Despite the growth of digital media, traditional FM radio airplay still remains the essential way for musicians to achieve commercial success. Climbing the Charts examines how songs rise, or fail to rise, up the radio airplay charts. Looking at the relationships between record labels, tastemakers, and the public, Gabriel Rossman develops a clear picture of the roles of key players and the gatekeeping mechanisms in the commercial music industry. Along the way, he explores its massive inequalities, debunks many popular misconceptions about radio stations' abilities to dictate hits, and shows how a song diffuses throughout the nation to become a massive success. Contrary to the common belief that Clear Channel sees every sparrow that falls, Rossman demonstrates that corporate radio chains neither micromanage the routine decision of when to start playing a new single nor make top-down decisions to blacklist such politically inconvenient artists as the Dixie Chicks. Neither do stations imitate either ordinary peers or the so-called kingmaker radio stations who are wrongly believed to be able to make or break a single. Instead, Rossman shows that hits spread rapidly across radio because they clearly conform to an identifiable style or genre. Radio stations respond to these songs, and major labels put their money behind them through extensive marketing and promotion efforts, including the illegal yet time-honored practice of payoffs known within the industry as payola. Climbing the Charts provides a fresh take on the music industry and a model for understanding the diffusion of innovation.

Illusions of Happiness picks up the story as John recovers from his injuries and returns to performing and recording. On this often turbulent journey back, he is heckled by The Sex Pistols, negotiates a tricky Criminal Injuries Compensation case, has his portrait hung in The National Portrait Gallery and makes a series of singles with Trevor Horn (Frankie Goes To Hollywood) and Steve Levine (Culture Club), along the way being briefly managed by Tom Watkins (Pet Shop Boys, Bros) and re-signing with CBS. The flame of ambition, having been extinguished once before, briefly flickers - but life is busy making other plans. Offered the chance to move to 'the other side of the music business desk', John seizes the chance and begins a fruitful new career in A & R, "when I finally began to take hold of my own destiny". The book - and this to-be-continued story - ends in 1986; John has a new career, a new apartment and exciting new prospects. The future's looking bright. But, hovering over the horizon like a gathering storm, is the realisation that the initially ignored AIDS epidemic is a crisis which is only just beginning.

The music industry is one of the most dynamic and fascinating business sectors. Its business model has had to evolve and adapt to continually changing technologies that impact at every level from distribution to artist management. Its latest challenge has been the closure of live music venues during the Covid-19 pandemic. The second edition of this much used introduction to the economic workings of the music business has been updated to include analysis of the impact of the pandemic as well as new trends in the industry, such as the increasing dominance of tech companies and big data and the growing importance of collective management organizations as market players, which has impacted on new business contracts. At a time when live performance outstrips music sales as the primary source of income for today's musicians, this new edition also examines how different stakeholder positions have shifted. The book remains a rigorous presentation of the industry's business model, the core sectors of publishing, recording and live music, and the complex myriad of licensing and copyright arrangements that underpin the industry. The revenue streams of recording companies are analysed alongside the income stream of artists to show how changing formats and distribution platforms impact both industry profit margins and artists' earnings.

'How to make Gospel Music work for you' is an informative and authoritative guide to gospel music in Britain today. In this engaging and readable book, Roy shows how the music, which began in the West Indian Churches started by the Windrush Generation in the 1950s and 60s, rose to become the gospel music we know and love in Britain today. Drawing on his many years' experience of working in gospel music, Roy uses his vast inside knowledge to share in a few easy steps how gospel artists can make an album, market and promote it, write the songs, get the music into churches, get it heard on radio and television and how by using social media, gospel artists can successfully grow and develop their music. Roy supports this assertion by offering a wide range of advice, no nonsense tips, and suggestions, to help gospel artists who are trying to make a success of their music. This book is for you if: you are interested in the history of Gospel music and want to know more about it; you are starting out with your music and need help; you want to know how to succeed with your music; you want to know how the UK Gospel music scene works; and, you are already a Gospel music artist but is struggling with your music. Roy Francis has been involved in Gospel music from a young age and would in the early years accompany his father, a pioneer of the Black Pentecostal movement in Britain, playing the piano at all the church services. His talent drew the attention of other church leaders and soon he was in demand to play at their services. Roy went on to become a teacher, an Award-Winning television producer, concert promoter, and consultant. He was the producer of Channel ground-breaking gospel music series, `People Get Ready', producer of BBC's `Songs of Praise' and the highly successful multi-million selling `Donnie McClurkin Live in London' concert and DVD. Today he spends his time as agent and mentor, working with leading as well as unknown gospel artists.

At the height of his initial, turn-of-the-1990's infamy as the maraca-wielding dancer with 'Madchester' giants Happy Mondays, the pop-eyed Mark Berry, forever known to the world as Bez, was visibly a danger to society. He became the so-called Chemical Generation's bug-eyed pied piper, every weekend leading millions out to oblivion and beyond, as they adopted his E-gobbling party lifestyle. Neither an accomplished musician nor even a very good dancer, Bez was a prime candidate for fleeting celebrity, soon to sink into 'Where Are They Now?' obscurity. That, however, never happened, nor does it show any sign of happening. Through Black Grape, the second band he co-fronted with the Mondays' Shaun Ryder, and his ever-presence in the mass media, Bez's popularity has grown exponentially, his star rocketing ever upwards. When he bowled into Celebrity Big Brother in 2005, he ended up winning the series, as viewers came to understand his fundamental decency and sunny outlook. His adult life has been extraordinary: unbelievable scrapes with mortality, periods of financial ruin, mindfuck moments like when David Bowie genuflected before him, and enough narcotic-strewn hi-jinx to fill several more volumes of memoir. This is the story of a bad lad who has turned his life good, tracing his passage from early-thirty-something casualty to middle-aged politician, eco-warrior and bee-aficionado.

This is a fascinating inside story about one prolific songwriter's experience working for the famed Motown Records and directly with Motown's founder Berry Gordy. It is an interesting look into the actual contracts between Mr. Gordy and his talented "family" of musicians told by one of the most famous songwriters of his time. If Motown didn't grow to be the success it is today, Motown's royalty contract-work-for-hire-compensation would be fair under the circumstances. The difficulty comes when Mr. Gordy's success as a businessman exceeds every possible prediction. The FAME WITHOUT FORTUNE story begins in 1959 with Al Cleveland as a young man who makes the hard choice to leave his wife and children behind in order to chase his dreams of being a singer and a songwriter. It follows him through the trials of New York City and putting up with discrimination on the "Chitlin' Circuit." There he has an adulterous affair sending the final blow to his marriage. A short time later, he marries his second wife and Al's big break seemed to come when he signed up with Motown Records under Berry Gordy. He was writing number-one songs for stars such as Smokey Robinson and Marvin Gaye. All along his fame grew, but he was not receiving pay for them. Instead he received headaches, heartaches, excuses, and IRS raids. He left Motown and toured with famous artists, but during that time, there was little room for a black songwriter to make a living. Al had to return to Motown to stay in the business.

What 'live music' means for one generation or culture does not necessarily mean 'live' for another. This book examines how changes in economy, culture and technology pertaining to post-digital times affect production, performance and reception of live music. Considering established examples of live music, such as music festivals, alongside practices influenced by developments in technology, including live streaming and holograms, the book examines whether new forms stand the test of 'live authenticity' for their audiences. It also speculates how live music might develop in the future, its relationship to recorded music and mediated performance and how business is conducted in the popular music industry.

This fully updated and complete guide takes you inside the world of creating music for film, television, and-unique to this third edition-video games. It addresses a wide range of topics including musical aesthetics, cutting-edge technology and techniques, and current business aspects of the industry. The Reel World is packed with insider's tips and interviews with some of the most influential film, TV, and video game composers, along with music editors, music supervisors, agents, contractors and studio executives. Rona also advises how to nurture positive relationships with your creative team and professionals in the industry. For the aspiring film, TV or video game composer, this book is a veritable cornucopia of useful information for pursuing scoring to picture as a career. Includes interviews with John Williams, Carter Burwell, James Newton Howard, Hans Zimmer, Mark Isham, Basil Poledouris, Ludwig Goeransson, Marc Shaiman, John Powell, Wendy and Lisa, Joseph Trapanese, and Michael Giacchino. This book explores... The Creative Process: Making good musical choices The psychology of a good score Continuity and contrast, economy and musicality The importance of styles Technology: The best gear for film, TV and video game scoring Home studio design Synchronization Mixing for film, TV and video game scoring Career: Getting started Industry politics Demoing and finances