girlfriend, shot them to worldwide fame a year later. It could possibly be argued that the song is the US equivalent of The Undertones' 'Teenage Kicks', and the number of parodies and reworkings of the song, by artists including Weird Al Yankovic and The Dead Kennedys, as well as its use in adverts for the likes of Toyota and Toca Bell, shows its effect on popular culture.

Run DMC also allegedly used an unauthorised sample of the song for their 1986 hit, 'It's Tricky'. In 2006, Fieger and Knack lead guitarist Berton Averre sued the hip hop group and numerous associates, as well as various online stores and content providers, for distributing the work. In reference to why it had taken twenty years to bring their case to court, the men said they had not become aware of the track until 2005. The case is ongoing.

Having already been diagnosed with lung cancer in 2005, which resulted in half of one of his lungs being removed, Fieger became disorientated during a gig with The Knack (who continued to perform on and off) in Las Vegas in 2006. It was discovered that he had two tumours on his brain and underwent surgery to remove them. He later returned to performing, though in a lesser capacity than before. Most recently, he provided lead vocals on 'BK3', the latest solo album by Bruce Kulick, the Grand Funk Railroad and former Kiss guitarist.

In a recent interview with The Detroit News, Fieger said: "Everybody knows they're going sooner or later. I don't know any better than anyone else when I'm going. I've had ten great lives. And I expect to have some more. I don't feel cheated in any way, shape or form".

Fieger's brother Geoffrey confirmed to The Detroit News on Sunday that Doug had died at home in Woodland Hill, California the same day. His ex-wife Mia had been caring for him prior to his death, and, as well as Geoffrey, his younger sister, Beth Falkenstein, survives him.

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Birmingham post-hardcore types Blakfish have announced that they have split. News which seems to have surprised most of the band as much as their fans, particularly as they were mid-way through a tour with Biffy Clyro.

In a statement on their MySpace page, the band said: "There's no easy way to say this, so we'll just jump right in. On Thursday 11 Feb in Bilbao, Spain, mid-tour with Biffy Clyro, Sam [Vile, guitarist] decided to announce that he could no longer continue as a member of Blakfish. This came as a complete shock to us and everyone else on the tour.... This was in no way a group decision and [we must] state that it is the choice of an individual which unfortunately affects many other people".

The remaining members of the band, Thomas Rock, Richard Hollywood and Robert Fruit, have said they will launch a new project together in the near future.

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Mark Ronson is currently hard at working recording his third album, 'The Business', which is due for release later this year. But he has also been recording with side project Chauffeur, who played their first gig in New York last October.

Formed with Sam Sparro and rapper Theophilus London, the group are reportedly planning to perform a number of live shows this year, though it's not clear when the recordings will see the light of day.

Speaking about the project, London told 6music: "I met Mark a year ago. He asked me to come down to his radio show in New York City and we just clicked. He invited me to his house and we just listened to music for like six hours. We became friends and started making music together. His new stuff is sounding really amazing, and it's just been a great, creative friendship. It's just a click, it's a mutual thing in the studio with Mark. He's easy to work with and he knows what he wants to hear, so it was great".

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So, the all-new version of 'We Are The World' is online, people. The star-studded rework of the 1985 charity single has been re-recorded in aid of the Haiti earthquake relief effort, of course.

Despite the rapped middle eight being a bit wobbly, I have to say this is so much better than the Brit music biz's Cowell-coordinated charity single, though it's the cash raised that matters, I suppose.

You can see the video for 'We Are The World 2010' at this URL: wearetheworldfoundation.org

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Buzzin Fly, the label owned by Everything But The Girl's Ben Watt, has announced a special collaboration to mark its 50th single release.

Launched in 2003 with Watt's own 'Lone Cat' single, the label has gone on to release records by the likes of Low, Justin Martin, Rodamaal and Darkmountaingroup. For its 50th single release, Watt himself built a track based on a musical ideas provided by Hamburg-based producer Stimming. He then wrote lyrics, which were sung by folk and jazz vocalist Julia Biel, who improved the melody. The result was 'Bright Star', which is delivered in two very different versions, a 'Sunrise Mix' and a 'Sunset Mix'.

With specially created artwork by iwantdesign, the single is released on 12" in a limited edition gatefold sleeve and pressed on 180g vinyl. Each copy gives the buyer access to 320kps MP3s of the two tracks, as well.

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Edwyn Collins, Ed Harcourt, Smoove & Turrell's John Turrell and Crazy P's Danielle Moore will all perform as part of the launch of the eponymous debut album from Mavis, a new project from producers Ashley Beedle and Darren Morris, this week.

'Mavis' features guest vocals from Collins, Harcourt, Turrell and Moore, plus Kurt Wagner, Candi Staton, Sarah Cracknell, Chris Coco, Cherilyn MacNeil, Disa and Cerys Matthews. It is set for release via !K7 on 22 Feb.

The launch party takes place at The Luminaire in Kilburn, north London on 18 Feb, and will also feature DJ sets from Sarah Cracknell, Ashley Beedle, Kevin Rowland and Chris Coco.

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BESTIVAL, Robin Hill Country Park, Isle Of Wight, 9-12 Sep: The xx, Richie Hawtin and Fever Ray have been announced as special guests at this year's Bestival, joining acts already confirmed - Dizzee Rascal, The Flaming Lips, Hot Chip and LCD Soundsystem. www.bestival.net

DOWNLOAD, Donington Park, Derbyshire, 11 - 13 Jun, Aerosmith and Rage Against The Machine added as headliners, alongside the previously announced AC/DC. Also added to the bill are Lamb Of God, 30 Seconds To Mars, Billy Idol, Stone Sour and Five Finger Death Punch. www.downloadfestival.co.uk

GLOBAL GATHERING, Long Marston Airfield, nr Stratford on Avon, Warwickshire, 30-31 Jul: Faithless and Dizzee Rascal are the first headline acts to be announced for the tenth celebration of the festival. www.globalgathering.co.uk

ISLE OF WIGHT FESTIVAL, Seaclose Park, Newport, Isle Of Wight, 11-13 Jun: Suzi Quatro, Juliette Lewis and Marina And The Diamonds are amongst the latest acts to be added to the Big Top line-up at this year's Isle Of Wight fest, joining the previously announced acts such as Jay-Z, The Strokes, Pink and Calvin Harris. www.isleofwightfestival.com

ROCK AM RING, Nurburgring, Eifel Mountains, Germany, 4-6 Jun: Rage Against The Machine have been announced as the fourth headliners for Germany's Rock Am Ring, joining Muse, Kiss and Rammstein. www.rock-am-ring.com

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ALBUM REVIEW: Gil Scott-Heron - I'm New Here (Beggars/XL Recordings)
In an age where revolutions are more likely to be tweeted than televised, 2010 may not be Gil Scott-Heron's natural home. Even the way music is consumed in the 21st century is something alien to the jazz/blues legend and hip hop godfather, who urges the listener to "turn off everything that rings or beeps or rattles or whistles/Make yourself comfortable/Play your CD/LISTEN all the way through". That he is slightly out of his comfort zone is specifically acknowledged by Heron, albeit via a Smog cover, with the declaration 'I'm New Here'.

He returns fourteen years after his last recorded adventure with a sound nearly unrecognisable from his most successful efforts in the 70s, when his voice inspired a people, and his style began a genre. Turning full circle, though, Heron manages to stay relevant, partly by taking back from the music that owes so much to him.

With 'Me And The Devil' he almost adopts the dynamics of the darkest hip hop, with some DJ Shadow like rhythms in the mix. There are nods to the rap elite along the way too, with lyrics, samples and styles that bring to mind Kanye West, Nas and Talib Kweli. That said, while Heron never dwells on the past too long, he cites its importance, most evidently on the ode to his upbringing that is the two-parted 'On Coming From A Broken Home', where a grandmother's love defies the "ologists" and academics.

An ultimate sound both new and old, relevant and brilliant. TM

Physical release: 8 Feb
Press contact: XL IH [all]

Buy from iTunes
Buy from Amazon

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The Musicians' Union has launched a new campaign called 'Music Supported Here', which aims to equip artists with the resources to communicate copyright issues to their fans, in a new bid to convince consumers that they might want to buy music rather than nick it off the internet.

I think the hope is to demonstrate to punters why musicians need to earn off their musical output, and to convince consumers of the need to access legit pay-to-use music services by engaging them in an open debate about copyright.

Presumably, the aim is to take a more friendly, open and grass roots approach to educating music fans about copyright. Even when the big music firms have gone the education rather than enforcement route to tackle online piracy, campaigns have tended to be rather draconian - "don't file-share because it's illegal, it's no different than shoplifting, you wouldn't steal a car would you?" - and/or fronted by millionaire pop stars who aren't great advocates for the "musicians need to be paid" argument.

Commenting on the new campaign, MU Assistant General Secretary Horace Trubridge told CMU: "Musicians are individuals with different views about music on the internet and P2P, and 'Music Supported Here' gives musicians a platform to discuss the issue and share ideas. That said, no one likes to be ripped-off and Music Supported Here reminds fans that it's the musicians who want to be able to decide how their music is distributed in a digital world. And if they don't want it to be free, don't nick it! This movement is a concerted effort to finally put the issue centre stage. The more people who join us, the louder the noise we can make".

The new campaign centres on a website, and a logo which artists are encouraged to use on their own official websites and social media pages. Take a look here: www.musicsupportedhere.com

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Music marketing and services companies Trailer Media PR and Reprise Music Group have announced they are merging their operations to create one agency offering a wide range of music-based marketing, PR and touring services, plus music supervision and publishing. With Trailer already having a Sydney office, the new company will have operations in both the UK and Australia.

The people behind the new merged agency say that it will "serve client needs through a considered media mix and strategic planning involving an extended team", adding they will be able to help whether a client wants "a cover feature or a string of live dates to support an album release; a timely move to shifting a fan page's demographics or, indeed, increasing YouTube hits to gain a playlist spot".

Confirming the merger, Trailer owner Anton Trailer told CMU: "Clients know you need a good spread of media to increase visibility at all stages of campaigning within an already saturated market. The UK is one market in the world where artists want to perform and labels want to secure press. The coming together of Reprise and Trailer is a by-product of this demand, where labels, artists, managers and even distributors, can benefit. Whatever you are offering musically it's about fuelling and feeding the fire; with one thing helping drive the other. Existing and new clients will see the benefits of having this media mix organised and overseen by one agency".

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Warner Music subsidiary EMI has extended its licensing arrangement with Walt Disney Records. No, only joking, I'm just getting in some practice for covering EMI news this time next year. But yes, EMI will continue to represent Disney's record company in Europe, the Middle East and Africa. The London-based major has had an exclusive licensing deal with the Disney label in those territories since 2005, and as a result has got to work on the rather successful 'High School Musical' and 'Hannah Montana' franchises.

Confirming the relationship had been renewed, EMI COO David Kassler told CMU: "We're thrilled to be continuing our very successful partnership with Disney whose films and music delight an ever growing universe of fans. We look forward to building on that success with the exciting releases coming up next from Walt Disney Records".

Disney's Bob Cavallo added: "EMI have been both very successful and supportive in their promotion of our Walt Disney Records assets overseas. We are delighted to continue to grow our European business with the EMI team".

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Calvin Harris has announced that he will launch his own record label, called Fly Eye, in May. The first release will be a single from Mr Blink, entitled 'Gecko'.

Harris told reporters: "My goal for Fly Eye is to release the most exciting club music I can get my hands on. There will be absolutely no shite".

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Download store 7Digital has launched a new version of its BlackBerry App, and have confirmed a Last.fm tie up which means the app will now 'scrobble' and therefore provide the appropriate listening stats to a user's Last.fm profile.

7Digital main man Ben Drury says this: "With this latest release we are bringing the BlackBerry music experience to users in over 20 European countries, as well as North America and Canada. With the Last.fm integration the app is moving beyond a simple download store and becoming a more complete music platform for the user".

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So, the BBC Trust has completed its previously reported review of Radio 2 and its digital sister station 6music.

The routine review of the two radio services was undertaken amid increasingly vocal criticism from key commercial radio owners that Radio 2 has, in recent years, skewed its programming too much towards twenty and thirty somethings with music- and celebrity-heavy programming. This, some would argue, puts the licence-fee-funded Radio 2 into more direct competition with its commercial rivals, while failing to fulfil the station's public service remits to satisfy the needs of older listeners and fans of niche music genres.

In many ways, the Trust agreed with these arguments, telling Radio 2 bosses to increase the amount of speech-based programming in prime-time, to recruit more music experts over celebrities to present music-based shows, and to keep older listeners in mind. That was a viewpoint welcomed by the boss of commercial radio trade body RadioCentre, Andrew Harrison, who yesterday challenged Radio 2 chiefs to respond to the BBC Trust's criticism.

He told reporters: "It is now down to the BBC to demonstrate that it can raise the bar and start to offer a more genuinely diverse and distinctive service across all parts of the schedule. Comedy, arts, documentaries and specialist music are essential elements of Radio 2's required output, but for too long it has been able to tuck these away at the margins of the schedule in its inexorable pursuit of popularity over public service".

As for 6music, as expected, all those rumours on the net that the Trust might call for the station to be closed proved unfounded. Rather the Beeb's review called on the service to better market itself, to increase brand awareness and grow audience without spending any more money. I wish they would, 6music really is one of the BBC's best kept secrets, and while part of me likes that fact, both the Beeb and the music business should try to better spread the word about how much great music programming there is on there.

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Kerrang! Radio has signed a new deal with fan-to-band funding site Slicethepie which will allow unsigned bands to promote their music to both the station's listeners and music programmers.

Fans will be able to upload tracks for Kerrang! consideration via Slicethepie. Listeners will be encouraged to vote for their favourites, and then the most popular will then be reviewed by Kerrang!'s producers and presenters, with a number being selected to be played on air. The partnership will also see a number of third party apps launched, which will allow fans and bands to spread their favourite new music across social networks.

Head Of Specialist Music and Kerrang! evening show presenter, Loz Guest told CMU: "Not only will this benefit artists but it'll make the selection process more democratic. We're sent literally hundreds of demos each week that all deserve thorough evaluation and it's cool that our listeners can now be a part of this".

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It's this week's Total Rock World Album Chart, as counted down on Total Rock last weekend - www.totalrock.com. New entries and re-entries marked with a *.

1. Muse - The Resistance (Warner Bros)
2. Them Crooked Vultures - Them Crooked Vultures (Sony Music)
3. Foo Fighters - Greatest Hits (Sony Music)
4. Nickelback - Dark Horse (Warner/Roadrunner)
5. Bon Jovi - The Circle (Universal/Mercury)
6. Queen - Absolute Greatest (EMI)
7. Pearl Jam - Backspacer (Universal)
8. Thirty Seconds To Mars - This Is War (EMI/Virgin)
9. Daughtry - Leave This Town (Sony Music)
10. Guns N Roses - Greatest Hits (Universal/Geffen)
11. Paramore - Brand New Eyes (Warner/Atlantic)
12. Shinedown - The Sound Of Madness (Warner/Atlantic)
13. Alice In Chains - Black Gives Way To Blue (EMI/Parlophone)
14. Lostprophets - The Betrayed (Visible Noise)*
15. You Me At Six - Hold Me Down (Epitaph)
16. Billy Talent - III (Warner/Atlantic)
17. Fleetwood Mac - The Very Best Of (Warner Bros)
18. Kiss - Sonic Boom (Warner/Roadrunner)
19. Flyleaf - Memento Mori (Universal/Octone)
20. Motley Crue - Greatest Hits (Seven Eleven Music)*

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So, John Mayer has been having a bit of a rough few days after he used a couple of undesirable words in an interview with Playboy, but it seems there is a small ray of sunshine is shining on him, thanks to the good old porn industry.

When not firing off racial and homophobic epithets, he told the magazine: "Pornography? It's a new synaptic pathway. You wake up in the morning, open a thumbnail page, and it leads to a Pandora's box of visuals. There have probably been days when I saw 300 vaginas before I got out of bed. When I watch porn, if it's not hot enough, I'll make up back-stories in my mind. My biggest dream is to write pornography".

And now it seems that dream might just come true, as the boss of porn producers Vivid Entertainment, Steve Hirsh, has reportedly been in touch to offer him a job.According to TMZ, Hirsh wrote to Mayer this week to say: "We actively pursue working with highly creative people and you obviously fit that mould. We believe your incredible talent and passion, which have touched so many, can translate into a highly erotic adult film. I think that together we can create a highly unique breakthrough film that will appeal to your millions of fans. Please call me at your convenience so we can discuss our working together".

Oh, that reminds me, we must get our photocopier fixed. And our pool cleaned.

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Owen Smith
Approval Officer
Paul Vig
Club Tipper

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