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CMU Info
Top Stories
Sellaband bought by German entrepreneur
Consumer Focus call for end to private copying ban, like, now
In The Pop Courts
William Morris agent in court over Prince cancellation
Awards & Contests
NME award the NME Awards
Telegraph lead Press Award nominations
Release News
Analog Africa heads out of Africa
Red Sparowes announce new album
Doves best of confirmed
Gigs & Tours News
Whitney promoter hits out at Aussie critics
Festival News
Big Weekend goes to Bangor
Festival line-up update
Single review: Fanfarlo - Harold T Wilkins, Or How To Wait For A Very Long Time (Warner/Atlantic)
The Music Business
Lots more EMI speculation - woo!
DCMS respond to Clement Jones live music questions
PRS's ICE project to be fully based in Stockholm
Some rather large 'record sale decline' stats for you
The Digital Business
iTunes sells ten billionth download
Streaming is important, say Muse
The Media Business
BBC Worldwide to represent Universal audio-visual content
Chart Of The Day
This week's Student Radio Chart
And finally...
Cole album to be re-released under Tweedy name?
British Press Awards nominations in full

Formed in Brighton in 2005, Blood Red Shoes are drummer Steven Ansell and guitarist Laura-Mary Carter (with the duo sharing vocals). Normally keen to distance themselves from other English guitar bands, the duo consider themselves to be a punk outfit, drawing inspiration from the likes of Babes In Toyland, Nirvana, Queens Of The Stone Age and Pixies. The band's first releases were a string of 7" records in 2005 on a number of different independent labels, while their debut album 'Box Of Secrets' was released in 2008 via Universal imprint V2. Their latest single, 'Light It Up', is out now, with album number two 'Fire Like This' released on 1 Mar. We spoke to Steven to ask the Same Six Questions.

Q1 How did you start out making music?
Both of us started playing piano when we were younger, when we didn't know each other. I think we both felt the same, though. We both gravitated towards rock music, which piano isn't always so useful for, eh? We didn't meet each other until way after this point, when we were both already in punk bands. When those two bands broke up we decided to try writing stuff together, and that was the birth of Blood Red Shoes.

Q2 What inspired your latest album?
Dreams, confusion, frustration, boredom, anger, sadness, death, psychosis, alienation, loss, how we connect or don't connect with the world and the people around us, and trying to work out who you are constantly.

Q3 What process do you go through in creating a track?
We just start out by jamming together. We fuck around until something clicks. I guess the first rule would be, let there be a riff. Then I start to improvise the drums along to the riff and we gradually evolve the song from there, later trying out vocals by singing whatever comes out. With this album we were more fussy about it, and we did a lot more demo recording and going back over details, tweaking structures and melodies. We didn't do that so much on the first album.

Q4 Which artists influence your work?
Lots. On this album I can definitely hear hints of Queens Of The Stone Age, Hot Snakes, PJ Harvey, Nirvana, Trail Of Dead, My Bloody Valentine maybe The Yeah Yeah Yeahs a bit. Or even The Smashing Pumpkins, in fact. At least, I can trace our references to them; maybe no one else can hear that!

Q5 What would you say to someone experiencing your music for the first time?
Listen to it loud and open your heart to it. There is no irony or posturing or fakery in our music, it's straight and direct. Our background is in punk rock music, which is about immediacy of expression and hitting people with intensity. Regardless of the style of the music, that's the approach. So, we are just two people expressing whatever it is we feel like and playing music the way we like it. That's how you should experience it. If you connect, you connect, if you don't, you don't.

Q6 What are your ambitions for your latest album, and for the future?
With this album we just want to be a bigger better band than with the first record. We're not scared of setting our sights on becoming a big band, and I think this record will help us on that journey, because I think it's a strong record with good songs on it; songs which mean something, and which are played with intensity and feeling. At the moment there aren't many records I hear that aren't just stylised shit. I don't hear any really good rock records, either. So, either we'll fucking disappear because we're so out of touch with what's in right now, or we'll actually cut through because we're offering something very different to what's out there. My hope is that it's the latter, obviously.

MORE>> www.bloodredshoes.co.uk

Remix competitions are two a penny these days. If you were really serious about such things, entering them could almost be a full time job. So, Simon Green, aka Bonobo, is offering all you budding producers out there the chance to put your feet up, because his new remix competition is one with a twist - he's going to remix one of your tracks. And that, if you somehow weren't already aware, is a very exciting proposition indeed.

All you need to do is upload your track to the competition website and sit back while flocks of people vote for it (or not). The most popular ten will be sent off to Bonobo and he will select one to get all remixy with. Your music can be of any style, you just need to own the rights and be able to provide the individual parts for your track, should it be chosen. In other Bonobo news, he releases his fourth album, 'Black Sands', via Ninja Tune on 23 Mar. It will be good.



Good Lizard Media are looking for a digital marketing manager to join their fast growing company. Based in London, the job requires a strong knowledge of the digital music landscape and the ability to lead and implement creative digital campaigns for artists and releases.

Send a CV and an introduction email to jobs@goodlizardmedia.com. Closing date 4 Mar.

More info at www.goodlizardmedia.com/blog

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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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Maggie Jones memorial takes place today
Old Vic announces exchange scheme
Diorama Arts open new theatre
Could interesting Italian Google judgment have widespread ramifications?
Pressure mounts on those phone-hacking (allegedly) Murdoch types
PCC responds to select committee criticism
Get paid to trek round thirty festivals this summer
BBC Worldwide to sell Glasto coverage worldwide
Playaway festival cancelled

Faltering fan-funding website Sellaband yesterday announced it had a buyer.

As previously reported, the fan investment service went offline last week, and was declared bankrupt on Monday by courts in the Netherlands. Amid speculation as to what would happen to the company, and the money that had been pledged by fans but which was yet to be paid to bands, the service's co-founder and top man Johan Vosmeijer told reporters on Tuesday that it was almost certain the firm would be bought and normal services would resume shortly afterwards.

Yesterday it was confirmed a buyer had, indeed, been found, in the form of Munich-based entrepreneur Michael Bogatzki. In a posting on the Sellaband website, Vosmeijer confirmed the acquisition, announced he would now stand down as CEO of the company, and said he was confident the new owners would be good to both bands and investors signed up with the service. The Sellaband website is expected to go live again imminently.

Vosmeijer: "I have spoken at length with the people who have bought www.sellaband.com and am totally convinced that they are just as committed as we always were to build a solid future for Sellaband. What is extremely important to me is that the new company, called SellaBand GmbH and to be operated out of Munich in Germany, will respect our commitments towards 'believers' and also to those artists who are currently recording their Sellaband album, and/or are about to release their music". He added that his co-founder Dagmar Heijmans would stay with the company.

In another posting, Bogatzki himself said: "We will continue to advance this fantastic platform while acting in the spirit of the Sellaband community and its founders. Starting from today we proceed with this unique concept and maximise the potential of Sellaband with the trust and faith of all artists and believers. I am proud to be part of this idea and I will take care about the community and spirit of sellaband.com with your help and confidence".

In his piece, Vosmeijer also said he still thought the fan-funding model would play an important role in the future of the music industry, and that Sellaband, despite its current problems, would be a big part of that. Though the service's third co-founder, Pim Betist, who left the company eighteen months ago, was less optimistic in an interview with Wired magazine. He says that while he also thinks fan-funding has a future, that Sellaband needs to change the way it works to become a viable business.

Among the problems with the current Sellaband system, identified by Wired in its interview with Betist, is the service's focus on having its artists release a full album CD, something which makes any Sellaband venture expensive, and something which is no longer necessary to launch a new artist. Betist also reckons that fan-funding services should specialise in certain sorts of music and should be more willing to turn mediocre acts away, and he admits that Sellaband put too much emphasis on getting the best producers to produce their artists' albums rather than working out how the albums might be marketed and sold once they were produced.

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Consumer rights people Consumer Focus have again called on the government to do something about private copying rights (or the lack thereof) under British copyright law. As you all surely know, technically speaking it is illegal to make personal back up copies of CDs you legitimately buy, or to rip tracks from your CD onto your PC, or to move tracks from a CD onto an MP3 player (all of which is called 'format shifting' by tedious people).

While you all know that, according to a bit of Consumer Focus research, over 80% of people do not. In a survey of 2000 adults, they found just 17% realised that making back up CDs was not technically allowed, while only 15% knew that CD tracks shouldn't really be copied over to an iPod or similar.

Of course, the lack of a private copying right under British law was discussed during the 2006 Gowers Review of intellectual property rules, and record label trade body the BPI admitted that it couldn't see a circumstance in which any of its members would sue someone for making private copies of CDs, or moving CD tracks to a PC or iPod, even though in theory the law allowed them to.

So much so, Gowers recommended that the government "introduce a limited private copying exception by 2008 for format shifting for works published after the date that the law comes into effect". According to the Intellectual Property Office's website, consultation on that recommendation is expected to be launched in "late 2009". So that's something to look forward to.

Even though everyone thinks the current ban on format shifting is insane, the record industry - always on hand should you want to witness some gun-based foot-self-harm - has complicated moves to get a private copying exception made law by saying such format shifting rights should be controlled by a licence applied to devices like PCs or iPods, so that it could only be legally done when music is transferred from a CD to a 'licenced' device. The makers of said devices would pay the record industry for the privilege of providing such a licence with their products.

To be fair to the music industry, this licence idea is on the table because in some other countries where format shifting has always been legal, a levy was applied to the sale of blank CDRs and cassettes which was paid to the music industry, as compensation for the private copying most of those disks and tapes would be used for.

As sales of CDRs and cassettes die, there has been talk of adding such a levy to MP3 players - what is often dubbed the 'iPod tax' - though such proposals have always been controversial, because MP3 player makers point out that such a levy would have to be paid by all customers, even those whose entire digital music collection had been downloaded from iTunes or another licenced digital music store.

The 'licence' proposal put forward by some in the British record industry was an effort to create a more fair levy system. But, as we pointed out at the time, it's still a clumsy proposal, which misses the point. Here is a chance for the record industry to stand up and say to the world "we think this law is stupid, we all know you make private copies of music you buy on CD, we don't have a problem with that, so we are having the law changed to protect you guys".

Instead, if the IPO ever do get round to reviewing this issue again, media reports will read "those cunts in the record industry want to screw even more cash out of us". The PR benefits of backing a non-conditional private copying exemption far outweigh any money that could be made on a licencing system, which would always be short-lived, given CD sales are in terminal decline.

Anyway, I digress. Consumer Focus want the private copying exemption back on the agenda now, and say that while the silly format shifting ban remains on the statute book it will be hard for the record industry's other copyright concerns - such as the need for a three-strikes system to combat file-sharing - to be taken seriously.

Consumer Focus' Jill Johnstone: "The credibility of UK copyright law has fallen through the floor. Millions of consumers are regularly copying CDs or DVDs and are unaware they are breaching copyright law. The world has moved on and reform of copyright law is inevitable, but it's not going to update itself. If the government wants consumers to respect copyright law they have to stop sitting on their hands and bring the law in line with the real world".

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Dinner with Prince was the topic for discussion in Dublin's Commercial Court yesterday, where Irish promoters MCD are suing the purple one for cancelling, last minute, a gig he had been booked to play at Dublin's Croke Park back in 2008.

The issue seems to be whether the last minute cancellation was the fault of the often erratic Prince, or his booking agents William Morris. Prince's people claim the singer never agreed to the gig, and the William Morris Agency had no business in telling MCD he had. MCD top man Denis Desmond argues that whether the blame lies with Prince or his agents, he should be compensated for the no show. He is suing for 1.7 million euros.

Yesterday William Morris' Keith Sarkisian took to the stand to discuss his efforts to get a commitment from Prince to the Dublin concert back in 2008. He said that while the singer was always aware of the proposed show, he was never overly keen to discuss it.

Sarkisian told the court that in Spring 2008 he arranged to have dinner with the artist where he hoped to discuss the Dublin show, but when he got there Prince had invited three random other people to join them. Unwilling to discuss business in front of the strangers, Sarkisian waited, hoping to get some alone time with Prince, but then the singer suddenly got up and left the room. Dinner, it seems, was over.

According to the Irish Independent, the agent says he was then told by Prince's PA and de-facto manager, Ruth Arzate, to write a polite note to the singer asking for confirmation about the Irish dates. He did, but got no reply.

Eventually Sarkisian did get some alone time with the artist two weeks before the concert was due to take place - by which point 50,000 tickets had been sold - and it was then that Prince nonchalantly announced he wasn't doing the show. When Sarkisian said that decision might prove problematic, Prince apparently suggested he called Desmond himself, before adding: "Tell the cat to chill, I'll figure it out".

Despite all of this, Sarkisian denies his agency was negligent in allowing MCD to proceed with their plans to stage the gig even though Prince's commitment to the show was at best vague.

So, I'm not sure what that means for MCD's case for damages, or William Morris or Prince's respective liabilities. Still, it's not every day dinner with Prince comes up in court. Quote of the day - when Sarkisian asked a security guard if the singer would be coming back after his sudden departure from that meal time meeting, he was told: "You can't tell Prince to come back to dinner".

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So, it was the NME Awards last night, and now my head hurts. I think these two things may be related. The evening was, as previously reported, hosted by Jarvis Cocker, a man who should probably be allowed to present everything ever. Highlights of the evening included The Specials performing live after receiving the Outstanding Contribution Award, Jarvis' regular rounds of 'Catchphrase' and The Big Pink's pole dancing robots.

Though I'm not sure anything could top Shane MacGowan's appearance to introduce the video for his previously reported star-studded cover of Screamin Jay Hawkins' 'I Put A Spell On You' (which is amazing, by the way) in aid of Haiti. He turned up with a large framed picture of Bobby Gillespie and made noises which I can only imagine were supposed to be words for about a minute before anyone thought to stop him. I have never seen anyone so drunk.

There were a whole load awards given out. Look, here are all the winners:

Best British Band: Muse
Best Solo Artist: Jamie T
Best New Band: Bombay Bicycle Club
Best International Band: Paramore
Best Live Band: Arctic Monkeys
Philip Hall Radar Award: The Drums

Best Album: Kasabian - West Ryder Pauper Lunatic Asylum
Best Track: The Big Pink - Dominos
Best Dancefloor Filler: La Roux - In For The Kill (Skream Remix)
Best Video: Biffy Clyro - The Captain
Best Album Artwork: Kasabian - West Ryder Pauper Lunatic Asylum

Best Festival: Glastonbury
Best Live Event: Blur At Hyde Park

Best Website: Muse.Mu
Best Band Blog: Radiohead (Radiohead.Com/Deadairspace)

Best TV Show: The Inbetweeners
Best DVD: The Mighty Boosh Live - Future Sailors Tour
Best Film: Inglourious Basterds

Giving It Back Award: Lily Allen for her Twitter Ticket Treasure Hunt
Heroes Of The Year: Rage Against The Machine
Outstanding Contribution To Music: The Specials
Godlike Genius: Paul Weller

Worst Band: Jonas Brothers
Worst Album: The Jonas Brothers - Lines Vines And Trying Times
Villain Of The Year: Kanye West
Best Dressed: Lady Gaga
Worst Dressed: Lady Gaga

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The Daily Telegraph has the most nominations for this year's British Press Awards, which perhaps isn't surprising given its MP expenses scoop was surely the biggest event in the British newspaper industry in the last twelve months.

The broadsheet gets nineteen mentions on the newspaper industry's flagship awards shortlists, published this week. The Guardian actually has the same number of nominations, though two of its nominees also work on its sister title The Observer, confusing the overall nom count somewhat.

The rather long list of nominations is included at the bottom of today's CMU Daily. The newspaper industry's big night out is on 23 Mar in London.

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Having built its reputation by releasing a series of stunning compilations of rare 70s rock and funk, all dug up by label founder Samy Ben Redjeb, Analog Africa is turning its attentions to another continent altogether for its next release.

'Mambo Loco' is a collection of tracks by Colombian accordionist Anibal Velasquez, known by his fans as "El Mago" (The Magician) and one of the most prolific musicians in the country's Musica Tropica movement, having apparently recorded over 300 albums in his career.

Recalling his discovery of the accordion in the late 40s and early 50s, Velasquez says: "When I started to play the accordion, the instrument was not very popular, it had not become part of Costeno [Colombian Caribbean coast] culture as it was considered a second-class instrument, a bit foreign and awkward, used primarily by campesinos [peasants] in rural towns off the banks of the Rio Magdalena - but we've changed that".

He continues: "One of the turning points was a chance encounter with Robertico Roman, a musician from Cartagena. We both had a deep love for Cuban music and he would often come to my place where we jammed. It was with Robertico Roman that I formed my first band called Los Vallenatos de Magdalena. I made my first recording with that band in 1952".

The album will be released on 12 Apr, and you can keep up to date with all Analog Africa goings on at analogafrica.blogspot.com

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Instrumental post-rock band Red Sparowes, who count members of Isis amongst their line-up, have announced that they will release their third album, 'The Fear Is Excruciating, But Therein Lies The Answer', via Conspiracy Records on 5 Apr.

Produced by Toshi Kasai (Comets On Fire, The Fucking Champs, The Melvins), it is also the band's first album with Nocturnes guitarist Emma Ruth Rundle.

You may also be pleased to know that the band have eschewed the ridiculously long titles that featured on previous albums 'At The Soundless Dawn' and particularly second album 'Every Red Heart Shines Towards The Red Sun', which featured the catchy-sounding, 'And By Our Own Hand Did Every Last Bird Lie Silent In Their Puddles, The Air Barren Of Song As The Clouds Drifted Away. For Killing Their Greatest Enemy, The Locusts Noisily Thanked Us And Turned Their Jaws Toward Our Crops, Swallowing Our Greed Whole'.

Look, these titles are positively monosyllabic in comparison:

Truths Arise
In Illusions Of Order
A Hail Of Bombs
Giving Birth To Imagined Saviors
A Swarm
In Every Mind
A Mutiny
As Each End Looms And Subsides

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Doves will release a best of album on 5 Apr, which will feature the hits, b-sides, rarities and the customary new tracks. It will be called 'The Places Between: The Best of Doves'.

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The promoter of a Whitney Houston gig in Brisbane has spoken out in support of the singer after fans and critics got together to diss the one time diva's comeback concert. Although there have been some positive reviews of the show, others have focused on the fact Houston looked exhausted and disorientated, that she got some of her backing band's names wrong when trying to introduce them, and that she needed to take frequent breaks to catch her breath. Some fans have even demanded a refund.

But promoter Andrew McManus hit out at the critics, who he said where the "vocal minority" among a plethora of happy customers. He told reporters: "I am personally amazed at the few who are trying to derail the project and say if they expected to hear Whitney of 20 years ago, go buy a CD, but if they wanted to see a true professional artist give 100% and have a red hot go at songs that make the greatest vocalists shrink, well come along and enjoy the ride of an amazing talent, on stage, letting her heart and soul out for us all to enjoy".

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The BBC yesterday announced that the Welsh town of Bangor will host this year's Radio 1 Big Weekend. Whether those who go will be able to reminisce "didn't we have a lovely time the day we went there" remains to be seen. Pixie Lott is the only confirmed artist so far, so it's not looking especially likely yet, though presumably the Beeb have some good acts lined up to play too.

The Big Weekend will take place on 22 and 23 May, and here's that Radio 1 events man, Jason Carter, saying things: "We're proud to be hosting our tenth Radio 1's Big Weekend - the event is an outstanding success, making a huge impact on the areas it visits both culturally and economically while evolving every year to bring original and creative content to our audiences. We're delighted to be bringing our flagship event to Bangor this year".

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BLOODSTOCK OPEN AIR, Catton Hall, Walton-on-Trent, South Derbyshire, 13-15 Aug: British thrash metallers Onslaught have been confirmed to play at this year's Bloodstock, which will be their first UK festival appearance. They will join previously announced headliners Twisted Sister, Children Of Bodom, Heaven & Hell and Fear Factory. www.bloodstock.uk.com

CAMDEN CRAWL, various venues, Camden, 1-2 May: Teenage Fanclub, The Drums and Dan Le Sac Vs Scroobius Pip are amongst the first acts confirmed for this year's Camden Crawl. Also added to the line-up are Delays, The Sunshine Underground, Babybird, Alex Metric, Holly Miranda plus many more. www.thecamdencrawl.com

RELENTLESS BOARDMASTERS, Watergate Bay, Cornwall, 4-8 Aug: Leftfield have been confirmed as headliners at this year's Relentless Boardmasters. www.relentlessboardmasters.com

SECRET GARDEN PARTY, East Anglia, 22-25 Jul: Gorillaz Sound System, Mercury Rev and Marina And The Diamonds have been announced to play this summer's Secret Garden Party, along with The Whip, Kate Walsh, David Rodigan and Belleruche. www.secretgardenparty.com

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SINGLE REVIEW: Fanfarlo - Harold T Wilkins, Or How To Wait For A Very Long Time (Warner/Atlantic)
It's no surprise to learn that Fanfarlo are currently touring with mandolin-led acoustic powerhouses Mumford & Sons. Like their partners in tweed, this Swedish folk fivesome deliver a fine pop drama complete with bleeding heart vocals and a whole delirious mess of unplugged strings and rampant percussion. The band's Scandinavian roots do come through though, lending a coy sweetness to the affair that would never pass through the natural cynicism of a wholly British band. TM

Release Date: 8 Mar
Press Contact: Atlantic IH [NP], Radar Maker [O]

Buy from iTunes
Buy from Amazon

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So, with Terra Firma now having less than 95 days to come up with the $189 million that will stop EMI from defaulting on its loan commitments to Citigroup, there is increasing speculation as to what will happen if the equity firm can't find the cash, and ownership of the music firm transfers to the US bank.

Some suggest that Citigroup's Chairman, Richard Parsons, will play a particularly active role in deciding EMI's future if it should fall into the bank's possession, even though his top position at the bank is technically a non-executive one. Parsons, you see, was, until recently, the top man at Time Warner meaning he knows a thing or two about the entertainment industry.

And about selling off major record companies, he having been in charge at Time Warner when it sold its music assets to Edgar Bronfman Jr. Of course Bronfman Jr's Warner Music is generally seen as the most obvious buyer for EMI, though no one seems sure whether Parsons and Bronfman's previous track record in this domain makes that deal more or less likely.

While an EMI Warner merger still seems the most viable deal to be done within the existing record industry, given the combination would make the merged company a similar size to its rivals Universal Music and Sony Music, some reckon both those bigger rivals might be interested in picking up some of the London music firm if it was suddenly on the market. And, of course, there have been albeit unsubstantiated rumours that the new version of BMG might be interested in getting its hands on some of EMI's catalogues.

But what about deals from outside the record industry? Could this be the long predicted moment that one of the big web or tech players, with their large cash reserves, bolsters their position in the digital entertainment market by acquiring a sizable catalogue of content for themselves? Might a consortium of British companies mount a bid with the aim of keeping the UK's last major music business in British ownership, what, given the hoo haa that surrounded the news Cadbury had fallen into American hands? Or might Citigroup keep hold of the music company for itself, to give Parsons an entertainment industry toy to play with? It seems unlikely, though not impossible.

Meanwhile, how will the sale be structured if it were to happen, ie would EMI Group be sold as a going concern, or would the firm be split up before sale. It's no secret that it's EMI Music Publishing that most people will want to get their hands on, and some think a sale of that division alone would enable Citigroup to recoup the money it leant Terra Firma to buy the music firm in the first place.

But if EMI's publishing business was to be successfully sold as a standalone business, what would that mean for the major's recordings division? As previously reported, EMI Music Services - the recording division's revitalised and expanded distribution division - is performing well, and might be an attractive buy, especially for one of the other three majors. But what about the EMI record labels?

Well, ironically, some are now saying that the label structure that has emerged out of the quagmire that followed Terra Firma's acquisition of EMI is actually a good one, with some sensible systems and talented people. The current problem is that all the publicity of the major's multi-billion dollar debts is making it hard for the company to sign the kind of buzzy new talent which can make a record clabel serious money if and when they break. That is to say, EMI arguably now has the right structure in place, but no decent new band (ie any being wooed by other labels) will risk using it, because of the debt concerns.

But, put the EMI labels into newer more secure ownership - even Citigroup ownership - and they might become a powerful force in the wider record industry. Whether another record company, like Warner, would be willing to admit that is another matter. Some reckon a Warner takeover of EMI would result in the latter's labels and rosters being absorbed by the former's existing recordings division.

To that end, the EMI labels might actually be better off if they were split from Publishing, and sold to a buyer who recognises the potential of what Terra Firma has built, and that the current failings are really the result of the debt scenario the equity firm created when it bought the major just before the credit crunch hit.

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Liberal Lord Tim Clement Jones has received answers to his previously reported questions about the government's recent report on live music in the UK, which he said was full of holes. The report by the Department Of Culture, Media & Sport in part justified the government's opposition to Clement Jones' Live Music Bill, which would amend the 2003 Licensing Act which many music types argue is crippling the grass roots music scene.

Among Clement-Jones' questions was one that asked whether the DCMS consulted the Musicians' Union or Incorporated Society Of Musicians on whether the number of professional musicians employed in live music had changed since the 2003 act came into force in 2005. The government department admitted it had not, but said it had had a good look at the MU's website and couldn't find any stats on there. So that's alright then.

Clement-Jones also wanted more information on the DCMS's stats regarding the number of people attending live music events between 2005 and 2009. Although live music attendance is undeniably up, the Lord wanted to know how much of the increase was accounted for by uber-venues like The O2 and Wembley Stadium, and whether there was actually a decline at the grass roots end of the market. The DCMS admitted it didn't have access to that sort of data breakdown, even though the stats were based on their own research.

I haven't spoken to Tim yet, but I'm guessing neither of those answers are going to convince him that the government know what they are talking about when it comes to knocking back his Live Music Bill, or when rejecting most of the proposals of parliament's Culture, Media & Sport Select Committee, whose review of the Licensing Act preceded and informed the Lord's bill.

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Song rights collecting society PRS For Music have confirmed that the International Copyright Enterprise, a massive database project launched in 2007 in partnership with their Swedish counterparts STIM, will be primarily based in the latter's offices in Stockholm moving forward, rather than at PRS's London HQ. The decision will result in some job losses at PRS, with Music Week citing sources who say up to fifty staffers could be for the axe.

A PRS statement on the matter reads as follows: "As part of the ICE project, the work undertaken by the copyright department of PRS For Music will be transferred to ICE Services AB in Sweden. The affected employees within the company have been made aware and an ongoing collective and individual consultation process has been underway for a number of months. As part of this consultation process, PRS For Music is exploring opportunities elsewhere in the business for impacted employees, as well as potential relocation to ICE offices in Sweden".

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Here's some happy stats for all your record label people, especially American CMU readers. Research firm NPD reckons that 33 million fewer Americans bought a CD in 2009 compared to 2007, while 24 million fewer people bought any recorded music at all. So, that's nice.

These stats were presented by NPD Group's Russ Crupnick at the Digital Music Forum this week. To put them in context, the population of the US is approx 308.7 million.

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So at 9.43pm GMT last night somebody somewhere downloaded the ten billionth track to be sold by Apple's iTunes. We don't know who it was or what they downloaded. But we do know that person's iTunes account just got charged up with a ten grand credit, which has to be nice. We thought we'd celebrate this digital music landmark by bringing you ten billion iTunes-related news stories. So, here goes.

Story one: iTunes will start selling recordings of performances of the live heats on the latest series of 'American Idol', with tracks going live the day after each show airs. The Apple store will also announce upcoming themes on the 'Idol' show and publish playlists of the original versions of songs covered on the programme.

Story two: There is a bit of confusion this week as to Apple's policy on sexually explicit iPhone apps. Last week Apple started removing some of the racier apps from its official store, seemingly after complaints that they were easily accessible to children in possession of an Apple phone. But The Register reports that while some have indeed been removed, others still remain. It's not clear if that's because such apps are being removed selectively, or because it's taking a long time to find them all among the 150,000 odd apps in the Apple store. Some also wonder whether a locked 'adult content' strand is now being planned in the app store. Some developers noticed an 'explicit content' tag was temporarily added to the app upload system earlier this week. If all explicit content was to be banned no one would ever select such a tag, so if that became a permanent fixture of the upload platform then presumably Apple plan to have somewhere in their store where such things can be distributed.

Story three: We7's previously reported iPhone app has now been approved by the Apple appy types, meaning it will be available to download from Monday. This will make the online streaming service mobile compliant. As with Spotify, mobile We7 will only be available to premium subscribers. As previously reported, We7's recently launched premium offer retails at half the cost of its Swedish rivals, at £4.99 a month.

Story ten billion: US TV network CBS is reportedly planning to start selling selected TV shows via iTunes in America for a dollar a show, making those programme available at half the current cheapest price point for telly content on the download store. It is thought the price drop is an experiment to see if sales dramatically increase.

And there you have it. This ended up being a very long article, I do hope your email systems don't truncate it.

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Muse bassist Chris Wolstenholme has said he is disappointed by those previously reported plans put forward by Warner Music CEO Edgar Bronfman Jr to back away from free streaming services, especially in the US market. Muse, of course, are signed to Warner.

Wolstenholme told BBC Newsbeat: "It's like taking your song off the radio, isn't it? You're instantly taking your song away from a group of potential listeners. The corporations are setting the rules on these things because they're clutching at straws. They've lost so much money on record sales because of the internet. I do sometimes feel that this whole restriction that's been set on how your music can get out there these days, that doesn't ever really come from the bands. It's coming from the corporations behind everything. As far as bands are concerned, you just want people to hear your music whichever way they can".

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The BBC's commercial division Worldwide has confirmed a long-term deal with Universal Music to distribute video content owned by major music company. The same bit of BBC Worldwide that sells the Beeb's own music archives to international broadcasters will now represent a stack of Universal content too.

Worldwide music man Stephen Davies says this: "We are proud to become distribution partner with the world's biggest record label and are delighted to be representing such a great roster of artists. This deal further strengthens our relationship with Universal and, with its promise of more great programming, will take BBC Worldwide Music to a new level as a major music distributor".

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The songs most rated by student radio stations around the UK. The Student Radio Chart is compiled by the Student Radio Association and aired on student stations across the country, hosted by a different affiliated station each week. More at www.studentradio.org.uk/chart

1. Ellie Goulding - Starry Eyed
2. Owl City - Fireflies
3. Bombay Bicycle Club - Evening/Morning
4. Marina and the Diamonds - Hollywood
5. Groove Armada - Paper Romance
6. Example - Won't Go Quietly
7. Hot Chip - One Life Stand
8. Vampire Weekend - Cousins
9. Gorillaz - Stylo
10. Mumford and Sons - The Cave
11. Rihanna - Rude Boy
12. Biffy Clyro - Many Of Horror (When We Collide)
13. Iyaz - Replay
14. 3OH!3 feat Katy Perry - Starstrukk
15. Ke$ha - Tik Tok
16. Helping Haiti - Everybody Hurts
17. Daisy Dares You feat Chipmunk - Number One Enemy
18. Ke$ha - Blah Blah Blah
19. Glee Cast - Don't Stop Believin
20. Lady Gaga - Telephone

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Rumour has it that when Cheryl Cole's debut album gets its customary special edition re-release later this year it could listed under the name Cheryl Tweedy rather than Cole, such is her anger towards her soon to be ex-husband, idiot footballer (is that a tautology?) Ashley Cole.

In related news, it's thought Cheryl has been advised to tell her estranged other half that she'll give him a quicky divorce if he'll let her keep their multi-million pound home in Surrey. Although the singer come 'X-Factor' judge could try to get a slice of the footballer's fortunes, some actually quite sensible sounding advisors are saying she could probably earn a similar amount by pushing on with her burgeoning TV career and capitalising on US interest in her, rather than wasting time on an expensive time consuming divorce battle.

Meanwhile, our new favourite Cole-related Tweet of the week so far, courtesy of comedian David Schneider: "Cole divorce hearing. Cheryl to give evidence by lip-synching to a statement backing track. Ashley will text his in".

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Reporter: News of the World - Mazher Mahmood, The Daily Telegraph - Robert Winnett, The Guardian - Paul Lewis, The Mail on Sunday - David Rose, The Mail on Sunday - Jason Lewis, The Times - Andrew Norfolk.

Foreign Reporter: The Daily Mail - Richard Pendlebury, The Guardian - Ghaith Abdul-Ahad, The Independent - Robert Fisk, The Sunday Times - Marie Colvin, The Sunday Times - Dan McDougall, The Times - Martin Fletcher.

Showbiz Reporter: Daily Mirror - Tom Bryant, Daily Mirror - Fiona Cummins, Daily Mirror - Sarah Tetteh, Daily Mirror - Clemmie Moodie, News of the World - Dan Wootton, Sunday Mirror - Dean Piper, The People - Katie Hind, The Sun - Gordon Smart, The Sun - Colin Robertson.

Business & Finance Journalist: The Daily Mail - Alex Brummer, The Daily Telegraph - Jeremy Warner,
The Guardian and The Observer - Jill Treanor, The Independent - Hamish McRae, The Observer - Larry Elliott, The Sunday Times - Iain Dey.

Political Journalist: The Daily Telegraph - Benedict Brogan, The Daily Telegraph - Robert Winnett, The Financial Times - George Parker, The Guardian - Patrick Wintour, The Observer - Andrew Rawnsley, The Sunday Telegraph - Matthew D'Ancona, The Times - Daniel Finkelstein.

Sports Journalist: The Daily Mail - Martin Samuel, The Daily Telegraph - Ian Chadband, The Guardian - David Conn, The Guardian - Donald McRae, The Mail on Sunday - Rob Draper, The Mail on Sunday - Patrick Collins, The Sunday Times - Paul Kimmage, The Times - Matthew Syed, The Times - Mike Atherton.

Specialist Journalist: Financial Times - Martin Wolf, The Daily Mail - Michael Hanlon, The Daily Telegraph - David Millward, The Guardian and The Observer - John Vidal, The Independent - Terri Judd, The Mail on Sunday - Jason Lewis.


Feature Writer: The Daily Mail - Richard Pendlebury, The Daily Telegraph - Mick Brown, The Guardian - Tanya Gold, The Independent - Johann Hari, The Sunday Times - John Arlidge, The Sunday Times - AA Gill.

Columnist: Daily Mirror - Brian Reade, Financial Times - Martin Wolf, The Guardian - Tanya Gold,
The Guardian - Marina Hyde, The Guardian - Charlie Brooker, The Independent - Ian Birrell, The Sun - Kelvin MacKenzie, The Times - Caitlin Moran.

Critic: The Daily Mail - Quentin Letts, The Daily Telegraph - Charles Spencer, The Evening Standard - Brian Sewell, The Mail on Sunday - Craig Brown, The Sunday Times - AA Gill, The Sunday Times - Waldemar Januszczak.

Interviewer: The Daily Telegraph - Elizabeth Grice, The Daily Telegraph - Mick Brown, The Observer - Carole Cadwalladr, The Sunday Times - Ariel Leve, The Sunday Times - Camilla Long, The Times - Ginny Dougary.


Young Journalist: The Daily Mirror - Andrew Gregory, The Daily Telegraph - Holly Watt, The Daily Telegraph - Jon Swaine, The Financial Times - Tom Burgis, The News of The World - Guy Basnett, The Observer - Tom Lamont, The Sunday Times - Miles Amoore, The Times - Sheera Frankel.

International Journalist: Abdel Kareem Nabil Suleiman - Egypt, Ahmad Zeydabadi - Iran, Asos Hardi - Iraq, Dawit Isaac - Eritrea, Dhondup Wangchen - China, Eynulla Fatullayev - Azerbaijan, Gustavo Azócar - Venezuela, Hanevy Ould Dehah - Mauritania, Hla Hla Win - Burma, Ismail Cihan Hayirsevener - Turkey, J. S. Tissainayagam - Sri Lanka, Kim Seong-Min - North Korea, Mashallah Shamsolvaezin - Iran, Maziar Bahari - Iran, Olga Kotovskaya - Russia, Ricardo González Alfonso - Cuba.


Photographer: Getty Images - Peter Macdiarmid, Press Association Images - Lewis Whyld, Press Association Images - Owen Humphreys, Press Association Images - Stefan Rousseau, The Daily Mail - Jamie Wiseman, The Times - Peter Nicholls.

Sports Photographer: Freelance - Bradley Ormesher, Press Association Images - Owen Humphreys, Reuters - Eddie Keogh, The Daily Mail - Andy Hooper, The Guardian - Tom Jenkins, The Sun - Richard Pelham.

Cartoon: The Daily Mail - Stanley McMurtry, The Daily Telegraph - Nick Garland, The Daily Telegraph - Matt Pritchett, The Independent - Dave Brown, The Mail on Sunday - Michael Heath, The Observer - Chris Riddell, The Times - Peter Brookes.


Scoop: The Mail on Sunday - Jason Lewis for "Mi6 chief blows his cover on Facebook"; The Sunday Express - Marco Giannangeli and Jason Groves for "Jacqui Smith put adult film on expenses"; The Daily Mail - Dan Newling for "Cabinet minister's cleaner is alleged illegal immigrant"; The Guardian - For revelations about the death of Ian Tomlinson; The Sunday Times - Claire Newell and Jonathan Calvert for "Cash for Amendments"; The Daily Telegraph - MPs' Expenses.

Campaign: Daily Mirror - Fair Tips Campaign, The Guardian - The Tax Gap Series, The Sunday Telegraph - Robert Mendick, The Guardian - Climate Change Campaign, The Sunday Times Insight - Lords Investigation, The Daily Telegraph - MPs' Expenses.

Cudlipp Award - for outstanding tabloid journalism: The Daily Mail - Richard Pendlebury and Jamie Wiseman: Afghanistan boy soldiers; The Daily Mirror - Andrew Penman and Nick Sommerlad Investigate; The Daily Mirror - Hillsborough: Justice for 96; The Independent - Baltimore Crime Exchange; The Sun - Sunemployment; The Sunday Mirror - Christmas salute to war heroes.

Digital Innovation: Telegraph.co.uk - 2009 Flower Show; The Guardian G20 Coverage; The Guardian on the iPhone; The Sun - SunTalk; The Times - Times Labs; The Wall Street Journal - Berlin Wall Interactive.


Regular Supplement: The Daily Telegraph - Telegraph Magazine, The Guardian - Guardian Weekend Magazine, The Mail on Sunday - Live Magazine, The Mail on Sunday - You Magazine, The Sunday Times - Culture, The Times - Eureka.

Special Supplement: Daily Mirror - Hillsborough Campaign, Evening Standard Ltd - The 1000, Financial Times - The Future of Capitalism, The Daily Telegraph - The Complete Expenses Files, The Guardian - 100 Years of Great Press Photographs, The Sunday Times - Climate Change

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Georgina Stone
Editorial Assistant
Owen Smith
Approval Officer
Paul Vig
Club Tipper

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