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  #31  
Old 10-02-2013, 01:37 PM
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Quote:
Originally Posted by MikeInNV View Post
That looks like fun.....thanks!
No problem.I love listening to those old shows especially when Stevie/Lindsey and FM is on the shows.

Just past weekend the station played Casey's 1981 show which had Stevie and Tom Petty's Stop draggin my heart around at number 3 on the show.
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Stevie fan forever and ever amen.......
the Wildheart at Edge of Seventeen and the Gypsy.....

My sweet Buttons .I love you. RIP 2009 to 08/24/2016
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  #32  
Old 10-02-2013, 02:32 PM
Iktomi Iktomi is offline
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Quote:
Originally Posted by Macfanforever View Post

As I see it the music industry died in the 1990's way before the internet was popular.

The evolution of rap music did not help it but made it worst.

Rap music made what worse - the music industry? How so?
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  #33  
Old 10-02-2013, 02:47 PM
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Interesting reading.

I think a lot of big labels got very bloated with non-creative middlemen types who mainly liked to pretend they were creative geniuses somehow... and sometimes they let the actual promo and salesmen who did real work interfacing with the world down. Sadly they started eating each other and with the lesser variety the creative part stagnated into copying proven things. There have been some great successes among small labels and reissue labels that were lean and less extravagant (into the hype and 'lifestyle'). At least the ones that didn't exist or want to succeed mainly just to be good enough to get bought up by the giants.

I think the new reality is going to be downloads (or varying quality) mainly with hard copies in CD or vinyl being the upscale boutique option.
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  #34  
Old 10-29-2013, 05:15 PM
michelej1 michelej1 is offline
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NME On Film - 10 October Video Highlights

Read more at http://www.nme.com/blogs/nme-blogs/n...71kV6FUcdxl.99

Percy Pigs, Breaking Bad, radical feminism... don't say we don't give you variety on NME Video. This month highlights included Alex Turner's masterful impression of Mike Ehrmantraut from Breaking Bad and a prediction about how the TV drama would end (the Arctic Monkeys frontman and Matt Helders also revealed their choice for the Greatest Album Of All Time), Alana from Haim rated all the different types of Percy Pigs and E from Eels told us the story behind 'Peach Blossom'. Don't miss the stunning Wolf Alice cover of Katy Perry's 'Roar' and Stevie Nicks theorising on the death of the music industry. We've also got exclusive interviews with Albert Hammond Jr, Tinie Tempah and Stevie Nicks as well as a film where we look at what young artists really think about Spotify. Watch our top 10 in a handy playlist below.
Read more at http://www.nme.com/blogs/nme-blogs/n...71kV6FUcdxl.99
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  #35  
Old 09-16-2017, 05:40 AM
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Spotify Faces Stepped-Up Legal Pressure from Stevie Nicks, Neil Young, Steve Perry, The Doors, Stevie Ray Vaughan…
Spotify is now facing legal pressure from some of the biggest musicians and songwriters in the world.

Earlier this week, Spotify was served with multiple lawsuits demanding hundreds of millions in unpaid royalties. But the list of prominent musicians and songwriters is far deeper than we imagined.

According to filings shared with Digital Music News, Spotify is now facing demands from high-profile stars like Stevie Nicks, Neil Young, Donald Fagen (of Steely Dan), Michael McDonald, and even members of Journey. All of those artists are part of a collective pushback by Wixen Music Publishing, and listed in a 1,400 page ‘Exhibit A’ reviewed by Digital Music News this morning.

Others in the Exhibit include members of the Eagles, Cheap Trick, Jimmie Vaughan, and the estate of Stevie Ray Vaughan.

Even the Doors were listed in the Exhibit, specifically through the ‘Doors Music Company LLC’.

Dig a little deeper, and none other than Bruce Willis was also on the list. And he’s not the only actor: Anthony Hopkins has also been sidelining as a classical songwriter, apparently.

Earlier, we reported participation from Tom Petty, Rage Against the Machine, The Black Keys, Kenny Rogers, and the heirs of Sonny Bono. Well, those names are in this Exhibit too. But guess we were just scratching the surface in our first article.

Wixen, a publishing giant, has recently moved to reject a proposed $43 million settlement agreement with Spotify.

That settlement would absolve Spotify for failing to pay for ‘mechanical’ reproductive licenses, though it now appears unlikely to stand.

Separately, Spotify’s legal tussle with 9 different publishers also continued this week.

As part of its mounting mess surrounding the mechanical, Spotify’s counter-offensive is growing ugly. Just last month, the company’s lawyers engineered a complete reversal on the matter by arguing that the license did not apply to streaming services. That could stand in court, though it runs completely contrary to earlier declarations by the company.

We’ll have the complete Exhibit A, complete with 500+ names, ahead.



https://www.digitalmusicnews.com/201...l-young-doors/
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  #36  
Old 01-03-2018, 07:39 AM
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Spotify slapped with $1.6 billion copyright lawsuit over Tom Petty, Stevie Nicks songs

Spotify has been hit with a massive copyright infringement lawsuit from Wixen Music Publishing, which represents songwriters such as Neil Young, Stevie Nicks, Tom Petty, Zach De La Rocha, and Rivers Cuomo and alleges that the streaming service is using tens of thousands of Wixen’s artists’ songs without proper license and compensation.

As first reported by the Hollywood Reporter, Wixen is seeking at least $1.6 billion in damages.

Wixen’s complaint, filed Dec. 29 in California federal court, contends, “Prior to launch, Spotify struck deals with major record labels to obtain the necessary rights to the sound recording copyrights in the songs by offering the major labels, in many cases, equity stakes in Spotify: But Spotify failed to properly obtain the equivalent rights for the compositions. As a result, Spotify has built a billion dollar business on the backs of songwriters and publishers whose music Spotify is using, in many cases without obtaining and paying for the necessary licenses.”

A Spotify spokesperson declined to comment on the lawsuit.

Wixen’s lawsuit comes six months after Spotify reached a proposed $43.4 million settlement to resolve a class-action lawsuit with songwriters and publishers led by David Lowery and Melissa Ferrick. The Swedish-based streaming service was also hit with two more copyright lawsuits in July.

In a statement Tuesday, Wixen said the company and its clients decided not to participate in the Ferrick v. Spotify lawsuit “in part because of their belief that the proposed settlement is inadequate, because too much of the settlement is going to legal fees, and because the terms of the go-forward license in the settlement are not in their long-term best interests.”

Randall Wixen, the company’s president, added, “We’re just asking to be treated fairly. We are not looking for a ridiculous punitive payment. … All we’re asking for is for them to reasonably compensate our clients by sharing a miniscule amount of the revenue they take in with the creators of the product they sell.”


http://ew.com/music/2018/01/02/spoti...right-lawsuit/

Read Wixen’s lawsuit above.
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  #37  
Old 01-03-2018, 01:09 PM
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In the good old days they'd get platinum awards for whatever was shipped to the record stored, regardless if the records sat in a box or not.
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  #38  
Old 03-01-2018, 10:06 AM
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Spotify IPO filing reveals how insanely complicated it is to license music rights
Spotify said it paid $9.76 billion in royalties to artists, music labels and publishers since it launched in 2006.
Spotify gets two licenses for for music: public performance rights and mechanical rights.
It needs to make sure the song performer and recording owner are paid, as well as the songwriter and publisher.


Spotify wants to sell stock to investors — but first it will need to convince them it's worth buying in to the complex process of selling music.

The company, which filed its plans to go public on Wednesday, said it has paid more than $9.7 billion in royalties to artists, music labels and publishers since it launched in 2006. It had 71 million paying subscribers and 159 million monthly active listeners as of December, making it the largest streaming music service across the world by far.

In general, Spotify gets two classes of licenses for the music it distributes: Sound Recording License agreements, which cover the rights to a particular recording, and Musical Composition License Agreements, which cover the people who own the rights to the song.

Recording licenses. For the rights to the actual recordings, Spotify has deals with the big three record labels -- Universal Music Group, Sony Music Entertainment Group and Warner Music Group. Sony Music also owns more than 5 percent of the company.

Spotify also has a deal with Music and Entertainment Rights Licensing Independent Network (Merlin) for digital recordings from independent labels. However, it has recently run into some problems with music publishing companies, including a $1.6 billion lawsuit from Wixen Music Publishing that claimed it was using thousands of its songs illegally. Wixen's songs include "Free Fallin'" by Tom Petty, "Light My Fire" by the Doors, and selected tracks by Stevie Nicks.

Composition licenses. Within this category, there are two main types of licenses Spotify has to secure: performance rights and mechanical royalties.

Performance rights are generally paid to song publishers, and managed through two main firms in the U.S. -- BMI and ASCAP. A public performance license is needed when a song is performed in public -- including when it's streamed, as well as when it's played on the radio or on TV.

Mechanical royalties are generally paid to songwriters when a song is reproduced, whether that's physically on a CD or streamed. (The term is a holdover from when most music was physically pressed into a recording, like a CD or LP record.)

Mechanical rights for streaming services are governed in the U.S. by a government agency known as the Copyright Royalty Board. The organization ruled in January to increase rates by 43.8 percent over the next five years. The rates are based on a percentage of the streaming company's revenue or total content costs, agreed upon payment amounts by all parties.

There are other types of licenses and sub-licenses as well, and the groups responsible for collecting and distributing them differ between countries and regions of the world.

If this sounds confusing, that's because it is.

Take, for example, the song "I Will Always Love You" from the 1992 soundtrack for "The Bodyguard." That version of the song was performed by Whitney Houston, the recording of which is owned Sony Music Entertainment division Arista Records. However the song was written by Dolly Parton, who owns the composition, including the lyrics and melody.

Spotify would have to pay Sony to license the recording, who would then give Houston's estate a percentage of the stream. It would also have to pay the music publisher and songwriter. In this case, Parton is both.

https://www.cnbc.com/2018/02/28/how-...ic-rights.html
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  #39  
Old 03-02-2018, 06:19 PM
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So Stevie, and many others, were correct back in 2013 when she stated that the Internet was killing the music business. I've stated time and again, this isn't about art. Was at one time, BUT never will be again. NOW , its all about the business of music and $$$.

Stevie , through her publishing company, owns many of her songs, so she knows (and feels firsthand) in her pocketbook, the effects of the Internet on her published songs. Landslide immediately comes to mind.

Spotify is arguing that this is NOT a mechanical repro of music, BUT a digital one (streaming) and that therefore , the old rules do not apply. I think that argument will not fly with a court since although the method of repro changed, the music did not. This is really no different, in a way though, than you or I owning a cassette recorder attached to turntable like they used to make and you could turn an album into a cassette in about an hour. The Internet and streaming just make it that musch easier.
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