40% Dos Ganhadores Do Grammy São Lançamentos Independentes

40% of Grammy wins in 2018 were independent releases

Three Grammy-winning albums distributed by CD Baby!

Our friends at A2IM published an article listing all the recent Grammy-winning titles that were released by independent labels, accounting for 36 out of 84 award categories.

Depending on your perspective, it might seem strange to recognize Big Machine and Sub Pop as indie (since they’re almost household names) but that’s exactly what they are, and their achievements are all the more impressive because of their relative independence from the majors.

But it’s not just “big” indies who won this year.

Of the fifteen titles CD Baby distributes that were nominated for a Grammythis year, three of them won!

Congratulations to:

• Pablo Ziegler Trio, for Jazz Tango (Best Latin Jazz Album)
• Lost Bayou Ramblers, for Kalenda (Best Regional Roots Music Album)
• Ladysmith Black Mambazo, for Shaka Zulu Revisited (Best World Music Album

Spotify Agora Lista Os Créditos Ao Compositor E Produtor

Spotify Now Lists Songwriter, Producer Credits

Spotify has announced that users will now be able to view the songwriter and producer credits on the desktop platform.

"The more we share information, the more opportunities we can help create for songwriters," said Annika Goldman, ‎director of music publishing operations. "This is just the beginning of making songwriter and producer credits more easily available to Spotify listeners, and we look forward to continually improving that information, in close collaboration with our music industry partners."

The new feature pulls the credit information from record label-provided metadata, and it also discloses the source of that information to the users. Spotify says the feature will constantly be evolving in order to provide the most accurate information.

The credit feature comes soon after Spotify launched the Secret Genius program -- which includes an ambassador program and global songwriting workshops -- among other songwriter-focused initiatives.

"Songwriters are an integral force behind the music we love," said Tiffany Kumar, Spotify's global head of songwriter relations. "With the newly launched credits feature, we aim to increase songwriter and producer visibility and, in turn, foster discovery among new collaborators, industry partners, and fans."

Songwriters involved with some of the biggest artists, such as Justin Bieber and Kelly Clarkson are responding positively to Spotify’s changes.

Frank Dukes, a songwriter who has worked with Camila Cabello and Lorde among others, said, "It's amazing to see Spotify give the unsung heros of music some recognition on their platform. Definitely a step in the right direction."

Music publishers are also happy about the Spotify move. "When I won a Lifetime Service Award at the NMPA’s Centennial Annual Meeting last summer I called upon the streaming services to display the names of the songwriters who wrote the songs just as they clearly credit the artists who recorded them," Sony/ATV Music Publishing chairman/CEO Martin Bandier said in a statement. "With this announcement, Spotify has taken a first, important step to properly recognize the vital contribution that songwriters make to its service and should be applauded for it. Songwriters are the essential lifeblood of the music industry. Without their words and music there would be nothing for artists to record, no hit songs and no music to stream.”

Def Leppard - Album 'Hysteria' Volta Ao Top 40 Da Billboard

Billboard 200 Chart Moves: Def Leppard's 'Hysteria' Back In Top 40 After 28 Years

The return of Def Leppard’s full catalog of music to digital retail, and its arrival on streaming services, pumps big gains. 

On the latest Billboard 200 albums chart (dated Feb. 3), Fall Out Boy notched its fourth No. 1 with the arrival of Mania. The set earned 130,000 equivalent album units in the week ending Jan. 25, according to Nielsen Music. Of that sum, 117,000 were in traditional album sales.

The Billboard 200 chart ranks the week’s most popular albums based on their overall consumption. That overall unit figure combines pure album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA).

Now, let’s take a closer look at some of the action on the rest of the Billboard 200:

— Soundtrack, The Greatest Showman – No. 2 — For the first time since the Billboard 200 transitioned to an equivalent album units-ranked tally in December of 2014, a soundtrack has scored four weeks of 100,000-plus units. The Greatest Showman, which holds at No. 2 on the chart, earned 109,000 units (up 5 percent) in the week ending Jan. 25 — which is also its fourth straight week of 100,000-plus units. Previously, among soundtracks, the Fifty Shades of Grey album logged three 100,000-plus weeks in 2015. 

— Sam Smith, The Thrill of It All – No. 11 — The album zips 17-11 with 26,000 units (up 30 percent) and 13,000 albums sold (up 116 percent) after further sales were generated by Smith’s concert ticket/album bundle redemption promotion offer.

— Def Leppard, Hysteria – No. 39 — The return of Def Leppard’s full catalog of music to digital retail, and its arrival on streaming services (both on Jan. 19), naturally pumps big gains for the band on the charts. The bulk of the rock act’s older catalog had been absent from digital retail since 2007, and from streaming services almost entirely, as the group had long disputed its payment rates from digital sales and streams.

The Def Lep hit parade is led by their 1987 monster album Hysteria, as it re-enters the Billboard 200 at No. 39 — its highest rank since June 17, 1989. The album, which spent six weeks at No. 1 in 1988, climbs back onto the list with 13,000 equivalent album units earned in the week ending Jan. 25 (up 2,337 percent), according to Nielsen Music. Of that sum, 7,000 were in traditional album sales (mostly from digital album sales), 5,000 were in track equivalent album units, and a little over 1,000 were in streaming equivalent album units.

The band’s Vault: Greatest Hits 1980-1995 also returns (No. 79; 8,000 units), as does Pyromania (No. 146; 5,000 units). 

In total, the band’s equivalent album units grew 1,083 percent to 35,000 units. Their catalog of albums sold 24,000 digital downloads, 66,000 digital songs, and generated 4.3 million on-demand audio streams. “Pour Some Sugar On Me” was their top selling track and most streamed song (7,000 downloads; 1.9 million streams). The tune, from Hysteria, peaked at No. 2 on the Billboard Hot 100 in 1988.

— Neil Diamond, All-Time Greatest Hits – No. 86 — Following Neil Diamond’s Jan. 22 announcement of his retirement from touring, due to his recent Parkinson’s diagnosis, the music legend’s catalog grew in sales in streams in the week ending Jan. 25. 

Diamond’s overall album sales jumped 157 percent to 6,000 copies sold, according to Nielsen Music. His total equivalent album units earned figure grew 121 percent to 10,000. His digital song sales vaulted 197 percent (to 14,000) and his on-demand audio streams rose 41 percent (to 3.3 million). 

His All-Time Greatest Hits album re-enters the Billboard 200 chart at No. 86 — its highest rank since 2014. It earned 7,000 units during the week (up 119 percent). The set also zooms 27-4 on the Catalog Album Sales chart with 4,000 sold (up 164 percent).

— They Might Be Giants, I Like Fun – No. 108 — They Might Be Giants’ latest album, I Like Fun, begins with 6,000 units (mostly from album sales). It also starts at No. 3 on Independent Albums, marking the group’s highest charting set on the 18-year old list.

— Fleetwood Mac, Fleetwood Mac – No. 132 — Fleetwood Mac’s self-titled 1975 album re-enters at No. 132 with 6,000 units (up 3,621 percent), following its deluxe reissue on Jan. 19. The album — which was the band’s first No. 1 on the chart — was reissued in various remastered editions, some with many bonus tracks. All of the permutations of the album, including its original version, are tracked together for charting purposes. Fleetwood Mac’s return to the chart grants the set its first visit to the list since 2012, and its highest rank since 1981.

The Fleetwood Mac redux is the latest expansive archival reissue from the act, following Rumours (in 2013), Tusk (2015), Mirage (2016) and Tango in the Night (2017). 

Black Panther - Detalhes Da Trilha Sonora Revelados

Details Announced for ‘Black Panther: The Album’

Kendrick Lamar has revealed the track list for Black Panther: The Album, the soundtrack compilation featuring songs from and inspired by the Marvel Studios film. Among the artists featured on the release are Lamar himself who is producing the album with Anthony “Top Dawg” Tiffith, Khalid, as well as Swae Lee, ScHoolboy Q, 2 Chainz, Jorja Smith, Travis Scott and The Weeknd. The soundtrack will be released digitally and physically on February 9 by Interscope Records and is now available for pre-order on Amazon. Black Panther directed by Ryan Coogler and starring Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Angela Bassett, Forest Whitaker, Letitia Wright, Winston Duke and Andy Serkis will be released nationwide on February 16 by Walt Disney Pictures.

Here’s the album track list:

1. Black Panther – Kendrick Lamar
2. All The Stars – Kendrick Lamar and SZA
3. X – Schoolboy Q, 2 Chainz and Saudi
4. The Ways – Khalid and Swae Lee
5. Opps – Vince Staples and Yugen Blakrok
6. I Am – Jorja Smith
7. Paramedic! – SOB X RBE
8. Bloody Waters – Ab-Soul, Anderson .Paak and James Blake
9. King’s Dead – Jay Rock, Kendrick Lamar, Future and James Blake
10. Redemption Interlude
11. Redemption – Zacari and Babes Wodumo
12. Seasons – Mozzy, Sjava and Reason
13. Big Shot – Kendrick Lamar and Travis Scott
14. Pray For Me – Kendrick Lamar and The Weeknd

As Pessoas Continuam Roubando Musicas Da Internet e Ameaçando A Criatividade (US Report)

New ‘Notorious Markets’ Report: U.S. Trade Rep Calls Out Stream-Ripping Websites That Continue To Threaten American Creative Community

First of all thanks to RIAA for this article.

WASHINGTON – The Office of the United States Trade Representative (USTR) today released its annual ‘notorious markets’ report which shines a spotlight on specific sites and physical markets across the globe that specialize in peddling illegal American products such as music and movies. For the second year in a row, USTR highlighted illegal stream-ripping websites.   These websites capture or “rip” a copy of a song available only for streaming on legal websites like YouTube and then provide users a permanent download of the music file.  This year’s report recognizes stream-ripping websites as a “phenomena that continues to threaten legitimate streaming audio and video services, music performers, and composers.” Current studies show that more than half of all 16-24 year olds worldwide have illegally stream-ripped songs from YouTube or other streaming sites, and research firm MusicWatch has estimated a 50% increase in the number of Internet users in the U.S. who stream-ripped music in just two years.

Below is a comment from Recording Industry Association of America (RIAA) President Mitch Glazier on the report:

“We welcome this report which identifies the ‘worst of the worst’ illegal music sites and those that unjustly enrich themselves at the expense of the American music community.  The ‘notorious markets’ listed as well as many others pose a systemic threat not only to the American creative industries, but to the growth of the legitimate U.S. streaming economy and our digital future.  We cannot jeopardize the recent growth the music community has worked so hard to achieve by allowing these illicit sites to go unchecked as they succeed in ripping off American creators.

“Most notably, stream-ripping was appropriately included for the second year running as a priority concern that massively imperils the streaming economy.  Stream-ripping has become the number one form of piracy confronting the music industry.  If left unabated, whether by governments or by online platforms that simply turn a blind eye to this problem, the jobs and livelihoods of millions of American creators will be ruined and the future of digital trade stands starkly at risk.

“We greatly appreciate the U.S. government’s spotlight on stream-ripping and for the incredible hard work of Ambassador Lighthizer and other agencies that went into this effort. This exceptional report reflects the Administration’s commitment to the American creative industries and the strong foundation of protection and enforcement that fuels them.”

To read USTR’s full report, please see here.

O Som De 'The Shape of Water'

The Sound of The Shape of Water

In this exclusive SoundWorks Collection podcast, we talk with the sound team behind Director Guillermo del Toro's latest film, The Shape of Water. Featuring re-recording mixers Christian Cooke and Brad Zoern, supervising sound editors Nelson Ferreira and Nathan Robitaille.

Subscribe on iTunes:

Elisa is a mute, isolated woman who works as a cleaning lady in a hidden, high-security government laboratory in 1962 Baltimore. Her life changes forever when she discovers the lab's classified secret -- a mysterious, scaled creature from South America that lives in a water tank. As Elisa develops a unique bond with her new friend, she soon learns that its fate and very survival lies in the hands of a hostile government agent and a marine biologist.

Grande Vitoria Para Os Compositores: A Porcentagem Dos 'Royalties' Aumentaram Só Nos EU

Big Win For Songwriters: Mechanical Royalties Rise 44%, Copyright Royalty Board Rules

In a major win for songwriters and music publishers, the U.S. Copyright Royalty Board (CRB) has approved major graduated increases in mechanical rates for 2018-2022 totalling 43.8%. It is the biggest single increase in mechanical royalties in CRB history.

A U.S. Copyright Royalty Board decision handed down Friday includes a significant increase in the overall percentage of revenue paid to songwriters from 10.5% to 15.1% over the next five years. The CRB also removed the Total Content Cost (TCC) cap, giving publishers the benefit of a true percentage of what labels negotiate in the free market resulting in significantly higher royalties for songwriters. 

The CRB also increased the TCC rate (money paid to labels vs. payments to publishers and songwriters) to 3.82 to 1, resulting in the more balance between record label and publishing rates. In the previous five year term publishers and songwriters received $1 for every $4.76 paid to labels. 

In addition, the CRB granted a late fee which encourages the digital music services to pay more quickly.

The CRB decision resolves a trial that took place last year with National Music Publishers Association (NMPA) and the Nashville Songwriters Association (NSAI), representing the interests of music publishers and songwriters against Google, Amazon, Apple, Spotify and Pandora.

Win For Publishers & Songwriters

Both trade groups and most music publishers had hoped for a flat per-stream rate rather than the increase in percentages, but overall are pleased with the increase.

“As the leading music publisher, we believe that overall this is a very positive ruling by the CRB as it will deliver an unprecedented topline rate increase for songwriters and publishers over the next five years,” said Sony/ATV Music Publishing Chairman and CEO Martin Bandier in a statement. “While we are disappointed not to get the per-stream rate that we wanted, the planned rate increases go a long way to fairly compensate our songwriters for the essential contribution they make to streaming's success story.”

"the most favorable balance in the history of the industry"

“We are thrilled the CRB raised rates for songwriters by 43.8% – the biggest rate increase granted in CRB history. Crucially, the decision also allows songwriters to benefit from deals done by record labels in the free market," said NMPA President & CEO David Israelite.  "The ratio of what labels are paid by the services versus what publishers are paid has significantly improved, resulting in the most favorable balance in the history of the industry. While an effective ratio of 3.82 to 1 is still not a fair split that we might achieve in a free market, it is the best songwriters have ever had under the compulsory license. The court also decided in our favor regarding a late free which will force digital music services to pay songwriters faster or be subject to a significant penalty. 

"The bottom line is this is the best mechanical rate scenario for songwriters in U.S. history which is critically important as interactive streaming continues to dominate the market," Israelite concluded.

Songwriters desperately need and deserve the rate increases resulting from the Copyright Royalty Board (CRB) trial," said NSAI Executive Director Bart Herbison. "The CRB was a long and difficult process but songwriters and music publishers together presented a powerful case for higher streaming royalty rates."

“Today’s decision from the Copyright Royalty Board is a momentous milestone for long underpaid and underrepresented songwriters,” said Sound Royalties Founder and CEO Alex Heiche. “It is well past time that we adjust today’s royalty rates and policies to properly address streaming, which now dominates music consumption across the country. Between the significant rate increases, the removal of the Total Content Cost (TCC) cap and the new late fee, these much-needed and overdue changes will help ensure that songwriters are paid properly and on time for their valuable products,” Heiche added. “While likely still below what songwriters could rightly earn in a free market, this historic decision is the best news for these creatives in our lifetimes and protects the vitality of the songwriting profession in today’s evolving market.”