LIMITED VINYL Music Trade Magazines and from National DJ Record Pools

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LIMITED VINYL Music Trade Magazines and from National DJ Record Pools

UBIQUITY RECORDS PRESENTS CIRCLE CITY BAND: CIRCLE CITY BAND FOR INFORMATION AND SOUNDCLIPS OF OUR TITLES, GO TO WWW.UBIQUITYRECORDS.COM/PRESS STREET DATE: 10/30/2012 Jed and Lucia HELIUM EP “Magic” by the Circle City Band was a 1 Magic* - 6:39 well-known single in the 80s, loved by 2 My Place* - 4:28 roller skaters and fans of BET alike 3 Gladiators - 6:29 which used the track as it’s theme 4 Party Lights* - 7:59 song. Almost thirty years later, Luv 5 Time Tunnel - 5:39 6 Love - 4:37 N’Haight presents the complete 7 Lonely - 5:07 full-length album of the Circle City 8 Hold On - 6:37 Band including unreleased tracks! 9 Hello Stranger - 5:05 Paul Thomas, the man behind Circle City Band began his *All songs previously unreleased career in the seventies performing professionally with various except as noted R&B, Pop, Rock, Jazz and Gospel acts, while also working as a live sound and effects engineer for acts such as Manchild, Ebony Rhythm Funk Campaign and Amnesty. CATALOG LHR10068-2 **CATALOG LHR10068-1 In 1979 Paul was introduced to multi-track recording, using CD DIGIPAK/WHOLESALE PRICE: $8.25 DLP /WHOLESALE PRICE: $10.98 the creative control it provided to spend more time writing and CD BOX LOT: 30 LP BOX LOT: 30 recording, ultimately working both as a session musician and VINYL IS NON-RETURNABLE composer. Two years later this led to a two-year road tour with FILE UNDER: BOOGIE FUNK, MODERN SOUL, DISCO LTD, the legendary late 70s Disco and R&B band. PARENTAL ADVISORY STICKERED: NO FOR FANS OF: TWILIGHT, PEOPLE’S CHOICE, CAMEO, DAM FUNK At the end of the tour, Paul returned to Indianapolis, where the independent gospel label Tyscot Records, had started a **Purchase of the LP includes customer link for free download secular R&B record division called Circle City Records. Between 1983 and 1985 Circle City Records released three 12 inch singles. Magic by the Circle City Band, received excellent reviews in Billboard, Cash Box and Record World LIMITED VINYL music trade magazines and from national DJ record pools. It made the Top 10 list in several states and was used as the AND CD PRESSING theme song for the station ID on the BET cable channel. RECOMMENDED UBIQUITY TITLES: This is the first release of the full album and will be available on CD and LP. Six of the nine tracks are unreleased featuring a great mix of modern soul, boogie funk and a few downtempo love songs. SALES: [email protected] (949) 764-9012 ext.106 PRESS & PUBLICITY: [email protected] TWILIGHT TWILIGHT WENDELL HARRISON 1010 W. 17TH STREET COSTA MESA, CA 92627 PAINS OF LOVE STILL LOVING YOU ORGANIC DREAM PHONE: (949) 764-9012 FAX: (949) 764-9013 CD/LP CD/LP CD/LP.

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Lecture Outlines
CHAPTER FOURTEEN: “SMELLS LIKE TEEN SPIRIT”: HIP-HOP, “ALTERNATIVE” MUSIC, AND THE ENTERTAINMENT BUSINESS Lecture Outlines Lecture 1: Hip-Hop and Techno I. Hip-Hop Breaks Out (1980s–1990s) A. In the mid-1980s, rap moved into the popular mainstream. B. 1986 saw the release of the first two multiplatinum rap albums: 1. Raising Hell by Run-D.M.C. a) Number Three on Billboard’s pop albums chart b) Over three million copies sold 2. Licensed to Ill by the Beastie Boys a) Number One for seven weeks b) Over seven million copies sold 3. Expansion of the audience for hip-hop music was the key to the commercial success of these albums. a) Included millions of young white fans, attracted by the rebelliousness of the genre C. Both Raising Hell and Licensed to Ill were released on a new independent label called Def Jam. CHAPTER FOURTEEN: “SMELLS LIKE TEEN SPIRIT”: HIP-HOP, “ALTERNATIVE” MUSIC, AND THE ENTERTAINMENT BUSINESS 1. Co-founded in 1984 by the hip-hop promoter Russell Simmons and the musician-producer Rick Rubin 2. Cross-promoting a new generation of artists 3. Expanding and diversifying the national audience for hip-hop 4. In 1986, Def Jam became the first rap-oriented independent label to sign a distribution deal with one of the “Big Five” record companies, Columbia Records. D. Run-D.M.C. 1. Trio: a) MCs Run (Joseph Simmons, b. 1964) and D.M.C. (Darryl McDaniels, b. 1964) b) DJ Jam Master Jay (Jason Mizell, b. 1965) 2. Adidas Corporation and Run-D.M.C.
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An Exploration of Recording and the Music Business
Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Spring 4-30-2017 An Exploration of Recording and the Music Business Erika Nalow [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the Arts Management Commons, Audio Arts and Acoustics Commons, and the Music Performance Commons Repository Citation Nalow, Erika, "An Exploration of Recording and the Music Business" (2017). Honors Projects. 258. https://scholarworks.bgsu.edu/honorsprojects/258 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. Erika Nalow HNRS 4990 Honors Project Conclusion An Exploration of Recording and the Music Business The following questions were initially proposed during the planning of my Honors Project. I have chosen to organize the final project results around these questions and how they were specifically answered through conducting my creative project. “Can an independent artist record, mix, produce, promote, and distribute their own original work successfully?” o To answer this part of the research thoroughly, I will give a detailed recitation of the planning and execution of this project. This project began with me writing an original song entitled “Upside Down.” After composing it, I went to my project advisor, Mark Bunce, and reserved a day in the Kuhlin Center recording studio on BGSU’s campus to record the song. I then arranged additional music for the song- writing parts for trombone, trumpet, alto saxophone, acoustic guitar, electric guitar, bass, drums, piano, and vocals.
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Revision Guide
Music Industry Revision Guide MUSICIAN LIVE SOUND TECHNICIAN (1) Carry out sound checks before show (1) Train and practise regularly to keep (2) Choose suitable microphones and equipment instrumental skills to a high standard (3) Position and rig-up microphones (2) Turn up on time and prepared (4) Operate the sound desk during a performance (3) Look after instrument/voice (4) Learn new music for a show (5) Perform at various venues MUSICAL DIRECTOR / Sound Desk CONDUCTOR Performance (1) Unify performers (2) Set tempo and execute clear & Creative performance indications by conducting (3) Give instructions and shape the sound Roles of the ensemble, e.g. orchestra, choir (4) Choose the music and study the scores (5) Relay ideas to performers COMPOSER/ SONG-WRITER (1) Compose music for a TV programme INSTRUMENTAL SUPPORT (2) Write a song for a famous singer (3) Keep to a deadline ROADIE (1) Takes care of instruments (4) Work with the performers to ensure (1) Carry equipment (2) Provides backline technical support for composition/song is at a suitable standard (2) Set up before event a band (5) Check and liaise with employer (whoever (3) Look after equipment (3) Gives advice to band of best equipment commissioned composition) to make sure (4) Pack away after event (4) Fixes broken guitar strings or other the music fits what is asked equipment during a show MASTERING ENGINEER: SESSION MUSICIAN (1) Does the final edit (changes) of the recording (1) Turn up on time creating the final ‘master’ version (2) Rehearse the given music and keep (2)
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Session and Guest Musicians
Sessionand Guert Musicians Tbe aiewsand opinions expressedin this article part of your group by virtue of their NeighbouringRights not n eant to substitute for legal adztice contribution or where they have performed Neighbouring rights are an exciting wbich should be sougbt in eacb partimlar for free. development for session musicians. While "neighbouring Youcanhelp avoid such complications by not a copyright per se, rights including in the contract a declaration that are the performance rights performers Introduction you are the exclusive owner of the entire have in their performances, the makers of right, tide and interest in and to all of the Whether you are a major label recording sound recordings have in their recordings, 'artist masters that are the subject matter of the or an independentmusician paying for and broadcasters have in the communication Agreement (Sanderson,3lT), free of any (Paul own recording, you may occasionally signals they broadcast" Sanderson's, claims bythe session musician. Furthermore, ire a sessionmusician to record tracks on Musicians and the Lazl In Canada, pg. 15). you may stipulate that the session musician your record.Session musicians could include Neighbouring rights became statutory after irrevocably assigns to you, in perpetuity, all backupvocalist, cello players,a hot guitar t l99V amendment to the Copyright Act, ffia righs in and to said recordinp, thus ensuring and shortly thereafter the Neighbouring brought in to spiceup a recording, "hired S Nplayer that the gun" retains no stock in the * =ffio. it could include an entire bandbrought Rights Collective of Canada (I\trRCC) was material beyond fulfillment of the to playbehindavocalist.
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Career Challenges Musicians Face in the United States Ying Zhen, Ph.D
This is a preliminary draft. Please do not cite or circulate without the permission of the author. Career Challenges Musicians Face in the United States Ying Zhen, Ph.D. Associate Professor of Business and Economics Wesleyan College Macon, GA, U.S.A. Phone: 478-757-3917 Email: [email protected] Abstract1 This study summarizes and analyzes the challenges and opportunities that musicians face in the United States, based on a survey of 1,227 musicians in the U.S. in 2018, which was conducted by the Music Industry Research Association (MIRA) and the Princeton University Survey Research Center, in partnership with MusiCares. The results reveal that although “artistic expression” is highlighted as musicians’ favorite aspect of being a musician, 61 percent of musicians’ music- related income is not sufficient to meet their living expenses. Such a share among male musicians is slightly lower than that of female musicians: 58.4 percent vs. 66.3 percent, respectively. However, such a share among white musicians is significantly lower than that of non-white musicians: 57.0 percent vs. 75.5 percent, respectively. The average American earns income from 3.5 music-related activities per year. The most common income source is live performances, followed by music lessons and performing in a church choir or other religious service. MusiCares membership has a negative effect on music-related earnings. All else being equal, musicians with a MusiCares membership make about 40% less music-related income than those without the membership. This might be in consistent with the role MusiCares plays as the charitable arm of the Recording Academy.
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Unit 1 – the Music Industry Revision Guide
Unit 1: The Music Industry Revision Guide Contents Job Roles 1 Musician | Composer/Song Writer 1 Record Producer 2 Conductor | Live Sound Technician 3 Roadie 4 Instrument Technician | Artistic Manager 5 Venue Manager 6 Studio Manager | Promoter 7 Marketer 8 A&R | Sound Engineer 9 Session Musician 10 Mastering Engineer | Manufacturer 11 Music Journalist/Blogger 12 Broadcaster | Software Programmer/App Developer 13 DJ 14 Retailer | Distributer 15 Employment Types 17 Full Time | Part Time 17 Freelance/Self | Permanent Vs Casual 18 Venue 19 Large Venues | Medium/Small Venues 19 Health, Safety and Security 20 Organisations 21 Recording Companies/Record Labels 21 Major Labels 21 Sub Labels 22 Independent Labels 22 Music Publishing 23 Self Publishing 24 Promotion Companies | PR and Marketing Companies 25 Hire and Transport Companies 26 Agencies, Unions and Trade Bodies 27 Agencies 27 Unions 28 Trade Bodies 29 Job Roles Musician A musician is someone who performs music through the playing of an instrument or singing. Musicians play many different styles of genre’s, from Jazz to Pop, from Classical to Folk. Musicians main responsibilities are: Train and practise regularly to keep skills to Why is it difficult to be a a high standard professional musician? Turn up to rehearsals on time and ready to play Ed Sheeran Look after their instrument or their voice (Guitarist and Learn new music for a show. Vocalist) How do Musicians relate to other job roles? Record Producer Oversee and manage the recording of the Musician. Coach the artist in the studio. Conductor Direct the Musician in rehearsal, helping them to develop.
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Learning Aim B Understand Job Roles in the Music Industry Know Who Is
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THE GARY MOORE DISCOGRAPHY (The GM Bible)
THE GARY MOORE DISCOGRAPHY (The GM Bible) THE COMPLETE RECORDING SESSIONS 1969 - 1994 Compiled by DDGMS 1995 1 IDEX ABOUT GARY MOORE’s CAREER Page 4 ABOUT THE BOOK Page 8 THE GARY MOORE BAND INDEX Page 10 GARY MOORE IN THE CHARTS Page 20 THE COMPLETE RECORDING SESSIONS - THE BEGINNING Page 23 1969 Page 27 1970 Page 29 1971 Page 33 1973 Page 35 1974 Page 37 1975 Page 41 1976 Page 43 1977 Page 45 1978 Page 49 1979 Page 60 1980 Page 70 1981 Page 74 1982 Page 79 1983 Page 85 1984 Page 97 1985 Page 107 1986 Page 118 1987 Page 125 1988 Page 138 1989 Page 141 1990 Page 152 1991 Page 168 1992 Page 172 1993 Page 182 1994 Page 185 1995 Page 189 THE RECORDS Page 192 1969 Page 193 1970 Page 194 1971 Page 196 1973 Page 197 1974 Page 198 1975 Page 199 1976 Page 200 1977 Page 201 1978 Page 202 1979 Page 205 1980 Page 209 1981 Page 211 1982 Page 214 1983 Page 216 1984 Page 221 1985 Page 226 2 1986 Page 231 1987 Page 234 1988 Page 242 1989 Page 245 1990 Page 250 1991 Page 257 1992 Page 261 1993 Page 272 1994 Page 278 1995 Page 284 INDEX OF SONGS Page 287 INDEX OF TOUR DATES Page 336 INDEX OF MUSICIANS Page 357 INDEX TO DISCOGRAPHY – Record “types” in alfabethically order Page 370 3 ABOUT GARY MOORE’s CAREER Full name: Robert William Gary Moore. Born: April 4, 1952 in Belfast, Northern Ireland and sadly died Feb.
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STEVEN POTACZEK 4309 Lakeshore Cv, Birmingham, AL 35242 · (317) 450-7519 [email protected] · ·
STEVEN POTACZEK 4309 Lakeshore Cv, Birmingham, AL 35242 · (317) 450-7519 [email protected] · www.linkedin.com/in/stevenpotaczek · www.hereaftermusic.com EDUCATION AUGUST 2012 MASTERS OF SCIENCE IN MUSIC TECHNOLOGY, INDIANA UNIVERSITY Passed with Distinction | Thesis: “Music Technology Pedagogical Methods” MAY 2002 BACHELOR OF ARTS IN MUSIC BUSINESS, ANDERSON UNIVERSITY Graduated with honors Cum Laude | Minor: Christian Ministry ACADEMIC APPOINTMENTS 2019 – PRESENT ASSISTANT PROFESSOR, SAMFORD UNIVERSITY Fully developed a new undergraduate program that results in a B.A. in Commercial Music (NASM approval pending) with 4 unique concentration areas: • Music Business • Songwriting • Music Production • Live Performance and Touring 10 new courses were developed and are now being taught: • Introduction to Music Business • Music Business Revenue Streams • History of American Popular Music • Songwriting • Recording Techniques I • Recording Techniques II • Music Production • Live Performance and Touring • Commercial Music Ensemble • Commercial Music Seminar Furthermore, applied studies in 6 new areas previously unavailable at the university will be offered as a result of the program (guitar, bass, drums, songwriting, music production, keyboard programming). 2020 - PRESENT ADJUNCT INSTRUCTOR, ALABAMA SCHOOL OF FINE ARTS Created and teaching several pioneering courses in areas of music technology, production, and songwriting to select high school students from across the state of Alabama. Speaking at weekly music seminars on similar topics. 2008 – 2019 ADJUNCT PROFESSOR, ANDERSON UNIVERSITY Designed and taught curriculum for several new courses within the Music Business department: • Music Production • Artist Development • Booking and Concert Promotion • Introduction to Music Business • Record Label Management 2019 ADJUNCT INSTRUCTOR, BUTLER UNIVERSITY Taught Applications in Creative Media to students from multiple undergraduate programs across disciplines of music production/technology, film and TV production, marketing, and web development.
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Property of Tenstrings Music Institute Nigeria –
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Remuneration of Authors and Performers for the Use of Their Works and the Fixations of Their Performances
Remuneration of authors and performers for the use of their works and the fixations of their performances FINAL REPORT A study prepared for the European Commission DG Communications Networks, Content & Technology by: Digital Agenda for Europe This study was carried out for the European Commission by Europe Economics and Lucie Guibault, Olivia Salamanca and Stef van Gompel of the University of Amsterdam Internal identification Contract number: MARKT/2013/080/D SMART 2015/0093 DISCLAIMER By the European Commission, Directorate-General of Communications Networks, Content & Technology. The information and views set out in this publication are those of the author(s) and do not necessarily reflect the official opinion of the Commission. The Commission does not guarantee the accuracy of the data included in this study. Neither the Commission nor any person acting on the Commission’s behalf may be held responsible for the use which may be made of the information contained therein. ISBN 978-92-79-47162-9 DOI:10.2759/834167 © European Union, 2015. All rights reserved. Certain parts are licensed under conditions to the EU. Reproduction is authorised provided the source is acknowledged. Contents Abstract .................................................................................................................................................................................. 1 Introduction ........................................................................................................................................................................
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Calendar Item Press Release Larry Coryell Live in Concert January 10
Media Contact: Jane Onojafe 925.931.4855 [email protected] FOR IMMEDIATE RELEASE December 16, 2014 Calendar Item Larry Coryell – Guitar’s ‘Godfather of Fusion.’ Live in concert Saturday, January 10, 8:00 p.m. at the Firehouse Arts Center in Pleasanton. Larry Coryell continues to be hailed as master performer, recording artist, composer, innovator, and mentor. More than 100 albums over the past 45 years. Acclaimed session musician with Jimmy Webb, The 5th Dimension, Chick Corea, John McLaughlin...a true Renaissance musician who excels at all musical styles, including jazz, rock, classical. Composer of orchestral and chamber works. If you love guitar, you can’t miss the master in live performance. Reserved seating tickets are $28.00 - $38.00; available at www.firehousearts.org, 925-931-4848, or at the center Box Office, 4444 Railroad Avenue, Pleasanton. Press Release Larry Coryell Live in Concert January 10 Guitar’s ‘Godfather of Fusion’ Pleasanton, Calif. He is one of the greats. Larry Coryell has recorded over 100 albums/CD's (and is still recording), performed with Miles Davis and Jimi Hendrix (to name-drop just a few), is in many a Jazz History book, has graced the front page of The Rolling Stone magazine and the inside pages of many others including Guitar Player, and is still touring the world over. Larry Coryell in Concert, Firehouse Arts Center, Saturday, January 10, 8:00 p.m. Reserved seating tickets for Larry Coryell in Concert are $28.00 - $38.00, and can be purchased online at www.firehousearts.org, by calling 925-931-4848, and in person at the Box Office, 4444 Railroad Avenue, Pleasanton.
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