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We are pleased to announce our new Junior team at Label Worx HQ. As the company grows we feel now is the time to grow a new Label Management team, offering an even better level of support to our labels. Pictured from left to right are David Clark, Nathan Simm, And Jess Woollas. These guys will be assisting Connor, James, Dom & Alex with back-end tasks to ensure all requests for our labels, are dealt with quickly and professionally. Handling day to day office tasks allows us to free up time for our Senior Label Managers, allowing them to work closer and more effectively with our labels, helping them grow and achieve their goals. We would love you to join us in welcoming the new Junior team and wish them success to become part of the Label Worx family.
Some of the people whose work is most intimately affected by copyright law are musicians, yet there are many misconceptions and even outright falsehoods circulating in the musical community when it comes to things like the right to perform and make changes to existing songs, and what really constitutes fair use. If you've ever played a gig without making sure you were covered by a performance license or been tempted to change someone else's song to create a parody, here's what you need to know. 1. The performance right Many musicians believe they have the right to perform any song, in any place, at any time. The right to perform songs actually belongs to the individual song owners, and not to performers. Song owners are entitled to collect royalties for all public performances of their songs, which means that performers need licenses to perform them. For gigging musicians, performing cover songs often feels like a free right because many venues pay for broad performance licenses from the performance rights organizations (ASCAP, SESAC, and BMI in the US). The performance right also affects people who want to play pre-recorded music for the public, including the music you hear on hold or even piped into malls and restaurants. Business owners and musicians are required to pay for performance licenses if they want to play music for their customers, and if your band ends up doing gigs at bars, restaurants, or parties, then you need to make sure that the venue has paid for a performance license before you play any cover songs. 2. The right to make changes to others songs Making clever changes to the lyrics or melody of a song may seem like a great way to make your mark and demonstrate your artistic prowess, but many musicians don't realize that they actually need permission from song owners before changing inherent parts of the song. The need to get permission for major changes applies whether you're performing a cover song or making a recording of a cover song. There are some things, such as tempo and key, that you can change as a way of taking artistic license, but anything that alters the fundamental bones of the song, including changes to the lyrics or melody, requires that you get in contact with the song owners first. Be aware that getting permission to make changes often requires paying a fee for the privilege, so plan ahead. 3. Fair use Contrary to popular belief, there are no hard and fast rules about what is fair use and what is not, making fair use one of the most commonly misunderstood parts of copyright law. Instead of clearly defined rules, the courts evaluate fair use on a case-by-case basis, weighing four factors to determine if something is fair use. Determining fair use includes considerations like whether the use is for commercial or nonprofit/educational purposes and how the use will affect the value of the original work. To read about all four factors involved in determining fair use, see the United States Copyright Office's website. Fair use myths often include the belief that using a specific limited amount of somone else's work is legal, and you'll often hear people give false statements such as, 'You're allowed to sample up to 15 seconds of a song,' or, 'It's okay to copy one page of a score'. But the fact is that there are no clearly defined rules saying that this is fair use, and whenever you use someone else's copyrighted work without getting the appropriate licenses/permissions, you may be doing something illegal. There are some things that musicians do which are clearly not fair use, such as providing friends with copies of sheet music or recordings, since such copying and sharing means that the copyright owners will sell fewer copies of their music. But what about parody? The freedom to make social commentary through parody creates lots of grey area where copyright law is concerned. Shows such as Saturday Night Live and late-night talk shows constantly parody the work of artists, but when parodies have a commercial benefit for the creators, they are often denounced as attempts to piggyback off of the work and success of the original artist. Don Henley's song 'The Boys of Summer' provides a good example of the perils of claiming parodies as fair use. An altered version of Henley's song, re-titled 'The Hope of November' was created by a political candidate to parody opponents during a campaign. In 2010, the court ruled that this unauthorized use of Henley's song was not fair use because, among other things, it was used for a commercial purpose (to garner campaign contributions), and hurt Henley's chances of licensing the song for future uses. For a more complete description of the ruling, read about the case on the US Copyright Office' website. The bottom line is that whenever you make a lot of money or gain fame and influence by borrowing someone else's idea, there's a good chance that someone will take legal action against you arguing that your work was illegal rather than fair use. Play it safe and always ask for permission before making changes to someone else's work.
Louie Vega is one half of Masters At Work alongside Kenny 'Dope' Gonzalez, the duo who defined much of the vocal house music sound of the 1990s as well as pioneering jazz, Latin and disco infused, sometimes off beat, strands of dance music that helped place New York at the centre of the music in that era. Working under a variety of aliases including MAW, KenLou and NuYorican Soul and as solo artists, they have helped shape several movements in dance music and have soundtracked discos for over two decades. A busy DJ, producer and sometime bandleader Louie Vega has, in recent years, concentrated on his solo career, having released an artist album in 2016 that stands amongst the best work he's ever done. That album, Starring...XXVIII, is an epic 28 track collection in which Vega has collaborated with a long list of vocalists, musicians and songwriters, many of them his peers who he has worked with before. It is an exhaustive presentation of new songs (and some cover versions) that in its unswerving concentration on lyric accompanied dance music, stands apart from every other album released within the genre this decade. Having just returned from a European tour, Marko Kutlesa caught up with Louie Vega at home to talk about the tour, his most recent album, Masters At Work and the highly anticipated tribute to New York club the Paradise Garage that Vega will play at the forthcoming Liverpool Disco Festival.
Amazon has introduced its big play for the music streaming market - including a special price tag for Amazon Prime members and owners of the voice-activated Amazon Echo. Amazon Music Unlimited, a standalone on-demand service, is launching in the US for $7.99-a-month or $79-a-year for existing members of Prime - Amazon's 'club' which separately offers free next day delivery and other perks for $99-a-year. Amazon's intention with this pricing is clear: to not only draw in new streaming music customers, but to tempt away those Prime members currently subscribing to more expensive Spotify or Apple Music accounts. The latest estimates suggest Amazon has more than 60m Prime members worldwide, while its online storefront carries more than 300m registered customer accounts (with associated credit card details). For non-Prime members, Amazon Music Unlimited is available for the industry-standard $9.99-a-month. MBW understands that all three majors have agreed to license the platform. There's another discount strand to Amazon Music Unlimited, too: owners of the company's Echo speaker will be able to access the service, locked to the single device, for just $3.99-a-month, with complete access to its full on-demand catalogue. The acclaimed Echo speaker, which recently launched in Europe, is understood to have sold more than 3m units in the US market. A Family subscription plan for Amazon Music Unlimited will be coming later this year, allowing up to six family members simultaneous access to Amazon Music Unlimited for $14.99/month or $149/year. Amazon Music Unlimited also will be available for customers in the U.K., Germany and Austria by the end of 2016. Jeff Bezos, Amazon Founder and CEO (pictured), said: 'Amazon Music Unlimited brings real value to the millions of people who are already Prime members, with a choice of subscribing for only $7.99 a month or even $79 per year. Plus, customers are going to love Amazon Music's all-new app for iOS, Android, and desktop. And if you want a sense of the future of voice-controlled music, go ahead and ask Alexa for a free Music Unlimited trial, and play around on your Echo. If you don't know the name of a song but know a few lyrics, if you want to hear songs from a specific decade, or even if you're looking for music to match your mood, just ask.' The new service differs to Amazon's existing music service on Prime, which offers limited interactivity and a significantly smaller catalogue. Earlier this year, Warner Music Group CEO Steve Cooper told MBW: 'Right now, [streaming] is $9.99-a-month or ad-supported. It's got to be more nuanced than that with prices that cater to all levels of appetite and budget.'
This week we see Snatch Records!, Be One Records, Mindshake & Dirtybird featured in charts from industry hero's Weiss, Adrian Hour, Tube & Berger and Mat.Joe. With ADE happening this week, these charts include some of the hottest tracks, tipped to be big over the next coming months. Be sure to head over to Beatport and check out all of the featured artist charts & a big well done to all the labels featured.
The British Government has pledged to hand over up to
A good news day: Revenue from subscription music services more than doubled in the US in the first half of 2016 - driving overall market growth of 8.1%. According to new figures from the RIAA, paid-for on-demand platforms like Apple Music and Spotify Premium generated revenues of $1.013bn in the six month period - growth of 112%, and enough to offset declines from downloads, CDs and vinyl sales. (Yes, we're afraid so: vinyl revenues fell.) The jump in subscription revenue is promising but predictable: last year's figures barely included cash from Apple Music, which launched on June 30, 2015. Largely thanks to that launch (as well as Jay Z's Tidal), the value of the average paid-for US monthly music subscription has gone up: from $8.77 in the first half of 2015 to$9.23 in the equivalent period of this year. At the same time, the number of people paying for a subscription music service in H1 2016 grew 101% to 18.3m, up from 9.1m the year before. Total six-month US recorded music industry revenues jumped up by more than $250mto $3.43bn on a retail basis in H1 2016. On a wholesale basis - ie. purely in terms of cash flowing through to labels and artists - the market grew 5.7% to $2.4bn in the period. Total streaming revenues across H1 2016 - including ad-funded interactive and non-interactive services - grew 57% to $1.6bn, accounting for 47% of overall industry revenues. Not every streaming stat within this figure was worthy of the ticker tape, however. Revenue from
Spotify has given an official update on its subscriber numbers, announcing that it has surpassed 40m paying premium customers. The figure is no great surprise: the company's Head Of Creator Services Troy Carter revealed last month that Spotify was hovering around the 39m mark, leading MBW to predict that the service would hit 50m subs within six months. That once-unthinkable figure now seems all the more achievable today. Spotify's 40m subscriber base is - as Daniel Ek will no doubt be telling anyone who will listen - comfortably more than double Apple Music's subscriber base, which was last confirmed to be 17m earlier this month. More crucially, Spotify is growing significantly faster than Apple's rival service. On January 10 this year, Apple Music had 10m subscribers, while Spotify - said solid sources at the time - had 28m. In the eight months since, Spotify has added 12m subscribers, while Apple Music has piled on 7m. In other words, Spotify has added 1.5m subscribers a month since January, while Apple Music's monthly new subs average works out at just under 0.9m subscribers. Here's why that's particularly interesting: in the four months after Apple Music launched in June last year, it outpaced Spotify. Apple added 6.5m subscribers by October, with Spotify adding 5m in the same time period. In the following three months, Apple added another 3.5m subscribers and Spotify added around 3m. Since then, though, aided by an aggressive three-month price promotion this summer, Spotify has pulled away from its rival. The difference is all the more impressive when you consider that Apple Music is available in 115 countries - and Spotify is available in just 60. In fact, following launch Apple Music's monthly additional subscriber figure in 2015 stood at approximately 1.6m. (Important to remember this included the rush of early adopters after launch.) In 2016 so far, Apple Music's average monthly figure has dropped to 0.88m. Apple, of course, may point to one key reason behind Spotify's ability to outstrip its growth: the 'funnel' effect of the Swedish platform's freemium tier. Currently, all released placed on Spotify must appear on both its free (ad-funded) and premium subscription tiers. Under pressure from out-of-contract labels, that hard-and-fast rule looks likely to change for big new releases as soon as next month
Each week DJs frantically compile Beatport charts to promote their latest releases, favourite tracks and music from labels they work with. This week tracks from ELEVATE, OFF recordings, Snatch!, Skeleton and tronic have been selected by the likes of Sam Paganini, Pleasurekraft, Pig&Dan, Matt Sassari & Oliver Koletzki. Head to Beatport to check out all of the charts, and tasty selections picked by some of the worlds biggest and most respected artists.
Mixmag are releasing a series of the most influential tracks at Space Ibiza as it closed it's doors for the last time, around lunchtime on Monday. Space has been the world's most relentless club and boasts the biggest house music parties not just to ever hit ibiza, but the world. Criminal Hype have had an incredible 12 months and are now teetering on the edge of something Huge. Mixmag have chosen their summer banger by Raffa FL titled How We Do, featuring lyrics from an old 50 cent hit, re-hashed by the legendary Mr V. This track has been hammered by every big name house & tech jock on the island all season, and has now been named one of the most influential tracks of Space. This is what Mixmag had to say... 'Raffa FL's 'How We Do' has been an Ibiza stormer this season and when the razor-sharp synths come through the system, it's easy to see why. A new track and an old club, the perfect marriage, and fitting for the night'. Curtis Thompson, co-owner of Criminal Hype posted on Social media, 'We actually can't put into words how overwhelming this feels! To be part of a bit of history. Mixmag have named Raffa FL - How We Do amongst some of the most pivotal and influential tracks of the last 20+ years, in the '11 tracks that made Space Ibiza closing special'. We wish Criminal Hype all the best 2017 and have no doubt that next year will be an even bigger one for them.
Admit it, you've listened to Play like 25,000 times. Moby is a damn legend. He can turn out an a tune that speaks volumes in, like, 30 minutes. Whether he's going somber and introspective, like on Everything Is Wrong single 'Everloving' or getting rowdy with the rock'n'roll on latest single Don't Leave Me Moby fuses the best elements of his vast tastes to deliver the right mood for every message. Don't Leave Me is a heavy one inspired by the 'despair of animals in the factory farming system.' The video features heart-breaking images of cows, chickens, and pigs as they suffer in cages and on the mass killing floor. It's an ugly practice, but something beautiful can come along and make a lasting change - and you get to be a part of it. MetaPop finds fan remixes of popular songs on YouTube, Soundcloud, and the like, then connects those remixers with rights holders as a means of monetizing the fan-made productions. It's a win-win for everyone, and Moby has signed on with MetaPop to hand over the stems of Don't Leave Me as part of a remix competition that gives fans a chance at official commercial release through Spotify, Apple Music, Beatport, and more, while also bringing support to his animal rights charity Mercy For Animals. 'I've been a vegan for 29 years and an animal rights activist for over three decades,' Moby says. 'I'm mainly concerned with drawing attention to the horrifying circumstances to which animals on factory farms are subjected. Mercy for Animals is one of the leaders in this on-going struggle.' Grand Prize, Second Place, and Third Place winners will all see release across platforms. Grand Prize also includes a copy of Native Instrument's Komplete 11, while Second Place comes with Native Instrument's Komplete 11 Select, while Third gets the Native Instruments MASCHINE Expansion Pack. All submissions will be judged by Moby, who is a remix master in his own right. 'It's a way of seeing how other people re-interpret something that I've done, and creates a really fascinating dialectic that doesn't compromise the original work,' he says. 'It's so egalitarian, opening up the remixing to anyone who wants to join in, and also letting prospective remixers benefit if the remix becomes successful.'
Label Worx is a big believer that the cover artwork for your releases are just as important as the music itself and can make all the difference when it comes to getting feature spots at stores. With that in mind Label Worx have partnered with Cover Art Factory, who offer affordable yet high quality artwork for your next release. Offering affordable, high quality, digital cover art design to both record labels and artists directly. Select a design, upload a photo, enter your info and within 48 hours Cover Art Factory will deliver your new artwork for your album, single, compilation or playlist. As a Label Worx customer you get 10% off. Just goto www.coverartfactory.com, order your design and enter the discount code WORX to get your discount.
Riva Starr's Snatch! Records is a staple in the Underground House Music scene. Championing releases from the likes of Denis Cruz, Format:B, ANOTR, Paulo Martini, Paul C and the latest addition, the legendary Groove Armada. Currently at Number 1 on Beatport is Riva Starr's re-rub of Groove Armada's infamous Superstylin. To celebrate the release we spoke with label manager Michele Giuffrida about the release and their relationship with Label Worx. How / why did Snatch! start? Snatch! was born in 2010 by an idea of Riva Starr, owner and director, where he felt the need to have his own platform to experiment, discover new music and talents while also pushing established ones, express himself and his taste, the sound which represent him and the music he plays being funky, happy, groovy and melodic stuff. Can you tell us the story behind your latest release? Well each release has its own story, sometimes they are artists themselves sending us tracks they believe can fit our sound which now seems to be well defined and identifiable, while some others are being commissioned by us targeting a particular artist or sound we like. Mid-September, we've got a release by Groove Armada, and we are truly happy and honoured to have such artists on board which give us the will to always do better and reach even higher goals! How did you hear about Label Worx? We do management and support for various labels other than Snatch!, therefore we felt the need to find a unique distributor which could understand our needs, our music and our way of working within the industry, and by word of mouth and a lucky meeting we found the guys at Label Worx, and I must say moving with them has been so far one of our best decision, the guys are hard workers and always on point! What does Label Worx do for you and your label? First of all the guys do distribution to all stores, then we have implemented a more closer working relationship where the guys also help with accounting, socials, release schedule and management, all done perfectly and on time! What have been the biggest problems that you have faced running a label? Well there have been a lot of problems and there still are, they are not really problems but things that need to be taken carefully in order to work with an increasingly difficult business where it's now not only music that talks but also marketing strategies, socials networking and lots of other variables and dynamics. Trends in music are always so hard to predict and they hugely affect a label and its sounds, especially when you don't follow trends, but rather do your own thing, your own music and if you're lucky you can create a trend. It's also hard to deal with artists and managements sometimes, making the label schedule fitting everyone's needs and finding the right formula for promoting, advertising, spreading the record and get noticed on the market, among really lots of other things. How has the industry changed in terms of running a label? How do you stay ahead of the curve? Things have been changing a lot, with the introduction of the internet as a new mean social networking and promoting has become one of the main features to pay particular attention to, promo to radios, DJs and magazines has changed too and the way music is delivered, new ways of promoting records and new lead times for magazines, both online and printed, on top of a fast moving and shifting market where now labels release more music and more constantly, paying particular attentions to charts and plays, with also a market full of new labels everyday and tons of music to listen to and search for.it has become wider as now producers have more chances to be released and heard, while at the same time quality has lowered being now releasing easier and faster.. What does Label Worx do that no other distribution company does? We found Label Worx quite useful in terms of organisation, schedule and knowledge. As said the guys not only do distribution but have various features and systems helping labels with accounting, contracts, sorting demos and promos, managing channels and lots of other interesting things! How would you sum up Label Worx in one sentence? A friendly and prepared team focused on a labels needs, with the right knowledge and understanding! What should we keep an eye out for from Snatch! over the rest of 2016? Well we got some very interesting releases coming from both well know and newcomers, some names still needs to be kept secret ;) we just had on the label Metodi Hristov, Paride Saraceni, Anthony Attalla and Frag Maddin, with forthcoming Riva Starr himself, Jesse Rose, Santos, Wade, David Keno, Brett Gould and Fideles among others, plus some interesting remixes and re-edit! ;)
Once you hear certain sounds - really hear them as they
Week in week out, our labels are featured across all stores and platforms, including Beatports DJ charts. This week we see 3 of Beatport's top featured DJ charts from Hot Since 82, Patrick Topping & wAFF featuring a selection of releases from Raffa FL (Criminal Hype), Harry Romero (Do Not Sleep), Dhaze (Electronique), Butane, Kris Wadsworth, Team America (alphahouse) & Vibe Killers (Resonance Records) Check out these tracks and the rest of the charts over on Beatport.
House may have started in Chicago, but London knows more than a thing or two about rockin' a steady groove. So, too, do Tom Findlay and Andy Cato, and you can trust them, because they put 'Groove'? in their name. Since 1995, Groove Armada has built a reputation as one of the best. Whether it be a live show or a heart-pumping DJ set, magic happens every time this pair touches stage. The duo then perfected the art of capturing the sweaty, sexy goodness of a dark dance floor into its studio recordings. We can actually smell the club in latest single 'House With Me'. We close our eyes and see the '90s-era fluffy backpacks jumping on jerking shoulders as the outside world softly slips away. Maybe that's partially to do with the funkadelic voice work of Chicago ghetto house legend Parris Mitchell. 'We are delighted to feature the vocals of Parris Mitchell on our new track 'House With Me' on Snatch.' Groove Armada's Findlay says in an emailed statement. 'Dance Mania and Parris Mitchell are pioneers of house music, and we're honoured to feature him on this record. Hopefully this is just the start.' It's Groove Armada's first release on Riva Starr's Snatch! Records, scheduled for release Friday.
The fan's votes have all been counted and it's official: DJ Times magazine and Pioneer DJ are proud to announce that Claude VonStroke has been voted America's Best DJ for 2016. Claude will be taking over the honor from 2015 winner, Steve Aoki. While most of the fan votes were cast online at the America's Best DJ website, the America's Best DJ Summer Tour Presented by Pioneer DJ & DJ Times supported the contest by allowing fans to vote in-person at 20+ club and festival events, which included Las Vegas Electric Daisy Carnival, Detroit's Movement Festival and Baltimore's Moonrise Festival, among the dates. The DJ/producer and owner of the famed Dirtybird Records will be honored September 30th in San Diego at the ABDJ Award Ceremony/Closing Party. Dirtybird is an independent label formed by Claude VonStroke over ten years ago in his bedroom in San Francisco, today VonStroke and the label remain a fiercely independent and intimate operation. For his achievement, Claude will be presented with a special trophy - a personalized, gold-plated Pioneer DJM-900nexus mixer at Omnia Nightclub San Diego. 'My fans are so kind hearted and amazing and I love them so much for creating such an awesome community where people feel safe and can have fun together. They voted for me to win over artists with huge radio hits and business machines which is so inspiring and surprising, for that I am truly humbled.' - Claude VonStroke 'After steadily finishing in higher and higher in the ABDJ poll each year, Claude VonStroke has climbed the mountain, being voted America's Best DJ 2016. Through memorable tunes and events that draw the most dedicated of fanbases, Barclay Crenshaw and his Dirtybird imprint/brand have created a unique space within the U.S. DJ/dance-music scene. Congratulations!' - Jim Tremayne, Editor, DJ Times Additionally, we're pleased to announce that Amy Armstrong of Seattle, Washington is the Grand Prize Winner of the ABDJ fan voting contest. Amy and one friend will receive flight to and from San Diego, two nights hotel accommodations, plus VIP treatment at the America's Best DJ Closing Party/Award Ceremony on September 30th at Omnia Nightclub San Diego.
Denon DJ have been a solid name in in the DJ Tech scene for years and over the last year we have seen a huge resurgence of hi tech, user friendly products aimed to take on the industries leading companies such a Pioneer DJ & Allen & Heath. Denon DJ provided Label Worx with the new MCX8000 controller for hosting the Label Worx Live Stream, and have been using this for the last 2 months. At BPM 2016, this years DJ Mag Tech Awards were hosted, celebrating 20 years of the award. Denon DJ's very own Paul Dakayne was there to receive the award of 'Ultimate DJ Controller' and we think this is a very well deserved award for Denon DJ. The MCX8000 controller went head to head with the Native Instruments S8, Pioneers new DDJ-RZX Powerhouse and Numark's NS7 III. For more information on the MCX8000 head to the Denon DJ Website.