Sire Records Firar 50 År!

Total Page：16

File Type：pdf, Size：1020Kb

2017-02-03 16:00 CET Sire Records firar 50 år! Sire Records, med branschprofilen Seymour Stein still going strong, fyller 50 i år. Firandet startar nu på måndag 6/2 med en tillställning i samband med Grammy Week i Los Angeles. Kvällen på LA Live innebär bland annat ett panelsamtal om Sires roll i musikhistorien med Stein, Billy Duffy från The Cult, regissören Brett Ratner och Martin Mills från Beggars Music. I samband med jubileet öppnas även en ny hemsida. Bland många artister som funnits i Sires stall genom åren finns namn som Ramones, Talking Heads, The Pretenders, Madonna, Tom Tom Club, Depeche Mode, The Smiths, The Cure, Echo & The Bunnymen, Erasure, The Cult, The Undertones, Madness, The Replacements, Ice-T, k.d. lang, Seal, Everything But The Girl, Aztec Camera, Dinosaur Jr., Wilco, My Bloody Valentine, Primal Scream, Aphex Twin och Regina Spektor. Läs mer i bifogad pressrelease. Warner Music International, a leading company in national and international repertoire operates through numerous international affiliates and licensees in more than 50 countries. With its broad roster of new stars and legendary artists, Warner Music Group is home to a collection of the best-known record labels in the music industry including Asylum, Atlantic, Bad Boy, Cordless, East West, Elektra, Lava, Maverick, Nonesuch, Parlophone, Reprise, Rhino, Roadrunner, Rykodisc, Sire, Warner Bros. and Word. Warner Music Group also includes Warner/Chappell Music, one of the world's leading music publishers. Kontaktpersoner Ellen Fjæstad Presskontakt Product & Promotion Manager Giant/Domestic [email protected] 0707754571 Darren Edwards Presskontakt International Promotion Manager International Promotion, Nuclear Blast and Roadrunner Records [email protected] 08-7522604.

Copy Link

Recommended publications

Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
[Show full text]
THE HEW ROCK from the U K Sire Records Expands Through Its Lengthy Involvement with the British Music Scene
THE HEW ROCK FROM THE U K Sire Records Expands Through Its Lengthy Involvement With The British Music Scene don, my introduction to the British scene in contact with Len Wood, then managing Stein by Seymour came from the record and sheet music director of EMI, King’s U.K. licensee. At one My teenage years were so consumed charts of New Musical Express and Melody meeting he and Syd Nathan, King’s fiery with rock ‘n’ roll music that I marked the Maker that appeared in this country in Cash founder, were heatedly debating King’s at- passage of time with such events as Atlantic Box and Billboard each week and, later, tempt to secure an option on all EMI reper- changing the color of its label from yellow to from the magazines themselves. Itwashere toire if it was passed on by Capitol. Nathan red, Bobby Lester being replaced by Har- that I first became aware of sub-publishing, did not succeed, but it was not until several vey Fuqua in the Moonglows, and RCA noticing that many of the American hits years later that I realized how important this purchasing Elvis’ contract from Sun. Grow- were published by different companies I option could have been. ing up in Brooklyn in the mid-1950s gave had never heard of, such as Lawrence When I heard the Beatles’ first me easy access to the great live revues held Wright, Boosey and Hawkes, Campbell- Parlophone record, “Love Me Do,” I was periodically at that borough’s premiere Connelly, Keith Prowse, Feldmans, not overly impressed.
[Show full text]
Until the End of the World Music Credits
(Below are the credits for the music in the English version, followed by the credits, in German, for the extended restored version): English-language music credits: Musical Score Graeme Revell Musical Score Graeme Revell Solo Cello and Additional Improvisation David Darling Music Supervision Gary Goetzman and Sharon Boyle Picture and Music Editor Peter Przygodda MUSIC Music Coordinators Barklie K. Griggs Jennifer Quinn-Richardson Dana K. Sano Music Recording and Mixing Studios Tritonus Studios, Berlin Music Editor (Synch) Dick Bernstein (Offbeat Systems) Music Mixing Engineer Gareth Jones 2nd Sound Engineer Gerd Krüger Assistant Maro Birkner Additional Music Recordings Hansa Tonstudios, Berlin MUSIC TITLES IN ORDER OF APPEARANCE: "GALKAN" Appears on "Les Aborigènes, Chants et Danses de l'Australie du Nord" Phonogramme ARN 64056 Courtesy of Arion "SAX & VIOLINS" Performed by Talking Heads Lyrics and Music by David Byrne Music by Chris Frantz, Jerry Harrison, Tina Weymouth Producer Steve Lillywhite and Talking Heads Mixed by Kevin Killen Publisher Bleu Disque Music Co. Inc./ Index Music admin. by WB Music Corp./ASCAP Courtesy of Warner Bros. Records Inc./Sire Records Company/FLY Talking Heads Appear Courtesy of EMI Records Ltd. "SUMMER KISSES, WINTER TEARS" Performed by Elvis Presley Writers Jack Lloyd, Ben Weissman, Fred Wise Publisher WB Music Corp./Erica Music/ ASCAP Courtesy of RCA Records Label of BMG Music "MOVE WITH ME" Performed by Neneh Cherry Writers Neneh Cherry/Cameron Mcvey Producer Booga Bear/Jonny Dollar Publisher Virgin Music Ltd/Copyright Control/ BMI/PRS Courtesy of Circa Records, Ltd. "IT TAKES TIME" Performed by Patti Smith and Fred Smith Writers Fred Smith and Patti Smith Producer Fred Smith Publisher Druse Music Inc/Stratium Music, Inc./ASCAP Courtesy of Arista Records, Inc.
[Show full text]
MUSIC BUSINESS and STUDIO RECORDING
ROB FREEMAN TITLEWAVE PRODUCTIONS, Inc. email: [email protected] www.titlewaveproductions.com MUSIC BUSINESS and STUDIO RECORDING PRODUCTION w/RECORDING and MIXING CREDITS (Partial List) Go-Go's* “Beauty and the Beat” IRS Records ^†º • Double Platinum No.1 LP “We Got the Beat” IRS Records • Gold No. 2 Single “Our Lips are Sealed” IRS Records Top 10 Single Twisted Sister “Bad Boys of Rock n' Roll” TSR Records Debut Single Gregg Swann “Dizzy at the Door” Dalin Records R&R Chart Top 20 Tim Moore “Flash Forward” Elektra LP “Yes” (Single) Top Tapes Records No.1 Brazil/Portugal Single Bullet Theory “Single Bullet Theory” Nemperor Billboard Chart LP “Keep it Tight” Nemperor Top 100 Single Larry Gowan “Gowan” Columbia Canadian Chart LP Queen City Kids “Black Box” Epic Canadian Chart LP Regina “Deep Dreamin'” Johnny Apollo EP Allen Robin “Thank You Mr. President” Columbia Comedy LP Surgin' “When Midnight Comes” EMI Records UK Import Chart LP Kevin Sepe “On the Dance Floor” Domain Records 12” Single Jailbait “(Let Me) Be the One” Atlantic Records Billboard 12” Chart RECORDING and/or MIXING CREDITS (Partial List) Kiss “Ace Frehley” Casablanca †• Platinum LP “New York Groove” Top 10 Single “Music from THE ELDER” Casablanca Billboard Chart LP “Lick it Up” Mercury Billboard Chart LP Abba “Can't Shake Loose” Polygram Top 30 Single Blondie “Blondie” Chrysalis ¥ Gold LP “Plastic Letters” Chrysalis ¥ Gold LP “Best of Blondie” Chrysalis † • 4/12 on Platinum LP The Ramones “Ramones” Sire Billboard Chart LP “Ramones Mania” Rhino • 3/30 on Gold
[Show full text]
The Top of the Poppers Sing and Play Punk
Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’.
[Show full text]
CREATIVITY and INNOVATION in the MUSIC INDUSTRY Creativity and Innovation in the Music Industry
CREATIVITY AND INNOVATION IN THE MUSIC INDUSTRY Creativity and Innovation in the Music Industry by PETER TSCHMUCK Institute of Culture Management and Culture Science, University of Music and Performing Arts Vienna, Austria A C.I.P. Catalogue record for this book is available from the Library of Congress. ISBN-10 1-4020-4274-4 (HB) ISBN-13 978-1-4020-4274-4 (HB) ISBN-10 1-4020-4275-2 (e-book) ISBN-13 978-1-4020-4275-1 (e-book) Published by Springer, P.O. Box 17, 3300 AA Dordrecht, The Netherlands. www.springer.com Printed on acid-free paper Printed with the support of the Austrian Ministery of Education, Science, and Culture All Rights Reserved © 2006 Springer No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed in the Netherlands. TABLE OF CONTENTS Preface ix Acknowledgements xi Introduction xiii 1. Aim and Structure of the Book xiii 2. Implications of Culture Institutions Studies xvi Chapter 1: The Emergence of the Phonographic Industry 1 Within the Music Industry 1. The Phonograph as Business Machine 1 2. “Coin-in-the-Slot:”-Machine 6 3. Records and Gramophones 9 4. “Herr Doctor Brahms Plays the Piano” 15 Chapter 2: The Music Industry Boom until 1920 19 1.
[Show full text]
Modern Methods of Monetisation for Independent and Major Record Labels: 360 and Beyond
Modern methods of monetisation for independent and major record labels: 360 and beyond In the music ecosystem, the record label is the ‟facilitator” and the ‟doer” that produces, manufactures, distributes, promotes and markets music tracks and albums. The term ‟record label” derives from the circular label in the centre of a vinyl record, which prominently displays the manufacturer’s name, along with other information. While the business model of music labels has substantially changed, since the day when the term ‟record label” was spinned, some things are immune to the passing of time: the corporate structure of a record label is still the same, with a president in charge of the business of the whole company at the top, and various vice presidents in charge of different departments such as: A&R (artists and repertoire) – in charge of discovering new talent, assisting the artist with song selection, choosing the people who will produce the tracks and deciding where the album will be recorded; Art department – in charge of all the artwork that goes along with producing songs (including CD, MP3 and streaming cover art, advertisements and displays at music stores and websites); Artist development or Product development – responsible for planning the careers of the artists who are signed to the record label, by promoting and publicizing the artists over the course of their career; Business Affairs – which deals with the business side of things such as bookkeeping, payroll and general finances; Label liaison – which acts as the liaison, between
[Show full text]
The Challenging Future of Artist Representation
THE CHALLENGING FUTURE OF ARTIST REPRESENTATION Dina LaPolt, Esq. @dinalapolt @lapoltlaw CLE, SXSW 2015 Saturday, March 21 3:30 to 4:30pm TABLE OF CONTENTS Materials Page Modern Challenges in Artist Representation................................................................................... 1 By Dina LaPolt, February 17, 2015 The Top Seven Major Areas of Negotiation for Record Deals..................................................... 11 Redacted Recording Agreement Deal Proposal............................................................................. 16 February 2015 The Top Ten Artist Brands............................................................................................................. 23 By Giles Fitzgerald, excerpted from Building Your Artist’s Brand as a Business, edited by Dina LaPolt, FRUKT Communications, UK, 2012 Redacted Remixer Agreement (Used with Electronic and Dance Music Artists)......................... 30 Solis v. Blancarte, TAC 27089...................................................................................................... 32 Lindsey v. Lisa Marie Entertainment, TAC 28811........................................................................ 43 Copyright and the Music Marketplace: Executive Summary........................................................ 57 By the United States Copyright Office Comment Paper in Response to the Department of Commerce Internet Policy Task Force's Green Paper on Copyright Policy, Creativity, and Innovation in the Digital Economy, February 17, 2014...............................................................
[Show full text]
2017RSD PUBLIC(Version
THE TITLES BELOW ARE BEING RELEASED EXCLUSIVELY FOR RECORD STORE DAY (v.1 updated 3-21-17) HOW ARTIST TITLE LABEL FORMAT MANY? ¢ Against Me! Stabitha Christie Total Treble 7" picture4000 disc ¢ Air Le Soleil Est Pres de Moi Parlophone/Rhino 12" 2000 ¢ AJJ Decade of Regression: Live At SideOneDummySideOneDummy LP 1200 ¢ Alice in Chains Get Born Sony Legacy 2 x 7" 4000 ¢ All Time Low MTV Unplugged Hopeless Records LP 1300 ¢ Andre 3000 All Together Now Sony Legacy 7" 5000 ¢ Animal Collective Meeting Of The Waters Domino Recording Co.10" 1200 ¢ Atomic Bomb Band The Atomic Bomb Band (Performing theLuaka Music Bopof William Onyeabor)12" EP 1400 ¢ Avenged Sevenfold Waking The Fallen Hopeless Records 2 x LP picture1300 disc ¢ Banks and Steelz Wild Season (featuring Florence Welch) Warner Bros. 7" 2800 ¢ Big L Devil's Son EP (From The Vaults) Sony Legacy LP 3000 ¢ Big Star Complete Third: Vol 3: Final Masters Omnivore Recordings2 x LP 2500 ¢ Blind Mr. Jones Stereo Musicale (Expanded) Graveface Records 2 x LP 1500 ¢ Blitzen Trapper Unreleaed Recordings Series: Waking BulletsLidkercow at Breakneck SpeedLP 1400 ¢ David Bowie BOWPROMO Parlophone/Rhino LP Box 5000 ¢ David Bowie Cracked Actor (Live Los Angeles '74) Parlophone/Rhino 3 x LP 5000 ¢ Brother Ali The Undisputed Truth Rhymesayers 3 x LP 1500 ¢ Danny Brown Ain't It Funny Warp Records 12" Picture1300 disc ¢ Bullet For My Valentine Don't Need You Spinefarm 10" 1530 ¢ R.L. Burnside Long Distance Call Fat Possum Records LP 2500 ¢ The Cadillac Three Live at Abbey Road Big Machine Records 10" 1500 ¢ The Cars Live at the Agora, 1978 Elektra Catalog Group2 x LP 4000 ¢ Johnny Cash Children's Album Sony Legacy LP 3000 ¢ Cheap Trick The Epic Archive Vol.
[Show full text]
Seymour Stein, Record Collector and Cofounder of Sire Records, While Being Interviewed by ‘Rolling Stone,’ Circa 1977
LIFETIME AC HIE V E M ENT AWA R D IN THE NON PERFORMER CATEGORY Seym our Stein By Tony Fletcher he question to be asked about Sey stinctively drawn to doo-wop - a music he often heard mour Stein is not “How has he in performed on the Brooklyn streets and in the city’s echo- fluenced your taste in music,” but chambered subway stations. By the time he hit his teens, "H ow often, or h o w profoundly, has Stein was spending every penny he could beg, borrow, he influenced your taste in music?” or haggle on records. Through thirty-eight years at the “Round my neighborhood, die record store was ac helm of Sire Records, acquiring so much tually a sporting-goods store,” he recalls, with the attention to detail that all great histori Tgenuine talent we could fill these pages ans have, “where round the back with all just by listing the artists he signed, he the basketballs and catching mitts - has proved time and again that the which were alien to me - was a record w ords music and business can coexist department. W hen I wanted real in harmony — even if, as those who R&?B, I had to go to downtown Brook have enjoyed his mealtime renditions lyn, or take the subway train all the w ay of bygone hit records can testify, such to Harlem.” There, on 125th Street, he harmony is hot always perfectly pitched. stood outside Rainbow Records and the Stein is of that breed - and we are many - who did not choose his life in music as much as it Record Shack and listened in wonderment.
[Show full text]
Seymour Stein's Private Collection Goes on Sale
FOR IMMEDIATE RELEASE Contact: Jaclyn Todisco Maggie Beaudouin 646-695-7053 646-695-7050 [email protected] [email protected] SEYMOUR STEIN’S PRIVATE COLLECTION GOES ON SALE Fine Paintings & Sculptures, Art Deco, & Ceramics Amongst Thousands of Collectibles Being Sold NEW YORK – Starting May 2, New York City-based auction house Guernsey’s in conjunction with Mid-Hudson Galleries, will offer for sale the collection of Seymour Stein, co-founder of Sire Records and Vice President of Warner Bros Records. The Seymour Stein Auction will feature approximately 2,400 items of original art, rare advertising, ceramics, and a wide assortment of other collectibles from the music mogul’s private collection. Stein is most notably known in the music industry for signing pioneer artists such as Madonna, the Pretenders, the Ramones, Talking Heads, and The Undertones. His career began as early as high school, working part-time for Billboard in the 1950s. In 1966, Stein and record producer Richard Gottehrer founded Sire Productions, which led to Sire Records. In 1975, Stein signed the Ramones, ushering in an 18-year period of unrivalled success for the label, whose artists have achieved record shattering revenues, awards and recognition over the last four decades. His talent as a music industry executive is only rivaled by his eye as a collector of fine art. According to Art Daily, Madonna stated that Stein “started collecting Art Deco back in the early 1960s, long before it was in vogue and moved onto the Symbolist and Pre-Raphaelite paintings a few years later.” Ahmet Ertegun, Co-founder of the legendary record label Atlantic, added that “Seymour Stein has been an avid collector of art, objects d’art and antique furnishings.
[Show full text]
Ice-T Power Mp3, Flac, Wma
Ice-T Power mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Power Country: Europe Released: 1988 Style: Gangsta, Conscious MP3 version RAR size: 1895 mb FLAC version RAR size: 1234 mb WMA version RAR size: 1476 mb Rating: 4.5 Votes: 129 Other Formats: MP3 MOD VOX MP1 AIFF WMA ADX Tracklist Hide Credits A1 Intro 1:11 A2 Power 4:25 A3 Drama 4:15 A4 Heartbeat 4:08 The Syndicate A5 3:32 Featuring [Syndicate Connection] – Microphone King Donald D*, DJ Hen G* A6 Radio Suckers 4:24 I'm Your Pusher B1 5:35 Featuring [Syndicate Connection] – Pimpin' RexWritten-By – Curtis Mayfield B2 Personal 3:43 B3 Girls L.G.B.N.A.F. 3:00 High Rollers B4 4:36 Featuring [Syndicate Connection] – Amazing Many Styles Kid Jazz* B5 Grand Larceny 3:51 B6 Soul On Ice 4:42 B7 Outro 0:39 Companies, etc. Marketed By – Warner Bros. Records Inc. Manufactured By – TELDEC Record Service GmbH Phonographic Copyright (p) – Sire Records Company Copyright (c) – Sire Records Company Phonographic Copyright (p) – WEA International Inc. Copyright (c) – WEA International Inc. Made By – Wea Musik GmbH Pressed By – Record Service GmbH Published By – Colgems-EMI Music Inc. Published By – Rhyme Syndicate Music Published By – Warner-Tamerlane Publishing Corp. Recorded At – Syndicate Studios West Mixed At – Entourage Studios Produced For – Rhyme Syndicate Productions Credits Design [Hyped-up Design] – Kav Deluxe Engineer [Mix] – Mark (Full Moon) Wolfson!* Executive-Producer – Ice-T Management – Jorge Hinojosa, Rhyme Syndicate Management Management [Road Management] – Charlie Jam* Management [Syndicate Mouth Piece] – Eric Greenspan Photography By – Glen E.
[Show full text]