Prince - Os Primeiros Albums Retornaram Para O Streaming E 'Purple Rain' Album De uso Será Lançado

Prince's Early Albums Return to Streaming Services, Label Reveals Details of Deluxe 'Purple Rain' Reissue

As expected, the bulk of Prince’s Warner Bros. catalog returned to streaming services today (Feb. 12), pegged to the tribute to the late artist on the Grammy Awards tonight, which sources tell Billboard will feature Bruno Mars performing with members of The Time. 

The most popular of Prince’s 19 core albums from his initial 1978-1996 stint with the label are now available to stream on Spotify, Apple Music, Pandora, Amazon Prime, iHeartRadio and others, including Purple Rain, 1999, Sign O’ the Times, Controversy, Parade and Dirty Mind, along with hits collections; and songs like “Let’s Go Crazy,” “Kiss,” “Little Red Corvette,” “Raspberry Beret,” “When Doves Cry,” ”Batdance,” “Diamonds and Pearls,” “1999” and “Purple Rain.” 

Missing are albums from later in that period, including The Black Album, The Gold Experience and Chaos and Disorder, which are under a different contractual arrangement, along with a couple dozen remixes and B-sides that are not featured on the Ultimate Prince or The Hits/The B-Sides compilations. Also included in the catalog are two albums from Prince 2014 deal with Warner, Art Official Age and Plectrum Electrum, the latter a collaboration with his backing group 3rd Eye Girl. (Interestingly, the nine-track 1988 Lovesexy album is presented as a single 45-minute-long song -- i.e. the album must be played in sequence, without a listener being able to skip songs -- as it is on its CD release.) 

From July 2015 until today, the only streaming service to host Prince’s catalog was Tidal, stemming from an arrangement the artist made with the service that is currently in dispute. Representatives for the estate were displeased when Tidal released 15 previously unavailable albums on June 7 (Prince’s birthday) last year, claiming that the service had no right to do so -- one of many unsettled areas of the estate that are due to the artist’s apparent failure to leave behind a will and the overall disorder of his business affairs; the albums, including many later titles that are not part of today’s wide release, are still available on Tidal.

While Universal Music Group announced on Feb. 9 that it had inked a deal for 25 later Prince albums and unspecified unreleased material, apparently the label was not able to execute streaming deals in the brief window before the Grammys.

In a statement, Warner chairman/CEO Cameron Strang said: "Prince recorded his most influential and popular music during his time with Warner Bros. and we are deeply aware of our responsibility to safeguard and nurture his incredible legacy. Warner Bros. is thrilled to be able to bring Prince’s music to his millions of fans around the world via streaming services, fittingly on music's biggest night. We'd like to thank Prince's estate, Universal Music Publishing, the Grammy Awards and all of the streaming services for their great collaboration in making this landmark event possible.”

Strang also teased details of the long-promised Purple Rain deluxe edition, which was originally announced as a 30th anniversary release, with remastering overseen by Prince, in 2014 but is now due on June 9 -- the Friday after Prince’s June 7 birthday, which the artist often celebrated with special concerts or releases. Strang promises “two incredible albums of previously unreleased Prince music and two complete concert films from the Paisley Park vault.”

Billboard’s attempts to pry further details from Warner were initially unsuccessful, but a bounty of strong unreleased songs exist from the Purple Rain sessions, including long-bootlegged tracks like “Electric Intercourse,” “G-Spot,” “Possessed” and “Wonderful Ass,” along with B-sides like “17 Days,” “God” and “Erotic City” and Prince-helmed material with The Time and Apollonia 6.

Equally tantalizing are the concert films, one of which is presumably the long out-of-print Prince and the Revolution Live, a concert filmed in March 1985 in Syracuse, N.Y., toward the end of the Purple Rain tour. 

In the meantime, fans will have plenty of music to tide them over until June 9. 

Sound Royalties Anuncia Investimento De US100 Milhões Para Compositores

Sound Royalties Announces $100 Million Investment in Advances for Songwriters Over 24 Months: Exclusive

Last July, songwriter Priscilla Renea, who has co-written hits for Mariah Carey, Fifth Harmony, Madonna and Pitbull -- including his 2013 No. 1 Hot 100 hit "Timber" -- found herself in a tough spot. Recently married, in the midst of remodeling her home and with the constant pressures that come with needing to come up with another hit to keep money coming in, Renea felt trapped behind the scenes, unable to stake her claim as a recording artist in her own right.

"As a songwriter, people in other areas -- A&Rs, managers, executives -- want to keep you at a certain [level] because they need you to keep writing songs for people," said Renea. "They don't want you to try and go and be successful as an artist, because then you don't have time to write songs for their people. It's just constantly running around, making everyone happy, meet the needs of everyone except for yourself -- they feel like they're just a disposable resource, that if they don't cooperate the industry is just gonna move on to the next hot writer."

Around the same time, Renea's mother was contacted by Sound Royalties, a company started by investor Alex Heich in 2014 which specializes in providing advances on future royalties for songwriters and musicians who often resort to selling parts of their publishing or songwriting rights to earn short-term cash in exchange for long-term profits, thus surrendering financial control of their creative work."We provide advances that aren't based on 100 percent recoupment, so that enables an artist or a songwriter to keep money flowing in, which means they have a higher percentage chance of success rather than being set up for failure and needing to sell," Heich says. "Secondly, we don't buy copyrights. We only use their music as collateral, because it's non-credit-based, but we don't buy and we don't own."

Now, Sound Royalties is doubling down on their strategy, pledging to pour $100 million in advances into the music industry over the next 24 months, a figure Heich feels is reasonable after the company self-funded a $10 million pilot program last year helping artists such as Renea navigate uncertain financials while being able to keep their copyrights. In a music industry that is only now recovering monetarily from a 15-year revenue decline, Sound Royalties is one of several companies providing different options for songwriters and artists who have seen lower advances from traditional labels and publishers over the past several years.

Essentially, Sound Royalties works by calculating future royalty earnings for songwriters and fronting a percentage, gradually earning back its investment over an extended years-long period, allowing artists to take a chunk of future earnings right away and continue to earn during the set agreed-upon period. Where banks and other lenders may take a hard line on bad credit or high interest rates, Heich claims Sound Royalties is artist-friendly, allowing songwriters flexibility in their needs. Generally, he says, artists fall into three tiers: the largest, between $10,000 and $100,000; a smaller number of artists in the $100,000 - $500,000 range; and a smallest pool in the seven figure realm.

"[The goal is] to get where any songwriter or artist knows that they have options available to them without having to sell their music or their rights," Heich says. "It happens more than you know; either they have no clue they have options available to them and they're struggling, or they know that they can sell."

While there are some downsides to selling copyrights and publishing royalties, that particular option is not always the end of the world for songwriters; selling a portion of royalties can diversify an artist's income, for example, while royalty auction companies such as Royalty Exchange can lead to large windfalls. Likewise, investors dealing in royalty advances are under fewer regulations than traditional banks with less oversight, opening up the possibility of inflated interest rates and other shady practices. Renea, however, hasn't seen Sound Royalties in that light: "Sometimes you feel like people are leaving something out, or a dot isn't connecting -- it wasn't like that with [Sound Royalties].

"It's important for people to understand that this is not about somebody giving you a check so you can go buy a car or whatever," she says. "This is about giving you the room to breathe so that you can create the scenario that you want to operate in. If I'm experiencing these struggles at the level of songs that I'm putting out, how much worse is it for somebody else?"

Os Fundadores Da MTV Se Reúnem Para Refletir As Mudanças

Classic Power Squad: MTV Founders Reunite, Reflect on 'Life Changing' Channel

It was John Lack’s idea, and it was a hell of a good one. At Billboard’s inaugural Video Music Conference, in November 1979, the then-33-year-old announced that he was going to start a 24-hour video music network -- “video radio,” he called it -- as part of an early-days cable TV play from a joint venture between Warner Cable and American Express. Lack’s second idea was nearly as good as his first: He hired a hotshot 26-year-old radio ­programmer named Bob Pittman to get the network off the ground. There was one pressing problem: Music ­videos pretty much didn’t exist yet. Pittman was charged with ­convincing record companies not only to sink money into creating these videos but also give them to his unproven, underfunded startup. For free. Pittman and company were as persuasive as they were brilliant, and on Aug. 1, 1981, MTV signed on the air with a grab bag of videos ranging from embarrassing to revolutionary.

During the next six years, until Pittman and much of his original team departed after a failed buyout, record sales ­skyrocketed, visual culture was transformed and artists ranging from Michael Jackson to Madonna to Bon Jovi reached so many people through their videos that they would continue to sell out ­stadiums for decades to come. MTV would undergo reinvention after reinvention, eventually forsaking music videos for reality TV -- “I never watched a full ­episode of The Real World,” admits former CEO Judy McGrath. Nowadays, it desperately casts about for an identity or idea remotely as powerful as the one Lack had nearly 40 years ago.


JOHN SYKES


THEN: Director of promotions (original title); executive vp programming and production (later)

NOW: President of entertainment enterprises, iHeartMedia

MTV WAS ____: “Facebook without the money”


BOB PITTMAN


THEN: Senior vp, MTV; CEO, MTV Networks

NOW: Chairman/CEO, iHeartMedia


JUDY McGRATH


NOW: Founder, Astronauts Wanted: No Experience Necessary

ONE WORD TO DESCRIBE MY TIME AT MTV: “Delicious”


JOHN LACK


THEN: COO, Warner Amex Satellite Entertainment Company

NOW: Chief partner, Firemedia

ONE WORD TO DESCRIBE MY TIME AT MTV: “Life-changing”


LES GARLAND


THEN: Vp programming

NOW: Founder, Afterplay Entertainment

LAST TIME I WATCHED MTV: “At least five years ago”

Não São As Ferramentas Ou Os Meios Que Não Funcionam! É A Banda!

It’s not the tools that don’t work, it’s the band.

First of all thanks to Marcus Taylor for this article

It fascinates me how two artists can have polar opposite opinions about the same music marketing service or tool. Who is right – if either? Is it the tool’s fault or the artists?

Having met and discussed this with lots of artists over the past few months, I’ve come to a few conclusions.

You get out what you put in

Whether you’re using Stageit, Reverbnation, Bandcamp, or any other music marketing service, you get out what you put in. 

For example, FanDistro is a music marketing service that I whole-heartedly support, but it’s an interesting tool, because it really highlights the aspect of getting out what you put in.

FanDistro allows you to offer rewards to fans who introduce your music to enough of their friends e.g. a free download of your album when 5 friends share your music on Facebook. As you can imagine, if you create a page and do nothing you get nothing. If you work on creating amazing rewards, your music spreads like wildfire.

To illustrate my point, here are a few live examples of artists who have set up projects that are getting hundreds of distros (shares) on lots of their songs. These artists have clearly put a lot of effort into setting up rewards that they know will result in their music being shared.

Meanwhile, there are a whole host of artists who setup these kinds of pages with nothing more than a few tracks and basic bio information and expect to somehow build fans from it. The results, unsurprisingly, looks like this…

 

The moral of the story? You get out what you put in. 

Tools are tools, not silver bullets

The purpose of a screwdriver is not to magically make a cupboard put itself together. It’s to make your life easier when you’re screwing the cupboard together. It’s not a silver bullet, it’s simply a tool.

I know many artists who sign up for every new tool hoping that it’s the silver bullet that will make them rich or famous. While I don’t discourage being open minded about new tools (some of the new kids on the block are the best around IMO), you shouldn’t expect the tool to do the work for you.

View tools as a means of making your life easier and assisting you with your goals, not being a silver bullet. 

It all comes down to the music

Ultimately, it doesn’t matter how many marketing dollars or man-hours you put into promoting your single if it’s not going to be shared or listened to more than once.

The process of music going viral and generating opportunities relies on the power of compounding, which I’ve talked about before on Music Think Tank. Your song must be shared at an exponential rate. It must also be entertaining to generate opportunities, such as shows, deals, and further publicity opportunities.

Final thoughts: Is it the tool’s fault?

Here’s where I get a bit stuck, and would love some feedback from anyone in the comments below – is it the music marketing service’s responsibility to make it easy to get effective results?

In other words, if you went over to Bandpage or BandsinTown and added their app to your Facebook page, but didn’t add any tour dates, is it their fault for not making that step intuitive enough, or is it the artist’s fault for being lazy or not putting in the effort to understand how to make the tool work?

Echo Da Amazon Irá Mudar A Indústria Da Música - Segundo Jeff Bezos

Echo From Amazon Will Change Music Industry, As Jeff Bezos Said

Amazon CEO Jeff Bezos sees the music industry's next 'gigantic growth' coming from devices like Echo

The music business has lost billions of dollars over the past few years, but Amazon CEO Jeff Bezos is bullish about its future.

One big reason: the wider use of voice-activated home devices, like Amazon's Echo.

"At this point in the marriage of voice-activation technology with music, I can tell you it’s already working," Bezos said in a new interview with Billboard. 

"The next gigantic growth area for the music industry is the home."

Bezos said voice-controlled devices like the Echo and its Alexa technology make the music-playing experience simple and "friction-free," allowing more people to listen to music more frequently.

“If you make things easier, people do more of it," he said.

To illustrate Bezos' point, Amazon Music's VP Steve Boom explained how voice-activated devices could shorten the time it typically takes to play music on personal devices from five minutes to just five seconds.

For example, in the past, if you wanted to listen to U2 from the '80s, you had to manually search for U2 albums and then individually look for the albums released in the '80s. That took a lot of time. Now, with voice-activated devices, you simply have to ask, "Hey, can you play me U2 songs from the '80s?" and within seconds, it automatically curates songs for you.

"When you have nothing to look at, it’s liberating...and when you talk to Alexa, you ask for music in ways that would be difficult to do in a visual app," Boom said.

Boom even claimed people are listening to "more music than ever" because of this, adding that it would lead to a renaissance period for the music industry.

"We’re at the cusp of what I would call the Golden Age of the music industry," he said.

Although Bezos or Boom didn't share any actual data on usage, they may have a point if devices like Echo end up becoming a more mainstream product. According to a recent survey, playing music was picked as the second most popular feature on the Echo.

Statista

‘The Game of Thrones Symphony’ Album Será Lançado

‘The Game of Thrones Symphony’ Album Announced

Tags: Game of Thrones, Ramin Djawadi, The Game of Thrones Symphony

Silva Screen Records has announced The Game of Thrones Symphony album, which features new recordings of the show’s original music from the HBO hit series composed by Ramin Djawadi (Westworld, Iron Man, Pacific Rim, Warcraft, Clash of the Titans). The symphony was recorded with the City of Prague Philharmonic Orchestra. Check out a video from the recording of one of tracks after the jump. The album will be released digitally on February 24, 2017. A physical version is also in the works. The pre-order links will be added to this page soon. Djawadi’s music from the first six seasons of the show is available on WaterTower Music and Varese Sarabande. Click here for the details of the albums. The show’s seventh season is set to premiere this summer on HBO. Visit the official show website for updates.

Here’s the album track list:

1. Main Title
2. Goodbye Brother
3. Finale (From “Season 1”)
4. Warrior of Light
5. Winterfell
6. Mother of Dragons
7. A Lannister Always Pays His Debts
8. Dracarys
9. Mhysa
10. Two Swords
11. You Are No Son of Mine
12. The Children
13. Blood of the Dragon
14. Dance of Dragons
15. Atonement
16. Son of the Harpy
17. Light of the Seven
18. Khaleesi
19. Winter Has Come
20. Hear Me Roar
21. The Winds of Winter

Você Tem Capacidade De Competir Com Esta Demo? Video

Can you compete with this killer demo?

This Ryan Tedder song was rumored to have been shortlisted for Rihanna. I am posting it here, so you can hear the quality of the “demos” that Ryan produces before he pitches his songs to A&R’s and artists. Again, your demos have to be at this level, if you want to be competitive with the best songwriters and record producers out there.A&R’s source songs from established songwriters and record producers first, so if you want to stand a chance, your demos have to be as good as their. Master-quality, radio-ready recordings that leave absolutely nothing to the imagination. Are you ready to join the club?