DOCSLIB.ORG

Great Britain's Best Sellers States Again in February with Dates in New York, Los Angeles, Detroit and Philadelphia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Great Britain's Best Sellers States Again in February with Dates in New York, Los Angeles, Detroit and Philadelphia ,,..... man 4/Y\m.\ out rrw:,\ r wu HUM CaehBox CashBox France Urn \I Z=iin eMUMi `siir Great Britain WWI/ \\vm Tiffuawm roni The Rolling Stones will produce and star in a major TV program to be 2 months before its opening, MIDEM 1969 is beating all records. To date, called "The Rolling Stones Rock 'n' Roll Show" which will be distributed on a about 30 offices are left in the Hotel Martinez. 2,500 participants are already global basis. It is the group's first small -screen spectacular and filming will attending MIDEM. This number represents 2/3's of last year's participation. be Michael Lindsay -Hogg who was connected with the now defunct independent MIDEM expects an increase of 25 to 30%, i.e. 4,000 to 4,500 participants. At TV series "Ready Steady Go" and also directed the Stones in their "Jumping this moment, delegates from the technical department are in Cannes studying Jack Flash" TV movie. Already booked as guests are Traffic, American blues the best way to adapt the Martinez to the expected rush. The participants singer -guitarist Taj Mahal and Indian swamp music specialist Dr. John. The will discover with the greatest pleasure that Bernard Chevry has organized long delayed "Beggar's Banquet" LP by the Rolling Stones was finally re- in the Martinez a very important and up-to-date telephone installation. An leased November 22nd by Decca with revised artwork. exchange located at each level will enable the MIDEM participants to obtain Latest Board of Trade figures just released show that total sales of gramo- without any delay long distance and local calls. phone records in August at £2,083,000 were 5 per cent higher than in August, Bernard de Bosson, International Label Manager of the Compagnie Phono- 1967. Exports at £329,000 accounted for 16 per cent of total sales and were graphique Française, fights victoriously to impose in France the labels repre- 39 per cent higher than a year ago. Home sales remained virtually unchanged. sented by Barclay and CED. He gave us his last achievements. Total production of records was 14 per cent higher than in August, 1967, due Barclay: being released under the Buddah label are "Shake" and "From almost entirely to a 39 per cent rise in production of 33s rd r.p.m. records. Way Out To Way Under" by the Shadows Of Knight, the 1910 Fruitgum Co.'s. For the eight months ended August, 1968, production, total sales and exports "Goody Goody Gumdrops" and "Candy Kisses" and "Quick Joey Small" ("Run were all considerably higher than in the corresponding period of 1967. Joey Run") with "Poor Old Mr. Jensen" featuring the Kasnetz-Katz Singing Vic Lewis, News Managing Director, has signed 18 year old Czech singer Orchestral Circus. CED: to make Paul Robeson fans happy, two of his greatest Vera Maria for launching in the Western world. Lewis hopes this will mark numbers ("Old Man River" and "Deep River") are coming out under Van- the beginning of a two-way East-West talent exchange following recent talks guard. In the rock revival series, there is a Chuck Berry single with the titles in Prague. He is budgeting £25,000 to launch Vera Maria internationally, and "Rip It Up" and "No Money Down" on Chess, and on Chess "I Can Tell" and a date in the forthcoming Andy Williams color TV spectacular is already "Bo's Blues" featuring Bo Diddley. fixed. A Vic Lewis -Don Black composition for recording on the Nems label Philips gave a party to celebrate the launching of a new dance titled Casat- is planned. chock which is a dance inspired by the Cossack folk dance. Various records with this rhythm will be cut and, in particular, one new single by) Sheila. Ember Records chief Jeff Kruger has signed a long-term deal with the One year after the problems they had with the adaptation of the Aranjuez French AZ label under which the two organizations will exchange recorded concerto titled "Aranjuez mon amour," Richard Anthony and the author Guy talent. Kruger anticipates a first year sale of 50,000 Ember LPs in France Bontempelli encounter new difficulties with the adaptation of "Mac Arthur as a result of the pact and will make AZ artists available here on Ember Park." Gerard Tournier had promised an exclusive adaptation to the author beginning with Maria Vincent. The deal was concluded in conjunction with the Pierre Delanoe for the cutting of a record by Riviera's artist Nicoletta International Division of EMI. Delanoë being away, one of his substitutes-who had been unaware of the BBC Radio Enterprises and BBC TV Enterprises have now been combined agreement-gave Richard Anthony the authorization to have the lyrics adapted to form BBC Radio and TV Enterprises, and Dennis Scuse has been named by Guy Bontempelli (who titled the song "Séverine") and Richard Anthony General Manager in succession to Radio Enterprises chief Rooney Pelletier who registered the record under Columbia's label. shortly retires. New company plans regular LP releases distributed through Jacqueline Polloni, from Festival Records, informs us that a new collection the wholesale house of Lugtons. will soon be released under this label with music originating from Argentina, Jethro Tull's manager Terry Ellis is fixing American release of the group's Brazil, Mexico, Germany, Austria, etc. This collection will be initiated with Island LP "This Was" to coincide with their tour in the States beginning Pierre Marcel Ondher's co-operation. Festival Records imports exclusively in January 31st at Fillimore East, New York, and taking in Los Angeles, Boston, France the collection Boom which has met enormous success in Italy. This Philadelphia, Chicago, Detroit and campus dates. collection deals only with children's tales. A small rubber gadget representing Liberty has an underground blues month on LP in December. The label the hero of the tale is sold with the record. releases December 6th "Strictly Personal" by Captain Beefheart and his Kenyan singer Roger Whittaker is coming to Paris in December when he Magic Band and the Canned Heat double album "Livin' The Blues." At the will appear in a show. Whittaker, who was one of 1968 MIDEM's revelations, same time Liberty issues local product by the Aynsley Dunbar Retaliation- has twice entered the French Top Ten with "If I Were A Rich Man" and "Dr. Dunbar's Prescription"-and two albums in the Groundhog series "Mexican Whistler." "Scratching The Surface" by the Groundhogs and "Me and the Devil," an Under his own label Disques Temporel, Guy Béart just released his second album dedicated to old French songs titled "V'là le joli vent," and its success anthology of British blues by various artists. The two albums will be issued new in the States to coincide with Groundhog Day on February 2nd, and a Joe appears to be great. Anne Sylvestre has left Philips to join the young Williams blues LP recorded in London will also get American release at that company Disques Meys. Gerard Meys, who is the manager of this independent time. production, at the same time directs Editions Alleluia. He has obtained the songs of Jean Ferrat and of Mikis Theodorakis under exclusive contract, which RCA is planning a country and western month for February with special is a success for his firm. promotion and publicity on a batch of LPs in that idiom including album by British country group the Hillsiders. RCA hope to bring in Chet Atkins, Floyd Cramer, Jerry Reed and other American country stars as part of the campaign. Frances Best Sellers Pye a & r manager John Schroeder delighted with the success of the Status Quo who were recently presented with a Gold Disk for over one million sales This Last of "Pictures Of Matchstick Men." Their follow-up "Ice In The Sun" did very Week Week well, and the next single scheduled for American release on Chess is a track 1 3 Hey Jude (The Beatles) Odeon; Northern -Tournier taken from their "Technicolor Dreams" album. No new UK single will be 2 9 Les Baisers (Pierre Perret) Vogue; Vogue International issued until after Christmas. New groups under the Schroder banner include 3 7 Le Temps Des Fleurs (Dalida) Barclay; Esssx Shaky Vic, a blues band, who debut with "Hey Little Woman You're So Sweet" 4 4 Monia (Peter Holm) Riviera -CED; Vogue International and a Welsh group, Man, who make their bow with "Gentle Influence." Follow- 5 - Monsieur le Business Man (Claude François) Flèche; Sunny Music ing the success of Sounds Orchestral, Schroeder has just recorded the West- 6 2 Plus Long Sera L'Hiver (Sheila) Carrère; Carrère minister String Band with an album entitled "A Touch Of Velvet And A Sting 7 - Les Bicyclettes de Belsize (Mireille Mathieu) Barclay Of Brass." 8 - La Maritza (Sylvie Vartan) RCA Victor Scottish group My Dear Watson has just signed a three-year recording 9 - Que Calor La Vida (Marie Laforêt) Festival contract with White Whale Records, New York. Their first Stateside release 10 - Cours Plus Vite Charlie (Johnny Hallyday) Philips early in the New Yerk will be their current U.K. Parlophone disk "Stop, Stop, 11 11 On The Road Again (Canned Heat) Liberty; United Artists There'll I Be" published by Feldmans. Group writers John Stewart and Bill 12 12 On Prend Toujours Un Train Pour Quelquepart (Gilbert Bécaud) Cameron are negotiating with American companies to take their material and Dimension; Rideau Rouge they plan to set up their own publishing company in the U.K. White Whale 13 15 With A Little Help From My Friends (Joe Cocker) EMI; North- currently have a hit in the U.K.
Load more

Recommended publications
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Nov/Dec 2017 Volume 21, Issue 5
    Bimonthly Publication of the Central Florida Jazz Society BLUE NOV/DEC 2017 VOLUME 21, ISSUE 5 NOTES Joey Alexander, Grammy-nominated fourteen- year-old piano prodigy, released his latest album in homage to his lifelong hero Thelonious Monk. “Sometimes, when I’m just practicing, playing something else, new melodic and rhythmic ideas come to me and I realize I’m actually starting to compose a song. I think writing strong tunes comes from listening to so much music from composers and artists I like. I would say that Monk has had the greatest influence on me. Hearing his pieces so many times had a great impact on me and inspired me to write my own pieces. I actually find it harder to interpret other people’s songs than write my own, because I have to figure out and feel what the song is about and find a way to make it my own. Monk taught me to groove, bounce, understand space, be patient, be simple, sometimes be mysterious but, most of all, to be joyful. In my arrangements, I try to stay true to the essence of his music — to treat it with the highest level of respect. Monk’s music is the essence of beauty.” https://www.villagevoice.com/2017/10/10/18-jazz- pianists-pay-tribute-to-thelonious-monk-on-his-100th- birthday/ CFJS 3208 W. Lake Mary Blvd., Suite 1720 President’s Lake Mary, FL 32746-3467 [email protected] Improv http://centralfloridajazzsociety.com By Carla Page Executive Committee The very first thing I want to do is apologize for our last Blue Carla Page Notes.
    [Show full text]
  • Journal of the Music & Entertainment Industry Educators Association
    Journal of the Music & Entertainment Industry Educators Association Volume 18, Number 1 (2018) Bruce Ronkin, Editor Northeastern University Paul Linden, Associate Editor Butler University Ben O’Hara, Associate Editor (Book Reviews) Australian College of the Arts Published with Support from The Journal of the Music & Entertainment Industry Educators As- sociation (the MEIEA Journal) is published annually by MEIEA in order to increase public awareness of the music and entertainment industry and to foster music and entertainment business research and education. The MEIEA Journal provides a scholarly analysis of technological, legal, historical, educational, and business trends within the music and entertainment industries and is designed as a resource for anyone currently involved or interested in these industries. Topics include issues that affect music and entertainment industry education and the music and entertain- ment industry such as curriculum design, pedagogy, technological innova- tion, intellectual property matters, industry-related legislation, arts admin- istration, industry analysis, and historical perspectives. Ideas and opinions expressed in the Journal of the Music & Enter- tainment Industry Educators Association do not necessarily reflect those of MEIEA. MEIEA disclaims responsibility for statements of fact or opin- ions expressed in individual contributions. Permission for reprint or reproduction must be obtained in writing and the proper credit line given. Music & Entertainment Industry Educators Association 1900 Belmont Boulevard Nashville, TN 37212 U.S.A. www.meiea.org The MEIEA Journal (ISSN: 1559-7334) © Copyright 2018 Music & Entertainment Industry Educators Association All rights reserved Editorial Advisory Board Bruce Ronkin, Editor, Northeastern University Paul Linden, Associate Editor, Butler University Ben O’Hara, Associate Editor, Australian College of the Arts (Collarts) Timothy Channell, Radford University Mark J.
    [Show full text]
  • George Chisholm
    1 The TROMBONE of GEORGE CHISHOLM Solographer: Jan Evensmo Last update: March 9, 2020 2 Born: Glasgow, Scotland, March 29, 1915 Died: Milton Keynes, England, Dec. 8, 1997 Introduction: We played again and again the marvellous Benny Carter session from Holland in 1937 with Coleman Hawkins. Then we realized that there was a great trombone player in there of British origin! Glad now to realize we had identified perhaps the best vintage trombone player on this side of the Atlantic! History: He took up trombone as a teenager after hearing Jack Teagarden. In 1936 he went to London with Teddy Joyce and played in clubs, notably the Nest Club, where the following year he took part in a jam session with Fats Waller, Coleman Hawkins and Benny Carter. Carter took him to Holland with a band that recorded eight titles for Decca (1937), and he played and recorded with Bert Ambrose’s orchestra in 1937-39. Chisholm was much in demand for session work; among his recordings was one with Waller for HMV in 1938. After joining the RAF he played in the all-star dance orchestra best known as the Squadronaires (1939-50). He was a member of the BBC Radio Show Band (1950-55) and played in Wally Stott’s orchestra in the “Goon Show” radio series, then performed with Jack Parnell and in musical shows until 1965. He continued to play jazz into the 1980s, both as a soloist – notably with Keith Smith’s Hefty Jazz – and with his own band, the Gentlemen of Jazz, in pubs, clubs and festivals.
    [Show full text]
  • Primary Sources: an Examination of Ira Gitler's
    PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
    [Show full text]
  • WARNER BROS. / WEA RECORDS 1970 to 1982
    AUSTRALIAN RECORD LABELS WARNER BROS. / WEA RECORDS 1970 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 WARNER BROS. / WEA RECORDS, 1970–1982 A BRIEF WARNER BROS. / WEA HISTORY WIKIPEDIA TELLS US THAT... WEA’S ROOTS DATE BACK TO THE FOUNDING OF WARNER BROS. RECORDS IN 1958 AS A DIVISION OF WARNER BROS. PICTURES. IN 1963, WARNER BROS. RECORDS PURCHASED FRANK SINATRA’S REPRISE RECORDS. AFTER WARNER BROS. WAS SOLD TO SEVEN ARTS PRODUCTIONS IN 1967 (FORMING WARNER BROS.-SEVEN ARTS), IT PURCHASED ATLANTIC RECORDS AS WELL AS ITS SUBSIDIARY ATCO RECORDS. IN 1969, THE WARNER BROS.-SEVEN ARTS COMPANY WAS SOLD TO THE KINNEY NATIONAL COMPANY. KINNEY MUSIC INTERNATIONAL (LATER CHANGING ITS NAME TO WARNER COMMUNICATIONS) COMBINED THE OPERATIONS OF ALL OF ITS RECORD LABELS, AND KINNEY CEO STEVE ROSS LED THE GROUP THROUGH ITS MOST SUCCESSFUL PERIOD, UNTIL HIS DEATH IN 1994. IN 1969, ELEKTRA RECORDS BOSS JAC HOLZMAN APPROACHED ATLANTIC'S JERRY WEXLER TO SET UP A JOINT DISTRIBUTION NETWORK FOR WARNER, ELEKTRA, AND ATLANTIC. ATLANTIC RECORDS ALSO AGREED TO ASSIST WARNER BROS. IN ESTABLISHING OVERSEAS DIVISIONS, BUT RIVALRY WAS STILL A FACTOR —WHEN WARNER EXECUTIVE PHIL ROSE ARRIVED IN AUSTRALIA TO BEGIN SETTING UP AN AUSTRALIAN SUBSIDIARY, HE DISCOVERED THAT ONLY ONE WEEK EARLIER ATLANTIC HAD SIGNED A NEW FOUR-YEAR DISTRIBUTION DEAL WITH FESTIVAL RECORDS. IN MARCH 1972, KINNEY MUSIC INTERNATIONAL WAS RENAMED WEA MUSIC INTERNATIONAL. DURING THE 1970S, THE WARNER GROUP BUILT UP A COMMANDING POSITION IN THE MUSIC INDUSTRY. IN 1970, IT BOUGHT ELEKTRA (FOUNDED BY HOLZMAN IN 1950) FOR $10 MILLION, ALONG WITH THE BUDGET CLASSICAL MUSIC LABEL NONESUCH RECORDS.
    [Show full text]
  • The Festival Records Story by Brendan Hancock and Matthew J Schelle
    The Festival Records Story by Brendan Hancock and Matthew J Schelle Introduction John, Peter Allen and The Bee Gees. After decades at the top of the Music And it was also Festival Records, which Industry in Australia, Festival Records was instrumental in shaping the (now Festival Mushroom Records, after Australian Rock and Roll scene. a recent merger with the Mushroom With what was initially a simple label), are now celebrating their 50th investment from a group of old war anniversary. It’s hard to believe that an buddies working together, the label independent label such as Fcestival, went through ups and downs, but the which had an inconspicuous beginning company always bounced back, due to as a high risk-fast gain investment the combination of off-beat thinking opportunity, has steered its way past and sheer luck. numerous obstacles to become Although the Festival Records story Australia’s biggest ever independent does go beyond the years of 1977, it’s record label. It was Festival Records the early days that the real story, the which took the chances and as such, it real magic took place. From the people was Festival Records which was working behind the scenes to the artists Festival’s ‘REX’ label was created to house the best of the new young artist responsible in launching the careers of themselves, the following will give you who had joined the Festival Records countless Australian Artists such as enough information to understand how and why the famous label became what Family. The brain child of L. J Hooker. Johnny O’Keefe, Col Joye, Dig It produced hits from Noeline Batley, it is today.
    [Show full text]
  • Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
    Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer.
    [Show full text]
  • Pine Mountain Music Festival Records MS-892 This Finding Aid Was Produced Using Archivesspace on June 04, 2021
    Pine Mountain Music Festival Records MS-892 This finding aid was produced using ArchivesSpace on June 04, 2021. English Describing Archives: A Content Standard Michigan Technological University Archives and Copper Country Historical Collections 1400 Townsend Drive Houghton 49931 [email protected] URL: http://www.lib.mtu.edu/mtuarchives/ Pine Mountain Music Festival Records MS-892 Table of Contents Summary Information .................................................................................................................. 3 Organizational History ................................................................................................................. 4 Collection Scope and Content Summary ...................................................................................... 5 Arrangement ................................................................................................................................. 5 Administrative Information .......................................................................................................... 6 Controlled Access Headings ......................................................................................................... 6 Collection Inventory ..................................................................................................................... 6 Administrative Files ................................................................................................................... 6 Funding and fundraising ...........................................................................................................
    [Show full text]
  • ARIA Licensors
    ARIA Licensors Licensing Copyright Owners BMG AUSTRALIA LIMITED 194 Miller Street, North Sydney NSW 2060 COLOSSAL RECORDS OF AUSTRALIA PTY LTD 14-16 Wilson Avenue, Brunswick VIC 3056 EMI MUSIC (AUSTRALIA) PTY LTD 98-100 Glover Street, Cremorne NSW 2090 * FESTIVAL RECORDS PTY LTD 235 Pyrmont Street, Pyrmont NSW 2009 * MUSHROOM DISTRIBUTION SERVICES PTY LTD 55 Danks Street, Port Melbourne VIC 3207 JANDA RECORDS (AUST) PTY LTD 2/17 Tennyson Road, Mortlake NSW 2137 LARRIKIN ENTERTAINMENT PTY LTD 235 Pyrmont Street, Pyrmont NSW 2009 SHOCK RECORDS PTY LTD 200 Beavers Road, Northcote VIC 3070 SONY MUSIC ENTERTAINMENT (AUSTRALIA) LTD 11 Hargrave Street, East Sydney NSW 2010 UNIVERSAL MUSIC AUSTRALIA LIMITED 3 Munn Reserve, Millers Point NSW 2000 WARNER MUSIC AUSTRALIA PTY LTD 39-47 Albany Street, Crows Nest NSW 2065 * Trading as Festival Mushroom Records Please note that the following sound recordings are expressly excluded from this Agreement: AC/DC: and EMI Music owned or controlled sound recordings by the Beatles (and solo members), Queen (and solo members) and Rolling Stones (and solo members). ARIA Labels Licensing Copyright Owner Labels 1500 Records (Universal) Alligator (Shock) 415 Records (Sony) Almo Sounds (Universal) 4AD (Shock) Alternative Tentacles (Shock) 4TH & Broadway (Universal) Amadeo (Universal) 510 Records (Universal) Ambient Sound (Shock) 550 Music (Sony) American Clave (Shock) A Star Academy (Zomba) American Decca Jazz (Universal) A&E Records Ltd (FMR) American Explorer (Warner) A&M (Universal) Anchor & Hope (Shock) A&M Records
    [Show full text]
  • Marlboro Music School and Festival Records Ms
    Marlboro Music School and Festival records Ms. Coll. 950 Finding aid prepared by Marissa Hendriks. Last updated on May 15, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2015 June 25 Marlboro Music School and Festival records Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Administrative Information........................................................................................................................... 7 Related Materials........................................................................................................................................... 7 Controlled Access Headings..........................................................................................................................8 Collection Inventory.................................................................................................................................... 10 Series I. Administrative files.................................................................................................................10 Series II. Photographs..........................................................................................................................117
    [Show full text]
  • PPCA Licensors Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights
    PPCA Licensors Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights 88dB Bowles Production *ABC Music Brian Lord Entertainment ACMEC Bridge, Billy Adams, Clelia Broad Music AGR Television Records Buckley, Russell Aitken, Gregory A. Budimir, Mary Michelle AITP Records Bullbar P/L aJaymusic Bulletproof Records t/a Fighterpilot AJO Services Bulmer, Grant Matthew Allan, Jane Bunza Entertainment International Pty Ltd Aloha Management Pty Ltd Butler Brown P/L t/a The John Butler Trio Alter Ego Promotions Byrne, Craig Alston, Chris Byrne, Janine Alston, Mark *CAAMA Music Amber Records Aust. Pty Ltd. Cameron Bracken Concepts Amphibian *Care Factor Zero Recordz Anamoe Productions Celtic Records Anderson, James Gordon SA 5006 Angelik Central Station Pty Ltd Angell, Matt Charlie Chan Music Pty Ltd Anthem Pty Ltd Chart Records and Publishing Anvil Records Chase Corporation P/L Anvil Lane Records Chatterbox Records P/L Appleseed Cheshire, Kim Armchair Circus Music Chester, John Armchair Productions t/a Artworks Recorded Circle Records Music CJJM Australian Music Promotions Artistocrat P/L Clarke, Denise Pamela Arvidson, Daniel Clifton, Jane Ascension World Music Productions House Coggan, Darren Attar, Lior Col Millington Prodcutions *Australian Music Centre Collins, Andrew James B.E. Cooper Pty Ltd *Colossal Records of Australia Pty Ltd B(if)tek Conlaw (No. 16) Pty Ltd t/a Sundown Records Backtrack Music Coo-ee Music Band Camp Cooper, Jacki Bellbird Music Pty Ltd Coulson, Greg Below Par Records
    [Show full text]