Wardlaw Music composer Pete Diggens, at The Aurophonic Workshop, has composed the music behind 2 current commercials for ‘Burger King’ currently running across the USA. Burger King asked them to come up with something ‘dreamy’, they did and Burger King loved it.
Wretch 32’s new single “Doing OK’ featuring Jacob Banks is co-written by Abbas Shah talented guitarist & songwriter signed to Renowned Publishing and administered by Wardlaw Music.
Abbas also co-wrote the Jacob Banks track ‘Kids on the Corner’ that was recently synced in the Channel 4 drama ‘Top Boy 2’. Abbas continues to write with ‘Renowned’ artist Jacob, recently signed to Atlantic Records.
Debsey formed her first band Dolly Mixture in Cambridge in 1978 with friends Rachel Bor and Hester Smith while still at school. Championed by John Peel the girls were soon playing regularly in London where they became the darlings of the music press.
They signed to Chrysalis Records and toured extensively for the next few years both as headliners and as support for groups including, Dexy’s Midnight Runners, The Undertones, The Beat and The Jam. In 1981 they signed to Paul Weller’s Respond label releasing two singles. Around the same time they also backed Captain Sensible on his 1982 number one hit Happy Talk.
Debsey continued to play and write throughout the eighties brfore joining Saint Etienne‘s live set up in the early nineties. When Saint Etienne took a sabbatical in 1995, Debsey and guitarist Paul Kelly formed Birdie who would release several singles and three albums.
Debsey lives in London where she continues to write songs. She plays extensively around the world with Saint Etienne as well as making occasional appearances singing and playing bass guitar with Birdie.
Earlier this month, Radiohead’s Thom Yorke and his producer Nigel Godrich came out against music straming services, particularly Spotify.
As Spotify continues to grow into the Worlds #1 streaming site, so its detractors grow.
In the blue corner – Thom Yorke. He took to Twitter to say “Make no mistake new artists you discover on #Spotify will no get paid. Meanwhile shareholders will shortly be rolling in it. Simples”.
In the red corner – Spotify. As reported in The Guardian, they say that “Spotify’s goal is to grow a service which people love, ultimately want to pay for, and which will provide the financial support to the music industry necessary to invest in new talent and music.”
Yorke & Godrich are not the first artists to make a stand. The likes of The Black Keys, Led Zeppelin & King Crimson have refused to make their songs available. There is a link here, it is established artists who are taking a stand, new artists tend to cast the net wide to capture all possible streams.
Where do we go? Streaming is growing. In 2012 global music sales rose for the first time in over a decade. Spotify pays the artist, piracy doesn’t, some alternative streaming services do not. Streaming is still in its infancy and the model will continue to develop. Until another model presents itself as the future for music streaming and Spotify will continue to grow. For artists, labels, managers, Music publishers, the debate continues…
Wardlaw Music artist Jon Allen recently had 2 of his tracks synced on the FOX TV series “The Goodwin Games”. “Sweet Defeat” was played on the 4th episode (June 10th), as we see the character Chloe go back to college to further her career as an actor. While having a chat with her friend at a restaurant, you can hear Jon Allen’s “Sweet Defeat” playing in the background.
“Joanna” synced in the episode titled “The Box” and aired on July 1st.
THE GOODWIN GAMES is a single-camera comedy that tells the story of three grown siblings who return home after their father’s death, and unexpectedly find themselves poised to inherit a vast fortune – if they adhere to their late father’s wishes.
Facebook’s decision last year to start charging to send updates to all subscribers has alienated some independent labels. Helienne Lindvall’s piece on Digital Music News looks further into the issue. This extract shows the potential cost for boosting a post, “The label has around 15,000 fans on the site, but sometimes only 1,000 of them will receive the posts, says Simms: “We have to buy advertising to ‘open up the window’ for the rest of the fans to see it.” This is what Facebook calls “boosting” the post, and it can cost anything from $50 to hundreds of dollars, depending on how many subscribers a label has. Simms puts out a record every two weeks, so he ends up having to spend $200-$300 a month in order to get the message out on Facebook. To put it in perspective – it’s about the same as what he spends on his professional PR company. For a small dance label such as My Favorite Robot, this is a significant expense, considering the limited revenue it makes from record sales. “
As music publishers, we wonder if perhaps some people have become too reliant on Facebook to engage their audience. It’s one of many tools available and reliance should not be placed solely in one area.
Fresh from his writing and production credits on Chrisette Micheles ‘Better’ album, Wardlaw Music artist Wizzy Wow is back with his ‘Winners World’ mixtape.
The London writer / producer showcases some of the UK’s finest emerging talents, such as Hayley Cassidy, Lems, Bello, Mike Trav, J Warner, Tigger Da Author, E&J, TRC, Max Richards, Tippa Dior, Beatmakers, SX and J F.L.O.W.S
Music Think Tank has produced an interesting article on the issue of Streaming, comparing music to film and how the music industry, from writer, artists, record companies and music publishers, is looking to catch up.
Here is an extract from Dillon Roulet’s article, “It has become commonplace to hear artists, management, agents and labels complain about how streaming will crush the music industry. This same mentality arose during the transition into the CD and digital downloading eras. Don’t fear the numerous myths that have saturated our industry, streaming is not evil; merely different. And it is about to become the next powerhouse, quite possibly changing music distribution in a way never seen before. This transformation has already commenced in television and film. The music industry has fallen behind, but is quickly catching up with vengeance.”
This article provides a useful base to get the conversation going. Build in factors such as the number of streaming services, file size, copyright protection, and get talking.