The Enterprising Musician's Guide to Performer Contracts is an empowering resource that provides detailed, plain-language explanations of the clauses commonly found in legal agreements such as engagement (gig) contracts, artist-management contracts, and producer agreements. Musicians from all musical styles will be able to decipher contracts offered to them and improve terms to their benefit. In clear detail, David Williams dissects the most common clauses in performer contracts, revealing how to avoid pitfalls and properly amend content to address each musician's needs. Seasoned performers, emerging artists, and music students of all levels will find this handy volume an invaluable compendium of conflict-free guidance as they navigate their careers in the music industry.

Since the first edition was published in 2009, Patrik Wikstroem's The Music Industry has become a go-to text for students and scholars. This thoroughly updated third edition provides an international overview of the music industry and its future prospects in the world of global entertainment. The music industry has experienced two turbulent decades of immense change brought about in part by the digital revolution. How has the industry been transformed by these economic and technological upheavals, and how is it likely to change in the future? What is the role of music in this digital age? Wikstroem illuminates the workings of the industry, deftly capturing the dynamics at work in the production of musical culture between the transnational media conglomerates, the independent music companies and the public. New to this third edition are expanded sections on the changing structure of the music industry, the impact of digitization on music listening practices, and the evolution of music streaming platforms. Engaging and comprehensive, The Music Industry is a must-read for students and scholars of media and communication studies, cultural studies, popular music, sociology and economics.

She's at the Controls gives a socio-historical examination of the roles of women studio professionals in the UK music industry. At the heart of the book are interviews conducted over six years with 30 female studio practitioners at different stages of their careers and working in different genres of popular music including reggae, hip hop and pop. The edited interviews are followed by an in-depth exploration of the often unseen and unacknowledged gender rules of music industry practice (both personal and technical) that underpin popular music etiquette. A range of supporting material from academic works to technical publications and popular music journalism is used to expand and critique the discourse. She's at the Controls will appeal to everyone interested in new developments in the music industry, as it recalibrates itself in response to current challenges to its traditional gender stereotypes.

When the music impresario Bryan Morrison died aged 66 in 2008, after two years in a coma following a polo accident, he left behind his unpublished memoir. As a music publisher, manager and agent, Morrison had represented the Pretty Things, Pink Floyd, T. Rex, The Jam, Wham! and many others. He was also the founder and owner of the Royal County of Berkshire Polo Club. In this candid and outspoken book, Morrison reveals the true stories behind why Syd Barrett of Pink Floyd once bit his finger to the bone, the Pretty Things were banned for life from New Zealand, and he became involved with the Kray Twins. He also tells how The Jam kissed goodbye to success in the USA, he received death threats when Robin Gibb left the Bee Gees, and signing a publishing deal with George Michael and Andrew Ridgeley as Wham! Spanning the golden age of British rock 'n' roll from the 60s to the 80s, this is the extraordinary story of a cigar-chomping, East End entrepreneur, with a passion for art and design, fashion, music and polo.

The economic geography of music is evolving as new digital technologies, organizational forms, market dynamics and consumer behavior continue to restructure the industry. This book is an international collection of case studies examining the spatial dynamics of today's music industry. Drawing on research from a diverse range of cities such as Santiago, Toronto, Paris, New York, Amsterdam, London, and Berlin, this volume helps readers understand how the production and consumption of music is changing at multiple scales - from global firms to local entrepreneurs; and, in multiple settings - from established clusters to burgeoning scenes. The volume is divided into interrelated sections and offers an engaging and immersive look at today's central players, processes, and spaces of music production and consumption. Academic students and researchers across the social sciences, including human geography, sociology, economics, and cultural studies, will find this volume helpful in answering questions about how and where music is financed, produced, marketed, distributed, curated and consumed in the digital age.

Everywhere you look, musicians are creating, recording, and selling their music without the help of big-name studios, producers, or labels. This book offers tangible-and visually stunning-proof that self-recording is a path to artistic freedom. Each chapter takes on a specific aspect of self-recording through original interviews with musicians and all new photography, revealing the joys and complications of recording music on one's own terms. You'll learn how some of your favorite musicians charted their path to self-recording and how they use emerging technologies to make exceptional music. The book features intimate shots of artists recording in living rooms, backyards, and garages-such as Eleanor Friedberger, Mac DeMarco, Vagabon, Tune-Yards, Yuka Honda, and more. The first book devoted entirely to the practice of self-recording, Mirror Sound charts a way forward for any musician who aspires to make their own music and those who just love to listen.

Much recent economic work on the music industry has been focused on the impact of technology on demand, with predictions being made of digital copyright infringement leading to the demise of the industry. In fact, there have always been profound cyclical swings in music media sales owing to the fact that music always has been, and continues to be, a discretionary purchase. This entertaining and accessible book offers an analysis of the production and consumption of music from a social economics approach. Locating music within the economic analysis of social behaviour, this books guides the reader through issues relating to production, supply, consumption and trends, wider considerations such as the international trade in music, and in particular through divisions of age, race and gender. Providing an engaging overview of this fascinating topic, this book will be of interest and relevance to students and scholars of cultural economics, management, musicology, cultural studies and those with an interest in the music industry more generally.

The impact of digital technology on the musical economy has been profound. From its production, reproduction, distribution, and consumption, the advent of MP3 and the use of the Internet as a medium of distribution has brought about a significant transformation in the way that music is made, how it is purchased and listened to, and, significantly, how the musical economy itself is able to reproduce itself. In the late 1990s the obscure practice of 'ripping' tracks from CDs through the use of compression programmes was transformed from the illegal hobby of a few thousand computer specialists to a practice available to millions of people worldwide through the development of peer-to-peer computer networks. This continues to have important implications for the viability of the musical economy. At the same time, the production of music has become more accessible and the role of key gatekeepers in the industry-such as record companies and recording studios- has been undermined, whilst the increased accessibility of music at reduced cost via the Internet has revalorised live performance, and now generates revenues higher than recorded music. The early 21st century has provided an extraordinary case study of an industry in flux, and one that throws light on the relationship between culture and economy, between passion and calculation. This book provides a theoretically grounded account of the implications of digital technology on the musical economy, and develops the concept of the musical network to understand the transformation of this economy over space and through time.

"Prince: All the Songs is a major achievement...[It] may be the definitive single-volume book about Prince for both its breadth and the way it views his life through the songs that were the true essence of his being." - Psychobabble Spanning nearly 50 years of albums, EPs, B-sides, and more, read the full story behind all of the songs that Prince ever released. Moving chronologically through his epic back catalogue, expert author Benoit Clerc analyses everything there is to know about each song and session. No stone is left unturned across more than 600 pages, illustrated with incredible photography throughout. From the inspiration behind the lyrics and melody to the recording process and even the musicians and producers who worked on each track, uncover the stories behind the music in this truly definitive book - a must-have for every Prince fan.

This book explores the transmission of copyrighted sound recordings to the public by over-the-air AM/FM radio stations which is an activity that implicates the right of public performance under the Copyright Act. However, under current law, terrestrial radio broadcasters who play copyrighted music need only compensate songwriters for the performance of their musical compositions and not the holders of the copyright in the sound recording. Sound recording copyright holders assert that there is no justifiable reason for the copyright law to treat sound recordings differently from other categories of performable copyrighted works. They maintain that recording artists deserve to be fairly compensated by broadcast radio for public performance of their works just as songwriters and music publishers are currently being paid for such activity.

A number of recent studies have responded to neoliberal understandings of entrepreneurship, creativity and innovation in the cultural and creative industries, and beyond. Although in recent years, the features of working life in this sector have been well-documented, little research seems to have looked at the psychosocial impact on the working lives of individuals. Fantasy, Neoliberalism and Precariousness draws on the results of an original empirical study of independent musicians based in Brooklyn, San Francisco, Portland, Stockholm and Paris, and considers how experiences of precariousness and insecurity under conditions of neoliberalism threatens the well-being and self-realisation of aspiring musicians. Vachet examines anxiety, narcissism, recognition and self-esteem from a sociological perspective, considering them through the lens of social class and gender. Contributing to debates within cultural studies, sociology and the political economy of communication about working lives in the cultural and creative industries, Vachet answers to-date unexplored questions around the psychosocial impact of precariousness and other problematic features of work in the cultural industries.

Are you interested in learning how to cultivate sustainable success in the popular music industry whilst prioritising your health? If so, this book is for you. Inside you'll find research-informed advice and information that aims to help musicians, as well as those that work with them, navigate their way through what can be a challenging and demanding industry. This book covers the mental and physical health problems research suggests musicians might come up against and offers lots of tools and techniques to help aid prevention. You'll also find information about the structure of the industry, money management, and how to improve your skills as a performer, creator, and CEO of your career. Expect original interviews with leading researchers, health experts, business execs and a host of artists including Laura Mvula, Will Young, Imogen Heap, Wayne Hector, MNEK, Nina Nesbitt, Lauren Aquilina, Ella Eyre, Jonathan Higgs, Lady Leshurr, and many others. You'll also find quotes and advice from a long list of established artists like Ed Sheeran, Lily Allen, Amanda Palmer, Matty Healy, Gary Numan, Billie Eilish, James Blake, Taylor Swift, Justin Bieber, George Ezra, Loyle Carner, Alicia Keys, Dave, and Mabel. Widely supported by some of the biggest companies in the music business, Sound Advice is the ultimate industry-backed guide for both seasoned professionals and those just starting their career. It has been produced with the generous support of Live Nation, Universal Music UK, Sony Music UK, Warner Music UK, IFPI, Spotify, Hipgnosis Songs, Vevo, PRS for Music, Polydor Records, and PPL.

Contemporary music, like other arts, is dealing with the rise of "curators" laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.

'Hilarious, heart-wrenching and packed with British music history.' - COLDPLAY It's a life-and-near-death story. But whose life? And whose near-death? As a one-time NME journalist, former Xfm radio presenter, toilet-circuit promoter and the founder of enduring homespun British record label Fierce Panda, Simon Williams has been at the cutting, cutting, cutting edge of all things 'indie' for over thirty years. During his tenure as managing director of Fierce Panda (a role he holds to this day), Simon was responsible for tripping over bands such as Coldplay, Keane, Placebo and countless other acts of independent hue - some of whom have gone on to achieve earth-shattering musical superstardom, while others have merely baffled the crowd at the Bull & Gate in north London on a wet Wednesday evening. Unfiltered and unflinching, Pandamonium! is the story of Simon's time at the indie coalface, filled with insider anecdotes to entertain music enthusiasts everywhere - from the origins of a bootlegged Oasis release to Chris Martin's delight at reaching number ninety-two in the charts. But it is also the story of how Simon tried to bring a premature end to proceedings, documenting in blunt, matter-of-fact detail his longstanding mental-health struggles. Yet, despite his raw and often poignant honesty, Simon writes with the warmth, wit, self-deprecation and wide-eyed good fortune of someone who has stared into the abyss and survived, bounding down a few indie rabbit holes along the way.

This book explores the effect of commercial and national institutions on the music of one of the foremost British composers of the twentieth century, Benjamin Britten. Radio, the recording industry, government subsidies for the arts, Covent Garden, the post-war establishment of music festivals, were all agents for dramatic changes in the art-music culture which Britten skilfully used to his advantage.

EThe Complete Singer-SongwriterE is the ultimate guide for the modern performer chock-full of tips tools and inspiration for both aspiring troubadours and those looking to take their craft and career to the next level. Author Jeffrey Pepper Rodgers draws on firsthand interviews with songwriting legends and rising stars; expert advice from managers agents lawyers and publishers; and his own experiences as a performing songwriter. He offers this invaluable companion for singer-songwriters on their journey from idea to song to the stage studio and beyond.THNew in the second edition:THU A songwriter's guide to chord progressionsTHU Understanding song form and rhymeTHU Dozens of songwriting games and exercisesTHU Essential info on copyrighting your songs music publishing and digital royaltiesTHU Online companion at completesingersongwriter.com with playlists and additional resourcesTHSongwriting tips and techniques from more than 100 artists including Joni Mitchell John Mayer Paul Simon Rosanne Cash Jewel Jeff Tweedy Ani DiFranco James Taylor John Fogerty Brandi Carlile Richard Thompson Jason Mraz Rodney Crowell Jerry Garcia Dar Williams and more.

Jim Simpson of Big Bear Records has been involved in the music business for nearly 60 years, as musician, bandleader, promoter, record producer, festival director, manager, journalist and photographer. In his candid, constantly surprising, frequently amusing and occasionally shocking account you will encounter the joys and difficulties of managing Black Sabbath or of running a jazz festival in sun-kissed, crime-ridden Marbella. At home in Birmingham meet some of the characters who have enlivened 35 years of the Jazz Festival and read Jim's take on the scandals that closed the city’s premier jazz club. Revisit the exciting Brum Beat scene, take to the road with some 40 of the best (in some cases, most eccentric) American bluesmen of the 1970s, encounter the Blues Brothers Band in surprising places and enjoy Jim's tributes to some of the great names in British jazz, such as Humphrey Lyttelton and Kenny Baker, with whom he worked closely.

The Recording Industry presents a brief but comprehensive examination of how records are made, marketed, and sold. The book opens with an overview of popular music and its place in American society, along with descriptions of key players in the recording industry. In the book's second part, the making of a recording is traced from production through marketing and retail sales. Finally, in Part III, legal issues, including copyright and problems of piracy, are addressed.
The new edition takes into account the massive changes in the recording industry occurring today due to the revolution of music on the web. This new reality informs all parts of the second edition, from issues of production and distribution to legal issues.

*AS READ ON BBC RADIO 4 'BOOK OF THE WEEK'* 'Lip-lickingly, dance-around-the-living-room good... A smash hit' Observer 'Unflinching and heartwarming' - Adam Kay 'Tender, clever and as funny as it gets ... a heart-piercing joy' - Lauren Laverne 'An exceptional coming-of-age story [...] Pete Paphides may very well have the biggest heart in Britain' - Marina Hyde 'I ADORE this utterly wonderful coming-of-age memoir. Joyful, clever, and a bit heartbreaking' - Nina Stibbe __________ 'Do you sometimes feel like the music you're hearing is explaining your life to you?' When Pete's parents moved from Cyprus to Birmingham in the 1960s in the hope of a better life, they had no money and only a little bit of English. They opened a fish-and-chip shop in Acocks Green. The Great Western Fish Bar is where Pete learned about coin-operated machines, male banter and Britishness. Shy and introverted, Pete stopped speaking from age 4 to 7, and found refuge instead in the bittersweet embrace of pop songs, thanks to Top of the Pops and Dial-A-Disc. From Brotherhood of Man to UB40, from ABBA to The Police, music provided the safety net he needed to protect him from the tensions of his home life. It also helped him navigate his way around the challenges surrounding school, friendships and phobias such as visits to the barber, standing near tall buildings and Rod Hull and Emu. With every passing year, his guilty secret became more horrifying to him: his parents were Greek, but all the things that excited him were British. And the engine of that realisation? 'Sugar Baby Love', 'Don't Go Breaking My Heart', 'Tragedy', 'Silly Games', 'Going Underground', 'Come On Eileen', and every other irresistibly thrilling chart hit blaring out of the chip shop radio. Never have the trials and tribulations of growing up and the human need for a sense of belonging been so heart-breakingly and humorously depicted. *Listen along with Pete's BROKEN GREEK playlist on Spotify* 'Heartfelt, hilarious and beautifully written, Broken Greek is a childhood memoir like no other' - Cathy Newman 'So wonderfully written, such a light touch. Drenched in sentiment yet not in the least sentimental' - John Niven 'It's brilliant. Sad, really funny and beautifully written ... just fantastic' - Alexis Petridis 'A truly beautiful book' - James O'Brien 'Intoxicating' - Kirsty Wark 'Oh, how I love Pete Paphides and this book' - Daniel Finkelstein 'A balm in these times' David Nicholls 'Fantastic ... Can't recommend it highly enough' Tim Burgess

'There's no mistaking the writing of Sylvia Patterson' Sunday Times 'One of the finest writers in the world' David Quantick How does the big stuff in life truly change us? In late 2019, Sylvia Patterson was a celebrated pop journalist, still merrily writing about the musical greats. But with the diagnosis of a life-threatening disease, a global pandemic and the collapse of her industry, life was about to take a drastic turn. It was a misadventure that would teach her many things. The power of friendship, the shock of mortality and what happens when love is tested. How a walk in the park, a spontaneous dance and a TV hero can save your life. How your perspective can shift on everything, from work, family and music, to what truly makes you happy. And what really happens when your body, never mind your kitchen, falls apart. The follow-up to the Costa-shortlisted I'm Not with the Band, this is Sylvia's unflinching, poignant and gallows-funny odyssey through the mid-life trials we all face, as she tries to answer the big question: would it all change her, or would she stay that same old girl?

Today's music industry is constantly changing at a dizzying pace and this EMusic 4.1: A Survival Guide for Making Music in the Internet AgeE is fully equipped to help you navigate it. Written for artists overwhelmed by the seemingly endless options of the quickly evolving Internet this is the only book that offers a comprehensive strategy for online success.THIn EMusic 4.1E Bobby Owsinski includes an in-depth look at the economics of streaming music with the real information about royalties that distributors and record labels don't want you to know and that simply can't be found anywhere else. The book also looks at how revenue is generated from YouTube and other video streaming services and it provides techniques for optimizing both videos and channels for maximum success. Also included are lists of effective tips (both high- and low-tech) and checklists with every chapter as well as a reference list of online tools for inexpensive music and merchandise distribution sales marketing and promotion.THWith fresh interviews from several of today's successful music industry innovators EMusic 4.1E reveals new and proven pathways to success in the new paradigm of the modern music world.