Universal Music Group

Total Page:16

File Type:pdf, Size:1020Kb

Universal Music Group Universal Music Group Jose Arroyo Business Management 2021 1 Background UMG is the one of the largest music companies in the world. The company oversees various business ventures pertaining to recorded music, music publishing, live events, and merchandising. UMG owns a dynamic musical catalogue that attracts fans and supporters from all walks of life. The company’s profound music library, innovative approach to music distribution, ability to promote artists, and operational adaptability is the reason why they captured 28.9% of the total recorded music market share in 2016, equalling $5.27B in total revenue, according to statista.com. 2 Leadership Sir Lucian Grainge is the CEO and Chairman of Universal Music Group. Grainge has over 30 years of experience in the music industry and has worked with many artists in that three decade time span. He began working at UMG in 1993 as GM of A&R and Business Affairs. Through his innovative approach to music distribution, accompanied with his knowledge of the industry, he continued to climb the organizational ladder, and eventually was named CEO and Chairman in 2010. He has been recognized as one of the most influential executives in the music industry on many occasions, and continues to lead UMG into a future of prosperity through innovative asset acquisitions and joint ventures with various entertainment companies. 3 Company Structure UMG’s organizational structure begins with Sir Lucian Grainge. Although he is the CEO and Chairman of UMG, the company’s global reach does not allow him to directly supervise all business operations. This is how he has chosen to divide responsibilities and business focuses: • Michelle Anthony - VP of UMG - Oversees U.S. Commercial Services (sales, live events, label merchandising, college marketing, and fan engagement. • Frank Briegmann - President & CEO of Central Europe & Deutsche Grammaphon - Responsible for UMG operations in most of the Eastern region of the world. • Jody Gerson - Chairman and CEO of Universal Music Publishing Group - Heads all publishing activities. • Jeffrey Harleston - General Counsel and Executive VP of Business & Legal Affairs - Oversees all business transactions, contract, corporate policies, and litigation. • David Joseph - Chairman and CEO of Universal Music UK and Ireland - Exectutes operations in UK and Ireland, including various record labels, such as Capital, Decca, Island, and Virgin EMI. • Andrew Kronfeld - Executive VP of Marketing - Works directly with labels regarding A&R activities, ensuring artists receive the greatest marketing strategies and creative development • Boyd Muir - CFO and Executive VP of UMG - Manages financial operations, which include asset management, information technology, accounting, and human resources. • Michael Nash - Executive VP of Digital Strategy - Heads all digital business development activities across the globe. • Gautam Srivastava - Executive VP of Human Resources - Supervises all human resource activities on a global scale, including compensation, benefits, recruitment, people development, pensions, and leadership planning. • Will Tanous - Executive VP of Communications for UMG - Responsibilities include shaping and communication UMG’s business strategy, managing internal and external communications, and public policy/government relations correspondence. 4 Organizational Chart 5 Core Values Artistry Innovation Entrepreneurship UMG’s three core values are Artistry, Innovation, and Entrepreneurship. In their mission statement, UMG states they are committed to being a leader in the music industry’s technological transformation. This engagement enables their innovators and empowers their artists to explore new opportunities that emerge. 6 Social Responsibility UMG has partnerships with various organizations that enables them to use the power of music as a catalyst for positive change in the community. They promote and support various music programs and foundations, such as: Little Kids Rock - an organization that provides instruments and music training to underprivileged schoolchildren at no cost. Musicians on Call - a foundation that brings live and recorded music to the bedsides of hospital patients. Musicares - a foundation that provides assistance for people in the music industry during times of need. Sinfini for Schools - an organization that allows music teachers in the UK to download teaching resources on classical music for 11-14 years old students. XLP - A foundation that provides assistance to inner city youths struggling with various social and economic issues. Pencils of promise - a community based organization that creates schools and programs across the globe. 7 Goals and Objectives Some of UMG’s goals include: • Continue to find new revenue and marketing opportunities for all artists on their roster • Make music streaming revenue a sustainable source of income • Acquire assets that extend the company’s reach and attract music listeners of all demographics • Operate current assets through innovative marketing strategies that allows for greater revenue • Identify and develop recording artists and songwriters in the music industry • Collaborate with technology companies in order to drive the music industry forward • Cover all aspects of media and entertainment, not just music • Utilize data in order to find untapped markets in the music industry • Take advantage of new opportunities emerging through the advancement of technology 8 Products and Services UMG provides a wide array of products and services related to music and media. Obvious products and services include physical/digital albums and merchandise. However, the company also has the ability to operate in many other fields of the music industry through the assets they posses. Publishing rights and licensing agreements allow UMG to explore emerging markets in the industry, such as music streaming platforms, in order to capture further revenue. Notable products recently made possible by UMG include albums from Drake, and The Weekend, “More Life” and “Starboy,” respectively. Upcoming products worth mentioning include the 50th anniversary edition of The Beatles, “Sgt. Pepper’s Lonely Hearts Club Band” album, which UMG is expected to promote heavily through new physical packaging and on various online music streaming platforms. 9 Recent Deals and Acquisitions Although record sales are important to the company, new revenue being made possible by music streaming platforms has allowed UMG, as well as the music industry as a whole, to see substantial market growth. Last month, UMG executed a licensing agreement with Spotify, the leading music streaming platform. This agreement will allow Spotify access to UMG’s enormous musical catalogue at a discount royalty payment rate. In return, Spotify will restrict UMG’s new albums to Spotify’s paid subscribers for the first two weeks of the album release. The deal was made in order to incentivize upgrading from a free Spotify account to a paid subscriptions, which will in turn equal greater revenue for UMG and the recording industry as a whole. UMG is the first of the Big Three music companies to strike a deal with Spotify, illustrating a desire to collaborate with technological advancements and cater to changing music consumption preferences. UMG also acquired the licensing, publishing, and merchandising rights to the late great Prince, an iconic figure in the music industry. In February, UMG and Prince’s Estate made an agreement that allows UMG to operate and distribute Prince’s musical library, consisting of 25 albums and various unreleased material. UMG’s commitment to making music streaming a sustainable source of income is illustrated by this deal. Having the ability to manage this valuable asset and collaborate with Prince’s Estate on distributing his unreleased musical works puts the company in a profitable position. It also allows UMG to expand their reach to new music lovers, discover unexplored opportunities through song placement, and renovate aged recordings by combining them with modern talent. 10 Culture at UMG According to 24 reviews of UMG’s company culture, ranging from intern positions to executive roles within the company, UMG has a dynamic culture influenced by artistry, innovation, and communication. All 24 reviews on Indeed had a positive review, with 100% of them being graded as a four to five star experiences. Current and former employees praised the company for their friendly, yet focused atmosphere. Many reviews stated that management was very helpful and available for direction and guidance as needed. Collaboration and teamwork was also highly praised. Reviews reflect the notion that employees at UMG enjoy working in the music industry, and that the company is effectively acquiring talent that fits into the company culture. 11 Management According to Reviews on indeed.com, management at UMG is supportive, yet allows employees to work independently with little supervision. The notion that there is not a high degree of micro-supervision illustrates the idea that UMG’s management team places trust and confidence in the ability of their employees. It also shows belief in their recruitment process and hiring capabilities. Although there were a few negative reviews conveying the notion that some of UMG’s upper management is too demanding of their employees, 80% (24 out of 30) of the people who provided their perspective gave management a four to five star rating. There were also no complaints about job roles and responsibilities, meaning duties were described clearly and effectively
Recommended publications
  • And Duet Announce an Alliance to Present and Market the On-Demand Music Subscription Service Created by Sony Music Entertainment and Universal Music Group
    Yahoo! and Duet Announce an Alliance to Present and Market the On-Demand Music Subscription Service Created by Sony Music Entertainment and Universal Music Group SANTA CLARA, NEW YORK and PARIS -- April 5, 2001 -- Today, Yahoo! Inc. (Nasdaq: YHOO), a leading global Internet communications, commerce and media company, and Duet, the online digital music subscription service created by the world's two largest music companies, Universal Music Group and Sony Music Entertainment, announced an alliance to present and market Duet's U.S. service to visitors to the Yahoo! network and Yahoo!® Music (http://music.yahoo.com). The Duet subscription service is expected to launch this summer. The on-demand Duet subscription service will offer consumers the opportunity to access a broad range of quality music online with speed, ease of use, and reliability while respecting artists' rights. The service will provide music enthusiasts with the ability to compile personalized playlists and to share them with other Duet members, among other features. The Duet service is expected to launch with streaming music and plans to add downloads shortly thereafter. The Duet subscription service will offer music from Sony Music and Universal Music on a non-exclusive basis. Duet also expects to offer music from other companies, in order to provide consumers with the best experience and access to the most compelling selection of music available. "Yahoo! is pleased to join Sony Music and Universal Music, the world's two largest music companies, to promote the Duet subscription service to U.S. music fans," said Jeff Mallett, president and chief operating officer, Yahoo! Inc.
    [Show full text]
  • The Music Industry in the Social Networking Era
    THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Telecommunication, Information Studies and Media 2011 Abstract THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue Music has long been a pillar of profit in the entertainment industry, and an indispensable part in many people’s daily lives around the world. The emergence of digital music and Internet file sharing, spawned by rapid advancement in information and communication technologies (ICT), has had a huge impact on the industry. Music sales in the U.S., the largest national market in the world, were cut in half over the past decade. After a quick look back at the pre-digital music market, this thesis provides an overview of the music industry in the digital era. The thesis continues with an exploration of three motivating questions that look at social networking sites as a possible major outlet and platform for musical artists and labels. A case study of a new social networking music service is presented and, in conclusion, thoughts on a general strategy for the digital music industry are presented. Table of Contents List of Figures................................................................................................................................ iv List of Tables................................................................................................................................... v Introduction....................................................................................................................................
    [Show full text]
  • The Music Industry and the Fleecing of Consumer Culture
    The Music Industry: Demarcating Rhyme from Reason and the Fleecing of Consumer Culture I. Introduction The recording industry has a long history rooted deep in technological achievement and social undercurrents. In place to support such an infrastructure, is a lengthy list of technological advancements, political connections, lobbying efforts, marketing campaigns, and lawsuits. Ever since the early 20th century, record labels have embarked on a perpetual campaign to strengthen their control over recording artists and those technologies and distribution channels that fuel the success of such artists. As evident through the current draconian recording contracts currently foisted on artists, this campaign has often resulted in success. However, the rise of MTV, peer-to-peer file sharing networks, and even radio itself also proves that the labels have suffered numerous defeats. Unfortunately, most music listeners in the world have remained oblivious to the business practices employed by the recording industry. As long as the appearance of artistic freedom exists, as reinforced through the media, most consumers have typically been content to let sleeping dogs lie. Such a relaxed viewpoint, however, has resulted in numerous policies that have boosted industry profits at the expense of consumer dollars. Only when blatant coercion has occurred, as evidenced through the payola scandals of the 1950s, does the general public react in opposition to such practices. Ironically though, such outbursts of conscience have only served to drive payola practices further underground—hidden behind co-operative advertising agreements and outside promotion consultants. The advent of the Internet in the last decade, however, has thrown the dynamics of the recording industry into a state of disarray.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • Radio Airplay, Digital Music Sales and the Fallacy of Composition in New Zealand
    Review of Economic Research on Copyright Issues, 2010, vol. 7(1), pp. 67-81 RADIO AIRPLAY, DIGITAL MUSIC SALES AND THE FALLACY OF COMPOSITION IN NEW ZEALAND MEHNAZ BANDOOKWALA Abstract. Iexaminetheeffect that radio airplay has on the sale of digital music in New Zealand. This effect is also likely to influence the behavior of various music industry participants, including the record companies, radio industry and listeners. I find that on an industry level, radio airplay has no significant effect on the sale of digital music. However, on average, an increase in radio airplay of a given song is predicted to increase sales of that song, which is the so-called exposure effect. The discrepancy between the aggregate and individual effects is explained by the existence of the fallacy of composition: An increase in the airplay of a particular song usually happens at the expense of another song’s airplay, and so if more airplay does give greater sales of a given song, so less airplay will reduce the sales of competing songs, leading to ambiguous aggregate effects. It is also true that while individual songs compete with other songs for airplay, the radio industry competes with other activities and products consumed by listeners. Increases in the total airplay may not increase total sales, as the listener’s decision regarding digital single purchase is now made with consideration of their non-music consumption goods, and budget and time constraints. 1. Introduction Music copyright laws have a wide impact in New Zealand and overseas, due to the large number of people who participate in the music industry, and are impor- tant as they affect the amount of music that is produced and broadcast to listeners.
    [Show full text]
  • View Annual Report
    2016 ANNUAL REPORT CONTENT MESSAGES FROM THE SUPERVISORY BOARD AND THE MANAGEMENT BOARD 02 1 4 Profile of the Group and its Businesses | Financial Report | Statutory Auditors’ Report Financial Communication, Tax Policy on the Consolidated Financial Statements | and Regulatory Environment | Risk Factors 05 Consolidated Financial Statements | 1. Profi le of the Group and its Businesses 07 Statutory Auditors’ Report on 2. Financial Communication, Tax policy and Regulatory Environment 43 the Financial Statements | Statutory 3. Risk Factors 47 Financial Statements 183 Selected key consolidated fi nancial data 184 I - 2016 Financial Report 185 II - Appendix to the Financial Report: Unaudited supplementary fi nancial data 208 2 III - Consolidated Financial Statements for the year ended December 31, 2016 210 Societal, Social and IV - 2016 Statutory Financial Statements 300 Environmental Information 51 1. Corporate Social Responsibility (CSR) Policy 52 2. Key Messages 58 3. Societal, Social and Environmental Indicators 64 4. Verifi cation of Non-Financial Data 101 5 Recent Events | Forecasts | Statutory Auditors’ Report on EBITA forecasts 343 1. Recent Events 344 2. Forecasts 344 3 3. Statutory Auditors’ Report on EBITA forecasts 345 Information about the Company | Corporate Governance | Reports 107 1. General Information about the Company 108 2. Additional Information about the Company 109 3. Corporate Governance 125 6 4. Report by the Chairman of Vivendi’s Supervisory Board Responsibility for Auditing the Financial Statements 347 on Corporate Governance, Internal Audits and Risk 1. Responsibility for Auditing the Financial Statements 348 Management – Fiscal year 2016 172 5. Statutory Auditors’ Report, Prepared in Accordance with Article L.225-235 of the French Commercial Code, on the Report Prepared by the Chairman of the Supervisory Board of Vivendi SA 181 ANNUAL REPORT 2016 ANNUAL REPORT 2016 The Annual Report in English is a translation of the French “Document de référence” provided for information purposes.
    [Show full text]
  • Marketing in the Music Industry
    Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky Marketing in the Music Industry (Bakalářská práce) Autor: Jan Kašpír Studijní obor: Angličtina se zaměřením na aplikovanou ekonomii Vedoucí práce: Joseph James Ference Dr. Olomouc 2012 I declare that I elaborated this paper independently and that I mentioned the absolute list of works cited In Olomouc on the day I hereby express my deepest gratitude towards Dr. Joseph Ference for his constant guidance, advice and patience in the development of this bachelor thesis. List of Abbreviations Used in the Thesis A&R – artist and repertoire ARC – American Record Corporation BBC – British Broadcasting Company BMG – Bertelsmann Music Group CBS – Columbia Broadcasting System CD – compact disc CD-R – recordable compact disc CD-ROM – Compact Disc Read-only memory – preprinted CD containing data readable by a computer CEO – chief executive officer DAT – Digital Audio Tape DMCA – Digital Millennium Copyright Act DNS – Domain Name System DRM – Digital Rights Management EMI – Electrical and Musical Industries e-tailer – electronic (internet) retailer GE – General Electric IFPI – International Federation of the Phonographic Industry IP – internet protocol ISP – internet service provider LP – long play record M. C. – music cassette MCA – Music Corporation of America mp3 – MPEG2 Audio Layer III – audio compression format P2P – peer-to-peer: computer internet network allowing users to share files PIPA - PROTECT IP Act - Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property Act of 2011 R&B – Rhythm and Blues SME – Sony Music Entertainment SOPA – Stop Online Piracy Act UMG – Universal Music Group VCR – video cassette recorder WEA – Warner-Elektra-Atlantic WMG – Warner Music Group Table of Contents 1 Introduction ....................................................................................................
    [Show full text]
  • Radio Airplay and the Record Industry: an Economic Analysis
    Radio Airplay and the Record Industry: An Economic Analysis By James N. Dertouzos, Ph.D. For the National Association of Broadcasters Released June 2008 Table of Contents About the Author and Acknowledgements ................................................................... 3 Executive Summary....................................................................................................... 4 Introduction and Study Overview ................................................................................ 7 Overview of the Music, Radio and Related Media Industries....................................... 15 Previous Evidence on the Sales Impact of Radio Exposure .......................................... 31 An Econometric Analysis of Radio Airplay and Recording Sales ................................ 38 Summary and Policy Implications................................................................................. 71 Appendix A: Options in Dealing with Measurement Error........................................... 76 Appendix B: Supplemental Regression Results ............................................................ 84 © 2008 National Association of Broadcasters 2 About the Author and Acknowledgements About the Author Dr. James N. Dertouzos has more than 25 years of economic research and consulting experience. Over the course of his career, Dr. Dertouzos has conducted more than 100 major research projects. His Ph.D. is in economics from Stanford University. Dr. Dertouzos has served as a consultant to a wide variety of private and public
    [Show full text]
  • Universal Music Group
    Universal Music Group Overview June 2008 IMPORTANT NOTICE: INVESTORS ARE STRONGLY URGED TO READ THE IMPORTANT DISCLAIMER AT THE END OF THIS PRESENTATION Group Overview • UMG is the largest music content company in the world • It is comprised of two core businesses – Recorded Music: acquiring, marketing and distributing recorded music through a network of subsidiaries, joint ventures and licensees in 77 countries – Music Publishing: acquiring and exploiting rights to musical compositions (as opposed to recordings) in order to license them for use in recording and related uses, such as films, advertisements or live performances • Expanded into music related businesses such as merchandising and artist management following the acquisition of the assets of the Sanctuary Group PLC in 2007 2 World’s Largest Music Content Company UMG is the market leader in recorded music and music publishing Recorded Music Music Publishing Market Share CY2007 Market Share CY2007 Indies Indies UMG UMG 30.4% 25.8% 22.2% 28.8% Sony-ATV WMG 11.6% 14.4% Warner Sony-BMG Chappell 16.0% EMI 20.1% EMI 10.9% 19.8% Source: Music & Copyright 3 Key to UMG’s Success Deep pool of management Forefront of new talent and the ability to business initiatives in attract the best industry digital and mobile professionals when sectors necessary Size and strength in Leader in development of marketing and a new business model distribution. Large that extracts revenue catalog of prior hits from all aspects of music exploitation Diverse array of labels Acquisition of BMG in the major
    [Show full text]
  • Vinyl Record Maker Machine
    Vinyl Record Maker Machine Undreamt Dimitrou usually combes some subcircuit or recedes through. Is Clifford coadjutant or whole-souled when singularized some pinchbeck restage propitiously? Accordion and grimmest Hector starches while humid Ervin allocated her remarques denominatively and narrows rapaciously. Vinyl cutter Amazoncom. In 17 Edison took this valve and turned it into a twitch that was head of. How secure does term record pressing machine cost? Vinyl Record Machines RPA has resent the equipment molds and parts you need RPA is a leading supplier. Dummies has since stood watching taking some complex concepts and touch them. Yuri Suzuki's Easy Record Maker lets you engrave your own. RAND VINYL RECORD MACHINES Start. How afraid Do Vinyl Records Last Victrola Victrolacom. Gakken Easy Record Maker Toy Kit or Record Cutting. Vinyl's recent comeback has inspired Viryl Technologies to redesign the rack press for modern times This vinyl record pressing machine allows operators to. Vestax created a degree record cutting machine which has around 12000 which usually still fleet of reach by most people The huge Record Maker. Short run vinyl records that are for quality lathe cut by hand for its custom thinking of or kind vinyl record. Designer Yuri Suzuki of Pentagram and killer Japanese electronic kit maker Gakken collaborated on this fantastic-looking Easy Record Maker. Your vinyl records can conquer anywhere but a barn or two line up for well over 100 years If you're aiming for the latter then really comes down to how faint you roll for their record collection. Does vinyl actually often better? One Groove Vinyl Lathe Cut Short Run Vinyl Records.
    [Show full text]
  • 2020'S BEST MUSIC MARKETING CAMPAIGNS
    BROUGHT TO YOU COURTESY OF ™ AMP IN ASSOCIATION WITH sandbox DECEMBER 09 2020 | Music marketing for the digital era ISSUE 266 2020’s BEST MUSIC MARKETING CAMPAIGNS Songtrust has the world's largest and most accessible network of direct global publishing relationships. Our easy to use platform enables you, and our 300,000+ clients, to register and collect performance and mechanical royalties directly around the world, without giving up any rights or any other revenues. ACCESS WHAT YOU'RE DUE SPONSOR PAGE PANDORA STORIES With Pandora Stories, artists and creators can add their voices to playlists and mixtapes. It’s the newest addition to AMP, Pandora’s suite of free and powerful tools for creators. The ability to combine music and storytelling allows artists to give their music more context while forging an even deeper connection with their fans, new and old. Artists can: • Share the stories behind the making of their music – influences, recording process, etc. • Supplement a podcast with a companion playlist using their own voice tracks. • Create a virtual setlist, complete with between song banter. • Program and promote career retrospectives, or deep dives into single albums. • Share their current favorite music with their fans. • Offer custom exclusive Stories as a premium or special offering for supporters on crowdfunding platforms. SANDBOX CAMPAIGNS OF THE YEAR 2020 2020’s BEST MUSIC MARKETING CAMPAIGNS elcome to Sandbox’s shortlist we had a record number of entries, from labels of the best, most original, and of all sizes from around the world. W most impactful music marketing campaigns of 2020. It’s a celebration of We’re very grateful for everyone who submitted remarkably innovative and creative work across campaigns for consideration – and we hope that a vast array of genres, with many notable in these campaigns you find a wealth of brilliant achievements notched up along the way.
    [Show full text]
  • 1. Walk the Moon
    Label Copy CD1 1. WALK THE MOON - Shut Up And Dance (Petricca / Ray / Waugaman / Maiman / Berger / McMahon) Published by W B Music Corp / Warner/Chappell North America Limited / Ryan McMahon Publishing Produced by Tim Pagnotta (P) 2014 RCA Records, a division of Sony Music Entertainment USRC11401949 3.17 2. Bastille – Pompeii (Smith) Published by Universal Music Publishing Ltd Produced by Mark Crew (P) 2013 Virgin Records Ltd. Licensed courtesy of Universal Music Group GBAAA1200795 3.34 3. Metro Station - Shake It (Cyrus / Musso / Healy / Improgo) Published by EMI Music Publishing Limited (MCPS/BIEM) Produced by S*A*M / Sluggo (P) 2007 Columbia Records, a division of Sony Music Entertainment USSM10800776 3.02 4. Sam Sparro - Black & Gold (Falson / Rogg) Published by EMI Music Publishing Ltd. Produced by Jesse Rogg & Sam Sparro (P) 2007 Universal Island Records Ltd. A Universal Music Company. Licensed courtesy of Universal Music Group GBUM70800413 3.30 5. Owl City - Fireflies (Young) Published by Ocean City Park (Universal Music Corp.) ASCAP / Universal/MCA Music Limited Produced by Adam Young (P) 2009 Universal Republic Records, a division of UMG Recordings, Inc. Licensed courtesy of Universal Music Group USUM70916628 3.14 6. Orson - No Tomorrow (Rachild / Astasio / Cano / Pebworth / Jen / Roentgen) Published by Universal Music Publishing Ltd. Produced by Noah Shain, Orson and Chad Rachild (P) 2006 Mercury Records Limited Licensed courtesy of Universal Music Group GBUM70500865 2.48 7. Just Jack - Starz In Their Eyes (Allsopp) Published by Just Jack Ltd./Universal Music Publishing Ltd Produced by Jack Allsopp & Jay Reynolds (P) 2006 Mercury Records Limited Licensed courtesy of Universal Music Group GBUM70604909 3.10 8.
    [Show full text]