THURSDAY 29 OCTOBER 2015
TODAY'S TOP STORY: Radiohead have sued their former label Parlophone, it has emerged, in a dispute over deductions made from their download income back in 2008 and 2009, when the record company - which is now a Warner Music subsidiary - was still part of EMI. The deductions, which totalled £744,000, relate to costs incurred by the label back in 1992 and 1998... [READ MORE]
 
TODAY'S APPROVED: Fresh from supporting Squarepusher in London last Saturday, The Comet Is Coming are now preparing to release their debut EP 'Prophecy' on 13 Nov through The Leaf Label. Comprising Danalogue The Conqueror, Betamax Killer and King Shabakaare (their real names, I'm sure) the Melt Yourself Down-associated trio create music that is a pretty foolish clash of genres... [READ MORE]
 
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including the unveiling of YouTube's Red subscription service, Victory Records' mechanical rights dispute with Spotify, the debates around the Music Venue Trust's Venues Day conference and this year's Mercury Prize shortlist. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Radiohead sue Parlophone, lawyers debate possible impact
JUMP | ONLINE
LEGAL Co-producers in Tupac biopic go legal
JUMP | ONLINE
MANAGEMENT & FUNDING Turn First Artists founder confirms new joint venture with Warner Music owner
JUMP | ONLINE
DIGITAL & D2F SERVICES Spotify reduces piracy but cannibalises download sales, EC study finds
Spotify to livestream Sigma show
JUMP | ONLINE
MEDIA RAJAR Round Up: How Grim do you reckon?
JUMP | ONLINE
EDUCATION & EVENTS Notting Hill Arts Club launches music business school
Keynote confirmed for next Music TechPitch 4.5
JUMP | ONLINE
OBITUARIES Peter Dougherty 1955-2015
JUMP | ONLINE
ARTIST NEWS Diane Charlemagne dies
Phil Collins is no longer officially retired
JUMP | ONLINE
ONE LINERS YouTube Red, AIM Women In Music, Ed Sheeran, more
JUMP | ONLINE
AND FINALLY... Brian May still listens to Bohemian Rhapsody, but his air guitar days are over
JUMP | ONLINE
 
Click JUMP to skip direct to a section of this email or ONLINE to read and share stories on the CMU website (JUMP option may not work in all email readers). For regular updates from Team CMU follow us on Twitter, Facebook or Tumblr.
 
 
MUSICIANS' UNION - NORTH OF ENGLAND REGIONAL OFFICER (MANCHESTER)
The Musicians' Union represents over 30,000 musicians working in all sectors of the music business. As the Regional Officer, your broad knowledge of the music industry will enable you to play a full and effective role in the delivery of services to our members within the Region.

For more information including a full job description and how to apply click here.
   
IMPRESSIVE PR - SENIOR MUSIC PR (LONDON)
Impressive PR are looking for an experienced Senior Music Publicist salary approx £25-35K+ dependent on experience, specifically for publicists who know the job and have excellent music media contacts and potential to bring in their own clients.

For more information including a full job description and how to apply click here.
   
BELIEVE DIGITAL - SYNC ASSISTANT (LONDON)
We are looking for a self-motivated individual looking for a unique internship opportunity in the music industry. A passion for and knowledge of a wide variety of music is essential as is a desire to learn about all aspects of Synchronisation.

For more information including a full job description and how to apply click here.
   
COMPOSED - CUSTOMER SERVICES EXECUTIVE (LONDON)
Composed is a digital start-up from Universal Music Group, the global music leader. We are recruiting for a full-time Customer Services Executive to support the needs of our ever-growing customer base. This position would suit a tech-savvy graduate with a passion for classical music and previous experience in a customer service role.

For more information including a full job description and how to apply click here.
   
WFS COMMUNICATIONS - MUSIC, BRAND & EVENTS PUBLICIST (LONDON)
WFS Comms is looking for an experienced publicist to work across music, brand and event publicity. We need a music obsessive, with good, long standing contacts, sharp strategic thinking and experience pitching on new business with great presentation skills.

For more information including a full job description and how to apply click here.
   
MUSIC PUBLISHERS ASSOCIATION - MEMBERSHIP MANAGER (LONDON)
The Music Publishers Association is seeking a self-motivated, proactive, confident and sociable Membership Manager to manage its membership base, driving expansion whilst continuing to build on existing relationships with members.

For more information including a full job description and how to apply click here.
   
MPA GROUP OF COMPANIES - EVENTS MANAGER (LONDON)
The recently reorganised MPA Group of Companies is seeking a highly organised, well connected, confident and creative Events Manager to be responsible for the planning and delivery of its full and varied events calendar.

For more information including a full job description and how to apply click here.
   
MPA GROUP OF COMPANIES - PROJECT CO-ORDINATOR (LONDON)
The recently reorganised MPA Group of Companies is seeking a highly organised, multi-tasker with strong analytical and research skills, working closely with its Chief Executive to take on, develop and see through the completion of specific projects across all companies in the MPA Group.

For more information including a full job description and how to apply click here.
   
MPA GROUP OF COMPANIES - TEAM ADMINISTRATOR (LONDON)
The recently reorganised MPA Group of Companies is seeking a highly organised, pro-active, efficient and positive team player to work as its Team Administrator, taking responsibility for specific licensing related duties as well as offering admin support to its staff and assisting with the smooth running of its office.

For more information including a full job description and how to apply click here.
   
THE ORCHARD - INTERACTIVE MARKETING MANAGER (LONDON)
We’re looking for a savvy, seasoned music marketer to promote The Orchard’s distributed artists in Europe and beyond. The ideal candidate’s specialty lies in creating and executing strategic marketing campaigns designed to generate publicity and awareness, build audiences, engage fans, and drive sales and revenue for new releases and catalogue titles.

For more information including a full job description and how to apply click here.
   
LISTEN UP - EVENT PRESS CO-ORDINATOR (LONDON)
We are currently hiring an experienced Events Press Co-ordinator to join the events team at Listen Up. The candidate will need one year of experience in print and online events campaigns.

For more information including a full job description and how to apply click here.
   
DOMINO PUBLISHING - COPYRIGHT & PUBLISHING ASSISTANT (LONDON)
Domino Publishing requires a passionate music person to assist the copyright and royalties staff. This is a unique opportunity to work within the worldwide hub of a young, expanding music publishing company and help us provide an unrivalled and exemplary service to our songwriters and publishers.

For more information including a full job description and how to apply click here.
   
CHALK PRESS AGENCY - ONLINE MUSIC PR (LONDON)
The Chalk Press Agency are seeking an experienced Online Music PR. The ideal candidate will have at least three years experience in online press with an unwavering passion for breaking new artists, and re-introducing global names with sharp, ideas-driven campaigns, and with proven results.

For more information including a full job description and how to apply click here.
   
[PIAS] ARTIST & LABEL SERVICES - CHANNEL MANAGER (LONDON)
We are looking to recruit a replacement Channel Manager within the Artist & Label Services team to manage YouTube, Vevo and other digital platforms, as needed. Experience and knowledge of YouTube, including its CMS, and the general workings of Vevo would be a distinct advantage.

For more information including a full job description and how to apply click here.
   
SSE ARENA, WEMBLEY - OPERATIONS MANAGER (LONDON)
The purpose of this role is to successfully deliver all allocated events to meet the needs of our clients and customers, fulfil our health and safety responsibilities, and maximise the profitability of the Arena through effective cost control and developing additional revenue opportunities.

For more information including a full job description and how to apply click here.
   
GLOBAL PUBLICITY - PR CO-ORDINATOR (LONDON/BERLIN)
Global Publicity specialise in worldwide PR and communications for music, festivals and events. We are currently recruiting for an experienced PR Co-ordinator based in London or Berlin. As the PR Co-ordinator you will work across multiple accounts, taking responsibility for day-to-day activities such as campaign planning, writing press releases, contacting media with news about our projects, updating social media and keeping press reports and admin up to date.

For more information including a full job description and how to apply click here.
   
THE O2 - MARKETING MANAGER, ENTERTAINMENT (LONDON)
For the eigth year running, The O2 has secured its status as the world’s most popular music venue (we do sport too), hence the importance of selling tickets and supporting content in the arena and across the campus has never been greater. The focus of this role is to develop marketing campaigns with the primary objective of selling tickets to all events at The O2. Experience working with ticket agents, promoters and event organisers (as well as an understanding of trends and marketing tools geared to drive ticket sales) is essential in order to succeed in this role.

For more information including a full job description and how to apply click here.
 
CMU Jobs is a proven way to recruit the best music business talent for roles across the industry at all levels, from graduate to senior management. To book an ad contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
 

Radiohead sue Parlophone, lawyers debate possible impact
Radiohead have sued their former label Parlophone, it has emerged, in a dispute over deductions made from their download income back in 2008 and 2009, when the record company - which is now a Warner Music subsidiary - was still part of EMI.

The deductions, which totalled £744,000, relate to costs incurred by the label back in 1992 and 1998. Media lawyer Howard Ricklow at law firm Collyer Bristow recently published his thoughts on this potentially big case, which has caused some interesting chatter in music law circles since the High Court allowed it to proceed earlier this month.

While record labels deducting old costs from new royalties isn't unusual in the music industry, Radiohead's legal reps argue that these deductions were in breach of the band's record contract, which pre-dated the digital age, because no agreement was in place for charging old costs to download income.

Explaining the basics of the case, Collyer Bristow says: "Most recording contracts contain a provision that royalties for recordings on 'future formats' will be paid at a rate to be agreed. The band contends that no such rate was agreed with Parlophone for digital downloads and that the deductions made in 2008 and 2009 for costs apparently incurred in 1992 and 1998, long before the advent of digital downloads, were in breach of the contract".

Specifics of the case are as yet not clear, though we do know that Warner Music attempted to have the matter dismissed on the grounds that there is a contractual time limit for the band to dispute deductions made on their royalties, and that deadline had passed. But Radiohead's reps argued that, as there was no specific agreement about the band's digital royalties, there was no deadline on disputes either. And the court concurred with the band on that point, allowing the case to proceed.

There have, of course, been numerous cases, mainly in the US, where artists claim that labels have incorrectly interpreted pre-digital record contracts for the digital age, or have unfairly applied terms covering CD sales to download sales, so to benefit the record company. The details of this case seem to be different to those other disputes, though the basic issue - whether labels can just apply old record contracts to new revenue streams - is the same.

Commenting on the Radiohead/Parlophone dispute, and its potential impact, Ricklow wrote: "It's virtually impossible for anyone to predict how we'll be listening to music in ten or fifteen years' time, but it's certainly possible to honour contractual agreements over royalties for recordings, no matter what format they are in. This case is particularly ironic, given that Parlophone went through very similar legal issues with the Beatles in the 1980s when CDs were a new media format".

Ricklow notes that Radiohead have not worked with Parlophone on new releases for a long time now, and the band's relationship with EMI seemed to deteriorate after its acquisition by Terra Firma back in 2007, and the resulting cull of the UK major's top management.

He continues: "The fact that Radiohead are no longer contracted to Parlophone may well have played a role in how Parlophone has approached this issue - record labels have no reason not to squeeze every penny out of recordings by artists that are not on their roster anymore, especially as the value of recordings continues to fall. The fact that this case is now moving forward may well encourage other artists to mount legal challenges against record labels over their royalty payment practices, but only the biggest acts are likely to have the funds to be able to do it".

More on this as the case unfurls.

Co-producers in Tupac biopic go legal
The previously reported long-in-development Tupac Shakur biopic is now the subject of a lawsuit, with the two production companies involved in the venture in dispute.

A company called Emmett Furla Oasis is a co-producer on the project along with Morgan Creek Productions, the firm more publicly associated with the Tupac movie. The former says that the latter has now breached a co-production agreement by selecting a lead actor, setting a budget and confirming a production schedule without its approval. EFO is reportedly seeking $10 million in damages.

According to The Hollywood Reporter, EFO says it signed on as a co-producer of the Tupac film in 2013, the project having previously stalled. The company says in its lawsuit, filed in LA: "[The] plaintiffs' involvement with the project caused the resurrection of the picture. Specifically, because of the plaintiffs, the picture was effectively reintroduced into the marketplace after a long period of inactivity, and the plaintiffs immediately advanced the development and production of the picture".

It seems that there were some tensions between the two producers early on in the partnership, but things came to a head earlier this year after the release of that other hip hop biopic, 'Straight Outta Compton'. After that came out EFO says Morgan Creek started making demands that were not part of the original agreement, possibly in a bid to ramp up the Tupac project to capitalise on the reception the NWA biopic had enjoyed.

Responding, a spokesperson for Morgan Creek told THR that, in fact, SFO had not delivered on its side of the two companies' deal, stating that "their responsibility was to come in with half the budget. That didn't happen... end of story".

Turn First Artists founder confirms new joint venture with Warner Music owner
Artist manager Sarah Stennett - founder of Turn First Artists - has confirmed a previously rumoured alliance with Warner Music owner Access Industries, which will see the creation of a new company called First Access Entertainment, which is a pretty good name for a brand-mangle.

The new business will "focus on talent development and representation, brand development and representation, recording artists and songwriters, and rights exploitation" with ambitions in the wider entertainment and fashion sectors as well as the music industry. Artists signed to the new firm will be distributed and/or signed to Warner labels.

Confirming the new venture, Access Industries chief Len Blavatnik told reporters: "I look forward to collaborating with Sarah and her team. Sarah has successfully launched the careers of many renowned artists and brings extensive experience in talent discovery and artistic management".

Meanwhile Stennett herself said: "Len Blavatnik has a unique, visionary perspective on the future of the music industry and has built an extensive portfolio of companies at the forefront of music, entertainment, fashion and culture. I am thrilled to partner with Access Industries and look forward to leveraging the synergies across our respective businesses to benefit new and existing talent".

Spotify reduces piracy but cannibalises download sales, EC study finds
Spotify does reduce piracy. Yay! But it also cannibalises download sales. Boo! But ultimately it all balances out and currently neither costs nor gains the record industry anything. Umm, hooray? These are the findings of new research by the European Commission's Joint Research Agency anyway.

The research is one of a series of reports carried out in relation to that Digital Single Market thing. As previously reported, earlier this year the EC announced plans to do more to harmonise rules and bring down national barriers within the European Union when it comes to digital services and platforms.

The Spotify report - titled 'Streaming Reaches Flood Stage: Does Spotify Stimulate Or Depress Music Sales?' - found that "137 Spotify streams appear to reduce track sales by one unit. Consistent with the existing literature, our analysis also shows that Spotify displaces music piracy".

It goes on: "Given the current industry's revenue from track sales ($0.82 per sale) and the average payment received per stream ($0.007 per stream), our sales displacement estimates show that the losses from displaced sales are roughly outweighed by the gains in streaming revenue. In other words, our analysis shows that interactive streaming appears to be revenue-neutral for the recorded music industry".

"Revenue-neutral" - the two words everyone has been waiting to hear, I'm sure. Though the report also notes that "additional work would be helpful to provide more confidence in the answer", the study mainly focussing on music industry revenues in 2014.

It adds: "Revenue generation from recorded music is shifting rapidly from the sales of individual tracks (and albums) to bundled sales of streams. As this transition continues, understanding the relationship between streaming and sales will be crucial to both our understanding, as well as the operation, of the recorded music industry".

Of course, the hope is that as streaming services attract more customers, the revenues gained will both offset and exceed those lost by the decline in physical and download sales. Though the report warns that there may be further hurdles ahead, including some "arising from the fact that music rights holders do not negotiate royalty rates collectively".

"Even if piracy were eliminated, the competition among labels would tend to reduce rates", the researchers write. "Evidence [in the report] is at least suggestive that when particular songs are aired, they sell more than when they do not, even if music as a whole sells less when streaming exists. In such an environment it is easy to envision a prisoner's dilemma in which rights holders are better off charging low rates and getting their particular songs aired, even though they would be better off still if they all withheld their music from streaming services".

The report notes as an example Merlin's previously reported deal with Pandora, under which Pandora "will recommend Merlin artists over those not affiliated with the consortium in exchange for paying Merlin's musicians a lower royalty rate".

So, the simple answer is that there is no simple answer. But, hey, if you want to know how revenues from digital music are carved up as they work their way through the system, may I once again recommend CMU Insights' report for the MMF, 'Dissecting The Digital Dollar'.

You can read the full Joint Research Agency report here.

--------------------------------------------------

Spotify to livestream Sigma show
Spotify will screen live footage of a Sigma live set in London through its desktop software this Friday. The show, which will also feature David Zowie and Secaina Hudson, is part of the launch party for a new album from playlist curator This Is, titled 'This Is Dance 2016'.

Video footage of the party at Brick Lane's 93 Feet East will be accessible through the banner ad slot at the top of Spotify's Browse section between 8pm and midnight tomorrow night. The livestream will also be available through Facebook, YouTube and Twitter.

Brand & Playlist Manager at This Is, Paddy McLean, said in a statement: "We love curating dance music at This Is, so it was only a matter of time before we curated a club night featuring some of the incredible DJs and producers on our playlists and albums. This Is fans listen from all over the world, so we wanted to give them the opportunity to be part of the event in London. Taking the live experience directly into the Spotify desktop app seemed like the perfect place for it!"

As previously reported, Sigma will release their debut album, 'Life', on 4 Dec.

RAJAR Round Up: How Grim do you reckon?
More radio listening figures, how the fuck is that possible? Yep, another three months have passed (nearly) since the last set of RAJAR stats were announced, and what did you achieve in that time, hey? Nothing, that's what. Whereas that Nick Grimshaw, he got busy losing 70,000 listeners. Now that's a work ethic we should all aspire to. Here are some other notable stats from this RAJAR batch.

1. Yes, the Radio 1 breakfast show with Nicky, the most Grim of the Shaws, saw its audience slip this quarter, despite the DJ's much hyped arrival on 'The X-Factor', which some thought might result in a listener uplift for his radio show. Though his Radio 1 audience is still up on the start of the year, and Radio 1 boss Ben Cooper said he was happy Grimshaw was "the number one youth presenter" as a result of his station's "strategy of listen, watch share", which are definitely words.

2. While Grimmy may have seen 70,000 people tune out of his radio show, over on Radio 2 Chris Evans lost 270,000 listeners. Perhaps people are just sleeping in more these days.

3. Kiss is the biggest commercial station in London again, though mainly by losing its listeners less quickly than rival Capital FM. And the difference between the two London stations' audiences in this RAJAR quarter - apparently just 3000 more people tuned into Kiss - could almost certainly be accounted for by margin of error. So I expect Kiss to now use the slogan "losing listeners slower than Capital, we're Kiss, biggest in London by margin of error".

4. Comedy repeats are bigger than innovative music programming again when it comes to digital listening. Radio 4 Extra saw a 12.65% rise in listeners, putting it ahead of 6 Music on the digital channels, despite the latter station also reporting a record audience size.

5. Do you know what, why are you reading this nonsense, when the dudes at RAJAR have used their graphic design skills to turn their headline stats for quarter three into this infographic. It's 2015, we all know people don't digest figures anymore unless they are in a blob and surrounded by clip art. So knock yourself out.

Notting Hill Arts Club launches music business school
The Notting Hill Arts Club has unveiled a new music business education initiative called the Notting Hill Academy Of Music. Backed by an assortment of music companies and with Trevor Nelson as a patron, the new venture is being positioned as a "boutique finishing school" offering "music industry courses designed and delivered by award-winning professionals and top educationalists in the field".

The school will offer a range of six to twelve month courses, and will award MAs in Future Of Music and higher education certificates in music business entrepreneurship. Shorter courses will also be available in A&R, songwriting and such like.

The former head of the Academy Of Contemporary Music's Business School, Ewan Grant, will lead many of the courses as well as industry relations. He told reporters: "Britain is a hotbed of musical talent, and we're focused on giving those starting out a very real and useful insight into the industry. Our courses, tools and contacts will unravel the business side of the music world, giving our students the knowledge necessary to forge a career they otherwise may not have the means or guidance to pursue".

Meanwhile aforementioned patron Trevor Nelson confirmed he was "thrilled" about his involvement in the new education programme. "For most people, one shot is all you get" he noted, "so at the Academy our ambition is to enable students to know what to expect when starting out. That way, we can develop those with a genuine passion for music so they can navigate their own way in the notoriously tricky world of music".

The Academy will be showcasing its programmes at two open days next month.

--------------------------------------------------

Keynote confirmed for next Music TechPitch 4.5
The next edition of Music TechPitch 4.5 will take place in London next week, with eight music tech start-ups pitching their businesses to a panel of investment and music experts, including CMU Business Editor Chris Cooke.

Meanwhile, it's been confirmed that another of the judges, Chirp founder Patrick Bergel, will kick off the proceedings with a keynote. Berger is a partner at creative technology firm Animal Systems and a research associate at UCL, as well as leading Chirp, a "platform for sharing data as sound that recently raised over £700,000 on CrowdCube".

The start-ups that will then present are Bagzit, Brapp, Fan Footage, Meraki Sound, Pop My Mind, Rotor, The Global Music Community and Trackk.

Tickets for the event are on sale here.

Peter Dougherty 1955-2015
Former MTV producer Peter Dougherty, who created the show 'Yo! MTV Raps', has died after suffering a heart attack. He was 59.

Dougherty managed to convince MTV to allow him to film a pilot for his hip hop show at a time when the broadcaster was still very resistant to the genre. When it first aired in 1988, it became the highest rating show in the channel's history, and in less than a year was so popular that it went from airing weekly to daily.

"He was there when things were happening", Beastie Boys' Adam Horowitz, who met Dougherty in 1980, told The New York Times. "Not just one thing, but all the big things".

Also paying tribute was Don Letts, who met Doughtery in London in the late 70s while he was still a student. After he returned to the US, he would send Letts tapes of new music from the US, of which the DJ and filmmaker said: "How else would a black kid from Brixton have known to include the likes of Patti Smith, Television and The Ramones into my dub reggae DJ sets at the legendary Roxy Club?"

Dougherty moved back to London in 1990 to work for MTV Europe, which had launched three years earlier, before returning to the US in the mid-2000s. During his career, he also directed a number of music videos, including Beastie Boys' 'Hold It Now, Hit It' and 'Fairytale Of New York' by The Pogues.

He is survived by his mother, two siblings and two children.

  Approved: The Comet Is Coming
Fresh from supporting Squarepusher in London last Saturday, The Comet Is Coming are now preparing to release their debut EP 'Prophecy' on 13 Nov through The Leaf Label.

Comprising Danalogue The Conqueror, Betamax Killer and King Shabakaare (their real names, I'm sure) the Melt Yourself Down-associated trio create music that is a pretty foolish clash of genres. But somehow they managed to merge jazz, post-punk, 80s dance and experimental electronic music - and more - into a shape that's not only listenable, but a lot of fun.

You can catch the band live next at the Shacklewell Arms in London on 25 Nov. Right now, you can check out the first track released from 'Prophecy' right here.
CLICK HERE to read and share online
 

Diane Charlemagne dies
Former Urban Cookie Collective vocalist and the voice of Goldie's 'Inner City Life', Diane Charlemagne, has died, it was announced yesterday. She had been receiving treatment for cancer.

Goldie himself confirmed the news over a number of tweets, saying: "So she went into the early morning... God rest her soul. What a gifted voice. I can't thank you enough for what you contributed and we will carry on your legacy". Later he added: "Finding a place of peace inside myself of how much light that woman bought to my music. Love to her family".

Meanwhile producer High Contrast, who also worked with the singer, said: "Very sad to hear of Diane Charlemagne's passing, she'll always be the voice of dnb to me ... so privileged to have known and worked with her".

Charlemagne's final single, 'It's In Your Eyes', is due for release on 20 Nov. The track features former Smiths bassist Andy Rourke and former Fall drummer Simon Wolstencroft.

--------------------------------------------------

Phil Collins is no longer officially retired
Phil Collins is no longer officially retired.

"I'm no longer officially retired", he told Rolling Stone in a new interview.

The former Genesis frontman, of course, made a whole thing of his official retirement (which he is no longer on) back in 2011, because everyone hated him and all music was shit (or because he wanted to spend more time with his children). But by 2013 he was starting to think that the world might need him after all.

Now, he says, he wants his kids to "see what their dad does". He explains: "They were in nappies when I was last on the road. They love my music and I'd like to take them out so they can enjoy it". Surely they could just enjoy it at home, no?

Well, anyway, surgery to correct problems that put an end to his drumming career after the last Genesis reunion tour in 2007 means the upcoming shows could be the full Collins experience. "I don't think I want a very long tour", he says though. "But I would like to play the stadiums in Australia and the Far East, and [a long tour is] the only way to do that. But there's a part of me that just wants to do theatres, so we'll see".

He also said: "If people rediscover the old stuff and show interest, it would be silly to not make more music".

YouTube Red, AIM Women In Music, Ed Sheeran, more

Other notable announcements and developments today...

- YouTube Red is now live in the US. Sign up for your 30 day free trial now, Americans and people on VPNs. Sign the fuck up.

- AIM's annual Women In Music conference will take place at City Hall in London on 30 Nov. More info here.

- Ed Sheeran's concert film 'Jumpers For Goalposts', cut together using performances from his three live shows at Wembley Stadium earlier this year, will be released on CD, DVD, Blu-ray and download on 13 Nov.

- Anna Meredith has released 'Honeyed Words', the first track from her debut album, which is due out earlier next year.

- Little Mix have added four dates to their April 2015 arena tour in Glasgow, Manchester, Nottingham and Newcastle. Tickets go on sale tomorrow.

- Richard Hawley has announced some UK shows in February next year, including the Hammersmith Apollo on 23 Feb.

- Savages have announced UK tour dates for next February, plus one at The Roundhouse in London on 17 Mar. You can find them all here.

- Coheed & Cambria will be playing three UK dates early next year, finishing up at The Forum in London on 2 Feb.

- Jamie Woon will be touring in March, ending up at the Shepherds Bush Empire on 9 Mar.

Brian May still listens to Bohemian Rhapsody, but his air guitar days are over
This Saturday will mark the 40th anniversary of the release of Queen's 'Bohemian Rhapsody'. But is Brian May bored of it after all this time? Hell no.

"I'm not sick of it", he tells the BBC. "You can't complain that people want to talk about it all these years later. I still enjoy hearing it. If it comes on the radio, I'll turn it up and listen. But no air guitar. I'm too old for air guitar now". Aren't we all?

Though there are other ways to enjoy 'Rhapsody' other than playing air guitar of course, because mimicking that famous scene in 'Wayne's World', that never gets old, does it? And, as it turns out, headbanging along in the car is more of a Queen thing to do anyway.

"Mike Myers ... rang me up out of the blue and said: 'We've done this amazing sequence in our new film - can we have your approval? And can you get Freddie to hear it?'" explains May. "So he sent me a cassette and I took it around to Freddie, who was not in a good state at that time. He was confined to his bed, but I took it round and played it to him and he loved it. Strangely enough, the humour in it was quite close to our own. Because we did that kind of thing in the car, bouncing up and down to our own tracks!"

OK, we get it, you listen to your own music in the car a lot. But how did a six minute mini rock opera become a hit in the first place? "We were told it was going to be a hard sell, but it ended up being easy because Kenny Everett stole the tape from a playback session we had to launch the 'Night At The Opera' album and took it upon himself to go out and play it to death. That made everybody else sit up. All the rest of the radio outlets thought: 'Oh God, we'd better get on this quick or else we'll be left behind!'"

So, there you go kids. Theft is to be encouraged if you want a hit. Read more of May's insights into 'Bohemian Rhapsody' here.

 
ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletin and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
Email andy@unlimitedmedia.co.uk (except press releases, see below)
   
CHRIS COOKE | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
Email chris@unlimitedmedia.co.uk (except press releases, see below)
   
SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, plus helps manage and deliver the CMU Insights training courses and consultancy services.
Email sam@unlimitedmedia.co.uk or call 020 7099 9060
   
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of 3CM UnLimited she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
Email caro@unlimitedmedia.co.uk
Send ALL press releases to musicnews@unlimitedmedia.co.uk - this is checked daily by the whole editorial team meaning your release will definitely get to the right person.

For details of the training and consultancy services offered by CMU Insights click here - Andy and Chris are also available to provide music business comment, just email them direct.

To promote your company or advertise jobs or services to the entire UK music industry via the CMU bulletin or website contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
© UnLimited Media, a division of 3CM Enterprises Ltd

CMU, UnLimited Media, Kemp House, 152 City Road, London EC1V 2NX
t: 020 7099 9050 (editorial) 020 7099 9060 (sales)

publishing@unlimitedmedia.co.uk | complaints@unlimitedmedia.co.uk