Shortly after that in Italy I was told that Keith Urban is becoming very popular and country music is being received more readily because of the "new sound" that is appealing to them.

That got me thinking.

With brands expanding and the world shrinking, many products are making their way all around the global economy.  Whatever can cross borders (including into our own) or break boundaries will experience growth.  Those that cannot make a connection with other parts of the world will not experience the same growth and will be relegated as a niche or regional product.

The world of music and entertainment may also be held to this economy.  Beyond the U.S. there is potential growth for a number of musical genres besides Top 40.  Some, like Country, are distinctly American by birth and audience.  With numbers shrinking over the past 10 years within the U.S., how can we grow a format that has not only a battle within our own borders, but strike out and be relevant to other cultures and countries?  How do we effectively grow our share in the states and market to the rest of the world, while maintaining our musical integrity?

There are many ideas I'm certain, but one answer is our format must diversify.  Diversify meaning welcoming talent of various colors and cultures without surrendering the validity of the genre.  Country music has dabbled with it in the past by welcoming a solitary hispanic and black artist into the format.  Satisfied, we patted ourselves on the back with one hand and then ushered them out the back door with the other.  The musical atmosphere is currently seeing promising signs, but more must be accomplished for us to be respected and successful as a format in the years to come.

Country music is focused heavily on relatable and meaningful lyrics depicting everyday life.  It's about family, freedom, love, relationships, and faith - the fundamental core of our format.  These are not just white rural American interests, but are things important to a majority of society.  Even the country lifestyle group is more expansive than we make it.  Certain acts have strong appeal beyond our self imposed borders and we should take advantage of that.  I don't think we fully are.  I also don't think we are inviting other cultures and ethnicities into our own backyard to participate in the future legacy of this format. 

There is much opportunity.

A good way of providing artists with attribution, irrespective of the destiny of their art, is through implementing a moral rights scheme that would ensure attribution for authorship, even if ownership of the music belongs to a third party. Originally laid out in Article 6bis of the Berne Convention of Literary and Artistic Works, moral rights were extended to music in 1996 through the WIPO Performances and Phonograms Treaty. Article 5(1) of that treaty reads: "Independently of a performer's economic rights, and even after the transfer of those rights, the performer shall, as regards his live aural performance or performance fixed in phonograms, have the right to claim to be identified as the performer of his performances…and to object to any distortion, mutilation or other modification of his performances that would be prejudicial to his reputation."

Moral rights generally include three rights: the right of attribution, the right to have a work published anonymously or pseudonymously, and the right to the integrity of the work. These rights are separate from economic rights, and belong exclusively and perpetually to the original creators of the work, and not any third party who assumes ownership of a copyright, such as a record label.

In the music context, I don't believe in the right to integrity, as in my mind, a piece of music is never finished, but rather constantly evolving. But, the right of attribution is paramount in the digital context. Since media can so easily be shared today, sharing should be embraced as long as the original authors are always attributed. Creative Commons has embraced this notion since its inception, and it's time for Congress to recognize that this needs to be added to the Copyright Act to meet the necessities of the digital era. In fact, the United States Court of Appeals held, in Jacobsen v. Katzer, that Creative Commons licensors are entitled to copyright infringement relief. This means that if somebody uses a CC work that requires attribution without attributing the original author, a claim for copyright infringement exists.

With this legislative change, the US, a Berne and WIPO signatory, would seemingly be killing three birds with one stone: 1) deal with copyright law's inadequacy in the digital age, 2) comply with Berne by adopting am adequate Moral rights scheme, and 3) comply with the WIPO treaty by extending moral rights to music. While the US became a member of the Berne Convention in 1989, the US has chosen to narrowly adopt a moral rights scheme and to apply it exclusively to visual arts under the Visual Artists Rights Act (VARA) of 1990. By omitting to do so, the US is failing to comply with the Berne convention and the 1996 WIPO Performances and Phonograms Treaty. So, maybe its time for Congress to actually got off its ass! I mean, are musicians less important that visual artists? Or is it that visual artists have more lobbying power?

An adoption of a music moral rights scheme would greatly tickle my paranoid pickle in the digital era, and it would help me feel comfortable in distributing my digital music in creative and innovative ways. Evolve, damnit!

Corbello Amended Complaint

Thanks to my connection for sending me the amended compliant in Corbello v. DeVito. My original post is here.

The amended complaint is good reading, but long. The amended complaint actually names all the members of the Four Seasons as defendants along with the companies involved in the creation and production of the musical Jersey Boys.

Just to kick this tribute off -- he's also the guy who coined the term "Rhythm and Blues" when, as a staff writer for Billboard magazine, he wanted to replace "Race Music" as the header on the black music charts. His early collaborations with Ray Charles, Joe Turner, and The Coasters (among others) built a new foundation for American music. All of this music collaboration in the 50s and early 60s may have been a warm-up, however, for perhaps his greatest contribution to the music world -- luring an un-empowered Aretha Franklin away from Columbia and introducing America to the "Queen of Soul" with "Respect" and a string of powerhouse hits from 1967 on.

When a guy as big as Wexler dies, you can count on a flood of in-depth articles in all the trades as well as the mainstream publications. Take some time to read through them and you'll find that your own musical tastes have been, in part, shaped by this towering musical figure.

I know he shaped mine. Growing up in the 50s and 60s, I loved listening to Ray Charles, The Coasters, The Drifters and -- like America -- I fell in love with Aretha's voice in '67 and knew that R&B, soul, and indeed pop music would never be the same. Oh, and then there was Otis Redding, Wilson Pickett and Sam & Dave -- also big favorites of mine.

Wexler never relaxed his quest for developing talent -- he brought Dusty Springfield to America to record her critically acclaimed "Dusty in Memphis" album and he penned deals with R&B- influenced British acts like the Rolling Stones, Cream, and Led Zeppelin. The man is unbelievable and his handprint on the music business will last a very long time.

He was also a "words" guy, starting off as a journalist and harboring a life-long interest in writing and philosophy. His passion for people and art and music -- now extinguished in his own life -- still burns bright for those of us who choose to embrace it. Here's to you, Jerry, for a life very well lived.

Andy: Chris, hope you don't mind me barging in -- here's a list Rolling Stone published of Jerry's "favorite" songs... the ones he was most proud of:

1. Professor Longhair, "Tipitina" (1953)
2. Ray Charles, "I Got a Woman" (1954)
3. Big Joe Turner, "Shake, Rattle and Roll" (1954)
4. LaVern Baker, "Tweedlee Dee" (1954)
5. Champion Jack Dupree, "Junker's Blues" (1958 )
6. The Drifters, "There Goes My Baby" (1959)
7. Ray Charles, "What I'd Say" (1959)
8. Solomon Burke, "If You Need Me" (1963)
9. Booker T. & the MG's, "Green Onions" (1962)
10. Wilson Pickett, "In the Midnight Hour" (1965)
11. Aretha Franklin, "Respect" (1967)
12. Dusty Springfield, "Son of a Preacher Man" (1969)
13. Dr. John, "Iko Iko" (1972)
14. Doug Sahn, "(Is Anybody Going to) San Antone" (1973)
15. Willie Nelson, "Bloody Mary Morning" (1974)
16. The Sanford/Townsend Band, "Smoke From a Distant Fire" (1977)
17. James Booker, "Winin' Boy Blues" (1978 )
18. Etta James, "Take It to the Limit" (1978 )
19. Dire Straits, "Lady Writer" (1979)
20. Bob Dylan, "Gotta Serve Somebody" (1979)

"Why does everyone in the music business always state the obvious?" He said "Its pretty obvious that you guys are going to put music up on itunes and get it in the stores....your a record label, but what are you going to do once you get it there?"

I am tired of stating the obvious things in my life and work....I want to move beyond the obvious and start applying what it means once at that fundamental foundation.

-Its obvious I am a believer in Christ....but what am I doing beyond that?
-Its obvious I am a husband & father....but what am I going to do beyond that?
-Its obvious we are going to get cd's into the stores and up on itunes.....but what are we going to do once we get there?
-Its obvious our office has a million great ideas....but what are we doing to move it beyond just an idea?

Just some thoughts to chew on....Be Well.

Do's and Don'ts For Audio and Other Music Oriented Interns: Or, How to Impress Your Internship Employer and Become Successful in the Recording Industry.

Today, anyone who wants a career working in the music business with a label of some kind, or is looking into producing, engineering, or working in one of the many music-oriented jobs in the recording industry has many choices when it comes to educating themselves about the business. In addition to the many schools, programs, books, websites, and other informational tools at their disposal, the chance to do a good old-fashioned internship still exists.

In fact, more than ever many companies will not consider hiring someone unless they have had some 'real world' experience in a studio, post-production facility, record label, distributor, store, live performance venue, or other businesses related to recorded audio products.

For example, you may think you are qualified to work in a recording studio just because you have some training in Pro Tools, or have helped setup a school-related recording project. You may also have taken courses where you aced all the written projects, and marketing classes, and think you have what it takes to work for a recording facility or record label. Well, that is all great experience, but it isn't enough!

Nothing is more impressive than having done some work as an intern. Businesses that offer internships may demand a lot of you. They may (and will) test your patience by having you do what you think are mundane, boring, or menial tasks…Stick it out. Most likely you are being given a form of initiation. Most people in the recording industry started out doing menial tasks and when given the chance to express their skills…did so, and were rewarded with jobs, job-leads, promotions or recognition of some kind.

I can only do so much to encourage you to get yourself an internship. You have to bug your music industry contacts: teachers, producers and engineers you have met or just heard about. Also, go out and pound the pavement. Talk to guys who are working your favorite club or live venue. Bug the retail clerk at your favorite record store. Hang out in the music scene of your choice. Be pro-active. Ask everyone if they know of any internship openings in their field.Think about any website design work or blogs and or podcasts you have put together for a favoriite band or artist....ANY kind of experience you may have had, can help you get some kind of an internship.

Do research on the types of audio-related businesses in your city. Use the Internet. Go to the library and look up the many directories, and read the weekly and monthly recording industry trade magazines and journals. Get on the phone, and do some informational interviews with the recording industry business you would most like to work for. Even knock on people's doors. Do whatever you have to do to get an internship. Internship opportunities do not come knocking on your door. You have to motivate yourself to get involved with this industry.

This technique has a tradition attached to it. It is called "The School of Hard Knocks". It means that everyone worth anything in this business had to push themselves forward and find a way to get noticed. Producers have to do this. Engineers have to do this. Certainly recording studio, and record label have to do this. And, artists need to do this. So, while being laid back and mellow is a great way to relax, it will get you nowhere in the whirlwind world of the recording industry. "Get Up, Stand Up!" Do something!

This industry is nothing but competition. Not just for jobs, but competition that finds one company fending of another company for clients and deals. So, businesses are looking for the most highly motivated employees they can find. Are you up for the challenge?

Once you say "Yes, I'm ready to show the world how good I am" and you have found your first internship, learn how to work that opportunity. You will have to take the good with the bad. Interns may start out as the low men and women on the ladder, but those that impress with their positive attitudes and dedication to their work, whatever it may be…will reap rewards. So, read the following suggestions on how to work with your internship employer for the mutual benefit of your career and their increased business.

DO....

Be on time, and better yet, be the first one in, and the last to leave.

Be hungry to learn.

Be friendly. Introduce yourself to co-workers, even if you have not been introduced to everyone during orientation…and network often.

Complete the tasks given to you before taking on other work.

Make yourself invaluable to the company. (Look for things to do.)

Make friends with co-workers, and offer to do some of their grunt work.

Volunteer to take on the responsibilities of a worker who is ill, or going on vacation.

Be willing to do the most menial of tasks. Even the most boring and repetitive work should be eagerly undertaken.

Cover phones while co-workers are on break or at lunch.

Ask permission to use any equipment, software or computer programs.

Offer to help prepare for any studio-setup or tear-down, or to prepare any business reports.

Organize the information you need to know to carry out your work.

Create your own databases of any staff members, and their job titles.

Know that as an intern you are not being trained to take a manager's or executive's job, so do everything you can to learn the jobs that lead to those positions..

Feel free to take the initiative when you the time is right.

Make things easier for your employer or supervisor, they will remember you for that.

Offer your help when you notice help is needed.

Keep in touch once you are gone. Stop by and say hello!

Get a letter of recommendation, and send the company a thank you note for hiring you and giving you the opportunity to work for them

Phone your boss or supervisor first, if you aren't going to show up.

Say thank you when any promo CDs or concert tickets, or free studio time are offered

Attend as many concerts and events that are not your favorite music. (You will learn a lot by doing this.)

DON'T....

Ask for free things like CDs, tickets or studio time right away

Look like you are lost. Avoid standing around.

Get involved in long conversations during work hours with co-workers, or celebrity guests who may be conducting business in your workplace.

Offer your opinion on how you would run things if you were in charge

Cop an attitude of any non-professional kind, even if you're being paid.

Make any personal phone calls in front of co-workers during your shift

Cruise the internet on your company's time

Get caught reading magazines or sloughing off on the job in any way.

Ask at any time "NOW, what should I do?"

Be offended if someone snaps at you. (Everyone has bad hair days)

Talk dirt about any recording artists, producers, or other companies while in the presence of co-workers, or at any networking functions. (It's a small world and you never know who your co-workers, boss, or supervisor knows, has dated, has worked with etc.)

Christopher Knab is an independent music business consultant based in Seattle, Washington. www.fourfrontmusic.com or email at: Chris@Knab.com

Do's and Don'ts For Audio and Other Music Oriented Interns: Or, How to Impress Your Internship Employer and Become Successful in the Recording Industry.

This ad is real. I did not make it up. Below is the entire ad
verbatim

Check it out and then read my follow up commentary:

>>>>>>>>>>>>>>
We need a songwriter to write some songs for one of our singers. They
need to be either hip hop, pop, or r&b songs. Your name will be
credited and shown to other singers. You'll also get $150 per song.
You'll just need to write the song, send the lyrics to me, and if we
decide to use your song we'll send you the money however you chose.
These songs are going to be for a teenage girl. Here are the songs we
need:

1). rich & awesome (kind of about being conceited)

2). can't stop loving you (about wanting someone who doesn't want you
back but you don't want to give up hope)

3). im just me (about not wanting to change for someone else)

4). rumors (about being tired of all the rumors going around)

5). the perfect lie (about you being a mistake)

6). forever a true friend (about having one friend who's always been
there)

7). party girl (about just wanting to have fun)

8). drama queen (about being a drama queen)

9). this is life (about all the troubles life brings but also about
the good times).

If you can help with any of these songs please email me! We do not
have any samples of the singer to send but if it helps she sounds
like
Christina Aguilera.
>>>>>>>>>>>

Now what struck me about this ad, besides the unbelievable and
outrageous fact that they are buying you out for $150 dollars a song,
is the formula they have presented.

Basically they want to produce a 9 track album and they already know
what each song needs to be about.

We always knew these acts where formulaic, but this ad spells out the
album formula for every Brittany/Hillary/Ashley pop princess in the
making.

Every record label owes the author of this ad a debt of gratitude for
their efforts to further the formula that is the product that we call
pop princess.

All you have to do is find a teenage girl that will do what you tell
her (Who cares if she can really sing or not, it hasn't hurt Ashley
any). Add some slinky clothes and follow this album recipe and
Walla!.... Instant pop princess.

I appreciate most the professional comments from Jim West, Cody Alan, Dean James, and the individuals who can actually take credit that didn't post anything at all. 

The Wolf was well done and at its zenith was the best country radio station I had ever heard.  The branding (before branding was cool), marketing, music, and relevance was unmatched.  I traveled to Dallas a great deal during its heyday, so maybe I can take some of the credit too?  I promise to be loud and bitter?

Music Production Software is where all the fun begins, Music Production Hardware is all part of it but generally speaking I am going to use the term Music Production Software. You will need this to create your music, and however you may start learning (through fruity loops, reason etc) but ultimately you will need to end up using industry standard music production software such as Pro Tools or Logic Pro. This will give you the freedom to move around different record studios. Check the link below for more information

The Music Production Equipment (Hardware) you use is just as important as the music software. Your production equipment could be your midi keyboard, microphone, digital keyboard (Triton, Yamaha etc), mixing desk, audio interface or many other different types of equipment. Learn to use them with the music production software because without the software it's going to be hard to mix all the audio together to get a great mix. Invest in good quality equipment and the results you will great out of your music will be amazing - There are guides at the bottom of the page - follow the link.

Building up your knowledge for a career in Music Production is critical, so ensure you watch online Music Production Tutorials. They will give you everything you need to know production wise, you will be learning some of the same production methods as many established producers.
Anyone that may be more advanced than you get Music Production Tips from, it's always good to learn and take on advice.

I wish your Career in Music Production to be amazing and you reach to the top.

Visit http://www.musicproducerpro.net for more information

Read The Amended Complaint

On August 7, 2008, Kristen Hall, founding member of the country music group Sugarland, filed a lawsuit against current band members Jennifer Nettles and Kristian Bush alleging breach of the partnership agreement, breach of fiduciary duty, and a duty to account for her share of the partnership profits.

Hall did co-write every song on the group's first album. She left the group in January 2006 to "concentrate on songwriting." Or so the press reported at the time of her leaving.

The current Sugarland Duo of Nettles and Bush secured a double platinum album in November 2006 for the album "Enjoy The Ride." Nettles also had a number one duet with Jon Bon Jovi for "Who Says You Can't Go Home."

Hall alleges in the lawsuit that she is entitled to continue to share in one-third of the profits after her departure from the group. It will be interesting to see how this works out. The complaint does not produce a written partnership agreement, so the dispute will be resolved in accordance with Georgia partnership law. The key to a partnership is that every partner agrees to share profits and losses equally. In this case, Hall has not been sharing in the losses/expenses of the partnership, so why should she be entitled to a full one-third of the profits?

There may be some amount she should continue to receive, but not one-third. Hill will continue to be paid on any songs she co-wrote, whether or not she receives any settlement related to her partnership interest.

It is an interesting note that the trademark SUGARLAND is filed in the name of all there original band members. Part of Hill's complaint deals with the fact that the trademark is continuing to be used without any accounting to her as a co-owner of the trademark.

Lesson Learned: Have a written partnership agreement that sets up what happens when a partner leaves or the band dissolves.

"isaac hayes, the baldheaded, baritone-voiced soul crooner who laid the groundwork for disco and whose “theme from shaft” won both academy and grammy awards, died sunday afternoon after he collapsed near a treadmill, authorities said. he was 65." from msnbc report (sunday, august 10).

being a self professed music-head, i have long been aware of isaac hayes' influence across the musical landscape throughout the greater part of the last 5 decades.  but in 2003 I had the honor of actually meeting this man who almost singlehandedly ushered in a new era of modern soul music.

it was the spring of 2003 and i was working in nashville in the emi gospel divison of emicmg, where i was responsible for both radio and internet promotions. together with forefront records, also an emicmg label, we had co-signed a 13 year old new artist from atlanta named lil irocc williams.  i spent a lot of time on the road during this season, and somewhere around may of that year i traveled with lil irocc and his family to memphis for a women's expo where irocc would be performing during the sunday gospel concert.

we were staying at the world famous peabody hotel on union avenue (and yes we saw the ducks) and earlier in the day we made our way across the street in search of food.  after passing up several other options, we decided to go to isaac hayes' restaurant and upon our arrival found out they were having a sunday gospel brunch.  once our server discovered that irocc was a gospel rap artist, he informed the manager and they asked him to do a couple of songs.  i always carried the tracks with me everywhere we went, so we were able to make it happen on the spot.

somewhere toward the end of the second song, i became aware that mr. hayes had entered the building and was watching irocc perform.  after the performance, mr. hayes greeted irocc and his family.  i remember him being very kind and offering some very supportive and encouraging words to the young and budding artist.  i remember shaking his hand, thanking him, complementing him on his restaurant and taking a picture of him with irocc.  mr. hayes had such a larger than life persona than commanded attention and respect. sure wish i could find that pic now.

so while isaac hayes left an indelible mark on the music world at large, i will never forget how our paths crossed in memphis, tennessee over fried catfish and a 13 year-old gospel rapper.

rest in peace, mr. hayes.

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I found this one while looking for gigs. I did not make this ad up. This is verbatim:

"New show casting bands who have a member who's struggling w/something (addiction, relationship, etc. Docu-style, tons of exposure.  Email w/name, band name, description of member with issue, myspace, and phone number".

One of the things that I preach to up and coming musicians, is the importance of being professional.  Being a drug addict doesn't work in todays music industry.  Being difficult (IE: having issues) doesn't work in todays music industry environment. Here we have an ad encouraging the opposite. And offering to reward it no less.

Unbelievable!

I just want to make a good living at this so that I can keep writing and recording new songs. I just want to be the best musician and songwriter and performer that I can possibly be.

But sometimes I wonder if being a good songwriter and a good musician isn't enough to get me noticed. Sometimes I think that I will sell a lot more CDs if I shoot someone, or do something scandalous....is this what it takes? 

Of course there is no way that I am running over someone's dog just to get press. But I do wonder sometimes....What's your opinion? 

These days the call for music in film and television is considerable. Not only is there a big need for content but the level and variety of music must also be high. More and more composers are being asked to not only produce complete soundtracks but also be able to create music in a variety of styles and genres.

With the advent of new technologies, it's become easier for one composer to create music in a half the time that used to take a dozen or so people. One of the technologies used more and more is the use of prerecorded loops and samples. Some composers have come to rely on the use of loops in their music instead of creating music from scratch. It allows you to create music without the knowledge of composition or music theory. In fact, it's possible to create an entire soundtrack without playing an instrument.

The modern composer has a lot of tools at his disposal. These tools have become commonplace and it's imperative that he/she stays on top of the technology to stay current and efficient. The composer though is only as good as his/her abilities and the tools are just an extension of that ability. Most composers, through extensive training and practice have a vast knowledge of many styles. They can write in a variety of different genres and through years of training and practice have worked at creating memorable, cohesive pieces of music. Some 'composers' though, have limited technical knowledge and rely on loops to create their music. In this instance are you an editor or a composer?

The problem lies not in using loops per say as it is in the abilities of the composer. When the director asks for a certain sound or idea, the composer must have the ability to convey that idea into music. This takes a lot of technical knowledge of not only music but writing for film. For example when the scene asks for a couple of different moods within a short time, how does the composer achieve that? What musical idioms does the composer use to create a certain mood and atmosphere. Another question is that of cohesion. Does the director want a reoccurring theme with variations? Does he want to play against the scene or with it? Most of all, the sound of an orchestra or a live band is still used tremendously in film. How does a composer go about composing a theme without the technical knowledge? How far can you go with using a handful of repeating loops?

There are questions you should ask when hiring a composer. Are they able to write in the style that you're looking for. Do they write from scratch or do they use loops? Do they have examples of themes and songs in a variety of different instrumentation?  Most of all, can they make edits and changes according to your specifications at a later date? You would be surprised how many people can't and you're better off knowing from the start. Just ask yourself, are you hiring an composer or and editor?

For their official UK website Universal Music has managed to come up with a whole new spelling alternative for Artist & Repertoire!

Amazing! What's going on?
Is this txtspk!?! :)))

www.umusic.co.uk/home/careers.php?department=2

A particular segment of business has certain rules and regulations that companies are to abide by.  Some are set in stone and others are unspoken rules.  It essentially becomes the accepted framework of conducting fair business.  Of course everyone is looking for an edge to win, but they all start from a level playing field.

One day, a particular company finds a loophole in the system and knowingly exploits it.  The result is to the advantage of this company, but it clearly goes beyond the framework and fair business practices.  They say it is "working the system" or being "creative" while the rest of the competing companies say that they are essentially cheating.

So the question is, did they do what any company would have done to get ahead and to beat the competition or were they caught cheating as they looked to win "at all costs"?

I believe we should aspire to win, but not at "all costs".  There is desperation in selling your ethical soul and a considerable risk of losing integrity and respect within the business community. 

I have an idea of how to do business.  How about we give all that we can, do the best that we can, be innovative, creative, passionate, and savvy in the process; but do it with integrity and respect for others.  Call me crazy.