The Music Industry – Links to articles

The Record Industry’s Decline Rolling Stone

http://money.cnn.com/2010/02/02/news/companies/napster_music_industry/

Music’s lost decade: Sales cut in half – CNN Money

http://www.nytimes.com/2012/02/05/opinion/sunday/perpetual-war-digital-pirates-and-creators.html?_r=1

The Perpetual War: Pirates and Creators – The New York Times

We could make this whole page one link. The Ethical fan has some of the most detailed information on Artists Rights:

http://ethicalfan.com/2012/04/wall-of-shame-april-2012/

Ethical Fan – Wall of Shame May 2012

Who profits from piracy?

http://popuppirates.com/

Visualizing The Decline Of The Record Industry Gothamist

Did file-sharing cause recording industry collapse? Economists say no ars technica

A Psychological Analysis of Record Industry Decline Hypebot

Pressure Mounts For Universal Music To Make U.S. Concessions on EMI Deal Billboard

UK music sales decline for seventh successive year despite downloads The Guardian

Music Market Reports, August 2012 ReportLinker

Import (End Use): Musical instruments and parts – ReportLinker for Libraries

Universal’s EMI takeover: the great rock’n’roll swindle?
The Guardian

Music Industry Braces for the Unthinkable – The New York Times

Digital Notes: Sirius XM Claims ‘Industrywide Conspiracy’ on Licenses – The New York Times

Digital Notes: Plans for a New Music Suffix, but Who Will Own It? – The New York Times

New York Times Issues Electronic Music Industry News; A Concert Mogul Is Betting on Electronic Dance Music – The New York Times

The real reason why the music industry collapsed ABC

Music Industry Imitates Digital Pirates to Turn a Profit – The New York Times

In Bid for EMI, Universal Music Group Considers Sale of Parlophone Records The New York Times

Music Industry Counts the Cost of Piracy – The New York Times

Out to Shake Up Music, Often With Sharp Words The New York Times

Europe Moves to Aid Digital Music Industry The New York Times

At Sony Music, a Plan to Dominate the Industry – The New York Times

Digital Notes: After Steep Declines, Music Sales in 2011 Held Steady
The New York Times

Digital Notes: Updating Digital Royalties, and a Peek Under Pandora’s Hood Mediadecoder

The Music Industry in the New Millennium UNESCO

Record Labels & Current State of Music Industry Monsterloop

Lessons from the Music Industry: Should We Put Our Faith in Technology Companies? Scholarly Kitchen

The Music Business Is Not Dying Hypebot

The Shit: State Of The Music Industry 2012 Edition: A Return To The Wild Wild West? Superiorshit

MIKE PORTNOY On State Of Music Industry, DREAM THEATER’s ‘Images And Words’ Album – Aug. 2, 2012 Blabbermouth

Income Inequality Killed The Music Business Lefsetz book

Green Day ‘Oh Love’ – By Rolling Stone

July 17, 2012

The only politics in the first single from Green Day’s imminent three-album blitz are the sexually urgent kind, and the sole whiff of opera comes when Billie Joe Armstrong sings, “Oh love/ Won’t you rain on me tonight?” – a neat allusion to the climax of the Who’s Quadrophenia. Otherwise, this song is a tight, addicting bundle of pop-hook class and crunchy-punk fundamentals.

The entire first verse is Armstrong singing like the stark solo John Lennon – just a bright, strident vocal and crisply strummed guitar. But when Armstrong’s bandmates fall in around him, Green Day sound the way you originally loved ’em, and refreshed: heavier and hardened from their time in the trenches but back in the garage, ready for rapture.

Rolling Stone

Q&A: Billie Joe Armstrong on Green Day’s Album Trilogy

Billie Joe Armstrong of Green Day performs during his final performance in ‘American Idiot’ in New York.
Eugene Gologursky/WireImage

By Rolling Stone
July 20, 2012

“We are going into the unknown – I don’t know what’s going to happen,” Green Day singer-guitarist Billie Joe Armstrong admitted during a break in a mixing session, at a studio in Tarzana, California, for his band’s forthcoming daredevil release: three separate albums, Uno!, Dos! and Tré!, to be issued by Warner Bros. two months apart this fall and winter.

“It’s exciting and nerve-wracking,” Armstrong went on. “But it’s more exciting,” he quickly noted with a grin, “than anything else.”

That day, Armstrong, bassist Mike Dirnt and drummer Tré Cool were working on songs from Uno! – coming out on September 25th – with longtime co-producer Rob Cavallo. Everyone, including Cavallo, sat down for separate interviews for an exclusive story in the new issue of Rolling Stone, on newsstands Friday, about the three records’ strange birth and Green Day’s commercial gamble. But Armstrong, the group’s main songwriter, spoke for more than an hour, going into detail about the music, specific songs and the charge he still gets from risk.

“When I signed that major-label contract when I was 20 years old,” he noted at one point, “I did it because I wanted to play music for the rest of my life. That’s every 20-year-old’s dream – to do whatever the hell you want.

“This,” Armstrong said of Uno!, Dos! and Tré!, “is just a crazy idea that happens to be working really well.”

What did you think Green Day needed to do next, after American Idiot and 21st Century Breakdown? You couldn’t do a third punk opera in a row.
People ask me all the time. Even my son asked me, “Dad, would you ever go back to playing songs like from [1994’s] Dookie and [1992’s] Kerplunk?” I love those records. I love the punk stuff I grew up on. But there are so many bands who make the mistake – “We’re going back, old-school.” Well, that’s all you’re doing. You already did it. So we’re changing the guitar sound. We’re not going with the big Marshall-amp thing. We wanted something punchier, more power pop – somewhere between AC/DC and the early Beatles.

There is a different density, from the operas, in the new mixes I’ve heard. There are not a lot of parts in there, but what goes on in the songs has dimension and thrust.
The last two records were studio albums. This one – we started rehearsing every day, constructing these songs together. It felt like we were all in a room jamming – everyone in the mix, throwing out ideas. If you listen to it, it feels grand. But it also feels like a garage band.

When did you realize you had three albums’ worth of solid new songs instead of just one?
The songs just kept coming, kept coming. I’d go, “Maybe a double album? No, that’s too much nowadays.” Then more songs kept coming. And one day, I sprung it on the others: “Instead of Van Halen I, II and III, what if it’s Green Day I, II and III and we all have our faces on each cover?”

Like the KISS solo albuns.
I’ve already heard that one. [Laughs] The last record got so serious. We wanted to make things more fun.

One song on Dos!, “Fuck Time,” is something you mentioned to me back when the theatrical version of American Idiot was getting started on Broadway.
A guy in the cast, Theo Stockman, started calling himself the King of Fuck. Then it got into a thing where everytime they got ready for a show, the cast members got in a circle, put their hands in the middle and went, “One, two, three, it’s fuck time!” I just wrote the song. We did it as Foxboro Hot Tubs at a club in New York, Don Hill’s, because we knew some of the cast members would be there. We ended up playing it ten times in a row.

We thought it would stay a Foxboro Hot Tubs song. But the more we played it, we thought, “This is pretty good. Why should we give it to our alterego?”

There is a song on Uno! – “Kill the DJ” – that is the closest thing you’ve done to a straight-up dance song, with power-drill guitars. It’s a mix of thump and noise that recalls the Clash’s work with early hip-hop beats on [1980’s] Sandinista!
Mike asked me to write a song with a four-on-the-floor rhythm. I’d never done it before. It’s kind of like Sandinista!, Ian Dury’s “Sex & Drugs & Rock & Roll” and the Tom Tom Club song, “Genius of Love.” We were trying to figure out how to make dance music without turning into a dance band.

Who’s the DJ you want to kill?
It’s about static and noise.

People on TV and radio, talking endlessly about themselves?
Yeah – and all of the things inbetween. Like this government cannot, will not, agree with itself. They refuse to make it work. Right, left – it doesn’t matter. It blows your mind and pisses you off. It’s a song about being drunk, going through this chaos, feeling fucked up and all you want to do is get more drunk: “I don’t even want to know about it anymore.”

“99 Revolutions” on Tré! has a lot of Occupy-protest references. Did you go to the Occupy protests in your town, Oakland?
Um, yes and no.

Which is it?
We wanted to be part of it in some way. I thought it was about working people and where we come from. But Oakland got really complicated when the anarchists started coming in. I’m not into that – smashing the windows in a small business.

Are you a 99 or 1 percenter?
I feel like a 99, but technically I’m a 1. You know, it was an easy song to write. I know that’s where I come from – the 99 – even though I can afford for my kids to go to a good college. It’s interesting: Cops are 99 percenters. Firemen are 99 percenters. That’s where the anarchists are confused. This is much broader than you think it is.

Do these three new albums count as one under your record contract – or three?
One. Believe me, we asked. [Laughs] There was no getting around that. That was fine. The record company have been great about it, just stoked. People get so caught up in not trying to do something new and creative: “Let’s just put out an EP.” We said, “Let’s do the exact opposite, something dangerous and fun.”

Rolling Stone

My Morning Jacket – Summer 2012 Tour

My Morning Jacket
The Kentucky rockers return with several opening acts, including Band of Horses, Trombone Shorty, Trampled By Turtles and Shabazz Palaces.

5/04 Memphis, TN – Beale Street Music Festival
5/05 New Orleans, LA – New Orleans Jazz & Heritage Festival
7/13 Louisville, KY – Forecastle Festival
7/14 Louisville, KY – Forecastle Festival (performance)
7/15 Louisville, KY – Forecastle Festival
7/28 Newport, RI – Newport Folk Festival
8/03 Denver, CO – Red Rocks Amphitheatre^*% (Flobots.org)
8/04 Denver, CO – Red Rocks Amphitheatre^*% (Platteforum)
8/06 Kansas City , MO – Starlight Theatre*% (Operation Breakthrough)
8/07 Lincoln, NE – Pinewood Bowl Amphitheater*% (Community Corps)
8/08 St. Louis, MO – Peabody Opera House*% (Safe Connections)
8/10 Minneapolis, MN – Somerset Amphitheater+*% (Free Arts and The Current Public Radio)
8/12 Columbus, OH – LC Pavilion*% (Franklinton Gardens and Wexner Center For the Arts)
8/14 Detroit, MI – Meadow Brook*% (Do Foundation)
8/15 Toronto, ON – Echo Beach at Molson Canadian Amphitheatre*
8/17 Philadelphia, PA – Mann Center for the Performing Arts*% (Urban Blazers)
8/18 Washington, DC – Merriweather Post Pavilion*% (826DC)
8/19 Brooklyn, NY – Williamsburg Park#% (Sy’s Fund)
8/21 Pittsburgh, PA – Stage AE*% (Gateway To The Arts)
8/22 Chicago, IL – Pritzker Pavilion*% (Advanced Art Education Program at Gallery 37)
8/24 Atlanta, GA – Verizon Wireless Amphitheatre*% (West Atlanta Watershed Alliance)
8/25 Charlotte, NC – Time Warner Cable Uptown Amphitheater*% (Neuse Riverkeeper Foundation)
8/26 Raleigh, NC – Raleigh Amphitheater*% (Charlotte Tree Fund)

My Morning Jacket – Fleet Foxes Album

The Morning Jacket band members

My Morning Jacket has been a rising star in music since the band’s inception in 1998. Although their debut, The Tennessee Fire, was a landscape of spacious folk and a gorgeous slice of americana, as was the follow-up, At Dawn, My Morning Jacket broke through to a wide audience with 2003’s It Still Moves. The album was coated in a beer batter of southern rock – fried with bits of sweet, lush vocals that carried their previous work. Then came 2004’s Acoustic Citsuoca: Live at the Startime Pavilion, a live EP of a Jim James solo performance. Merely five songs, Acoustic Citsuoca solidified the reason why My Morning Jacket was so appealing – not their southern rock rumbles, psychedelic ramblings, or roomy, melodic ripples, but Jim James’ remarkably powerful, yet intimately welcoming voice. In 2006, the band released Z, an inspiring mélange of folk, rock, R&B, blues, and pop music. Z was a heartfelt speech, a call to arms – it was a statement. It showed the band experimenting with sounds that distinguished them from every other rock band, including My Morning Jacket itself. But, more importantly, in all of its exploration, Z kept on track, keeping Jim James’ vocals at the head of the pack. The album catapulted My Morning Jacket to headlining status, finding mainstream success, but maintaining its jam band-type fanbase. Now we reach 2008 and face Evil Urges, the band’s fifth full-length and, unfortunately, the exploration of Z has led My Morning Jacket over a cliff. But, lucky for us, we have Fleet Foxes.

There is certainly something to be admired about Evil Urges. Again, it is a bold statement in music, blending the flair of southern rock with a synthetic, R&B panache, but is overall just too audacious. Despite the intriguing influences that pop up throughout the album, anywhere from Prince to Faith No More, Evil Urges fails to highlight My Morning Jacket’s best attribute, which is Jim James voice. Even in songs that slip back into My Morning Jacket’s signature southern sound, such as “Thank You Too” and “Two Halves,” James’ voice comes off weak. And, although the James has never been known for his lyrical wit, the lyrics in Evil Urges fall very flat. “I believe in a perfect world you’d rule your own universe. The only company you’d need would be in your brain.”

Fortunately, Sub Pop released Fleet Foxes’ self-titled debut album, which takes the best parts of My Morning Jacket’s catalog, laces it with Beach Boys harmonies, and infuses it with the urgent, yet dreary sound of Fleetwood Mac. Fleet Foxes seems to be the album that My Morning Jacket would progress towards, one that is vocally robust and musically dusty. Robin Pecknold’s lead vocals even resemble Jim James’. The backing vocal harmonies emphasize the strength of Pecknold’s voice and the touches of reverb emulate the brawn of a southern gospel choir. In fact, “White Winter Hymnal” sounds like the chant of a Southern Baptist choir singing at the bank of a rushing river, watching a minister baptize a newborn in the river. The album treads the waters of southern folk-rock on a ship made from the sunshine pop of the Beach Boys and The Zombies. It is a sandy beach along the Blue Ridge Parkway. It is the summit of the Smoky Mountains breaking the surface of the Pacific Ocean.

If it is the fear of being pigeonholed that forced Jim James to make Evil Urges, such fear led him into an inescapable corner. Rather than running from his southern inclinations, James should have embraced them, as Fleet Foxes did. Fleet Foxes is the album that My Morning Jacket fans wanted to hear, if not deserved to hear, as it accents Pecknold’s gorgeous voice and maintains a folk quality that is as pleasing as Neil Young’s Harvest. Sadly, My Morning Jacket’s exploration on Evil Urges is similar to Neil Young’s exploration on Trans, in which he attempted to navigate the murky waters of innovation, but got lost in the fog. “Touch Me I’m Going to Scream Part 2” is the album’s only upside as it appropriately accents Jim James’ voice along a forceful musical backdrop. But, if you’re looking for a full remedy, Fleet Foxes is your answer.

By Better Propaganda
Caleb Morairty

My Morning Jacket’s Jim James Plots ‘Mellow, Different’ Solo LP – By Rolling Stone

Jim James of My Morning Jacket performs during the 2012 New Orleans Jazz & Heritage Festival in New Orleans. Photo: Kevin Mazur/WireImage

By Rolling Stone
May 24, 2012

My Morning Jacket’s sixth album, Circuital, has been out for a year, but the tour behind the disc is still going strong. In two weeks, they head to Europe to hit up a bunch of festivals, and in mid-July they’ll launch an American tour of outdoor venues with more fest stops. Frontman Jim James says the group doesn’t plan out the evening’s setlist until a few hours before going onstage.

“You’re not always sure what’ll happen in a given night,” James says. “I’ve been trying to be more open to just letting things go. Some nights you’re feeling really good and you’re ready to rock, and other nights, if you’re sick or you’re tired, you get into more of a dark groove and you wanna follow a different path.”

In October of 2010, the band played their first five albums in succession during a residency at New York’s Terminal 5. “It made me appreciate some of the older songs. It also made me hate some of them even more,” says James, who wouldn’t name the tunes that caught his ire. “There were some songs that we never really played or even thought about and I enjoyed playing them, but it also reconfirmed my hatred for some of them.” James is open to playing the band’s entire catalog at some point in the future. “Hopefully that’ll happen again,” he says. “It’s important.”

When the tour wraps, James will turn his attention back to his debut solo album. “It’s done,” says James. “I think it’s gonna come out in early February of next year. I think people who are fans of My Morning Jacket will obviously recognize some things on there, my voice and stuff like that. It’s got some mellow stuff on there, but it’s also got some really different stuff. I’m really proud of it. I think it’s got some different soundscapes that I’ve been into that maybe have been hidden on some Jacket records.”

James enjoyed the opportunity to record with other musicians. “One of my childhood friends, who was in the first band I was ever in, plays drums on most of the record,” he says. “Now I’m trying to put the band together to go on tour with after it comes out. I’m getting back together with friends I haven’t played with in a long time, from home. It’s very exciting.”

In the meantime, My Morning Jacket are plotting a follow-up to their epic New Years Eve show at Madison Square Garden in 2008. “We were all just talking about that a second ago,” James says. “It’s a shame because we wanted to do more New Year’s shows at the Garden, but Phish booked it for the next four years. We haven’t confirmed this yet, but we’re close to finalizing a New Year’s show in Boston. It’s just not one hundred percent yet. The crowd there is always really rowdy and fun. It would also be an easy travel for people in New York or Philly. Again, it’s not one hundred percent, but we’re all kind of drooling over the idea right now.”

Rolling Stone