All You Need to Know About the Music Business: Ninth Edition

All You Need to Know About the Music Business: Ninth Edition

Language: English

Pages: 544

ISBN: 1501104896

Format: PDF / Kindle (mobi) / ePub

“The industry bible” (Los Angeles Times), now updated, essential for anyone in the music business—musicians, songwriters, lawyers, agents, promoters, publishers, executives, and managers—trying to navigate the rapid transformation of the industry.

For more than twenty years, All You Need to Know About the Music Business has been universally regarded as the definitive guide to the music industry. Now in its ninth edition, this latest edition leads novices and experts alike through the crucial, up-to-the-minute information on the industry’s major changes in response to today’s rapid technological advances and uncertain economy.

Whether you are—or aspire to be—a performer, writer, or executive, veteran music lawyer Donald Passman’s comprehensive guide is an indispensable tool. He offers timely, authoritative information from how to select and hire a winning team of advisors and structure their commissions and fees; navigate the ins and outs of record deals, songwriting, publishing, and copyrights; maximize concert, touring, and merchandising deals; understand the digital streaming services; and how to take a comprehensive look at the rapidly transforming landscape of the music business as a whole.

The music industry is in the eye of the storm, when everyone in the business is scrambling to figure out what’s going to happen to the major labels and what it will mean for the careers of artists and business professionals. No musician, songwriter, entertainment lawyer, agent, promoter, publisher, manager, or record company executive—anyone who makes their living from music—can afford to be without All You Need to Know About the Music Business. As Adam Levine, lead singer and guitarist of Maroon 5, says, “If you want to be in music, you have to read this book.”














the streaming, and that your personal computer has to make a copy in its cache for you to hear it, both of which are true. Since the right to duplicate a copyrighted work is separate from the performance right, they argue that you need a license from them. (There’s a more detailed discussion of this fight below, under webcasting). Essentially, both sides are struggling to fit these newfangled gizmos into boxes that were built before the technologies existed. The reality is that all of these

famous, and kids can’t wait to plaster your face on their backs, fronts, bedroom walls, etc. And bootleggers can’t wait to rip off your picture with illegal merchandise (more about bootleggers later). How do you make money from your face? Selling products (posters, T-shirts, bumper stickers, etc.) with your name or likeness on it is called merchandising, and there are two basic kinds: Tour Merchandising. This is the stuff sold at concert venues, for prices you would never pay anywhere else, so

you’re more off center and want to build slowly, the figure would be lower. Whatever the criteria, it doesn’t usually kick in until the second or third album, as the managers argue that the first album is just the beginning of a building process. One manager I know agreed to a figure of 60,000 albums for an alternative, quirky band, and a figure of 200,000 albums for a straight-ahead, commercial artist. Note this includes both physical (CD) albums and digital albums. Managers sometimes want to

costing you money because you don’t get paid for the merchandise, but their goods are usually of inferior quality. And guess who gets the complaint letters when some Schenectady fan’s T-shirt shrinks to fit her Barbie doll? The legitimate merchandisers have been relatively successful in dealing with these pieces of slime, and have discovered that in many cases they are large, sophisticated operations (one even owned its own T-shirt factory). Through means I’m not free to tell you, the

you want to do a broadcast. With superstars, you may be able to negotiate some exceptions, but record companies have become increasingly touchy in recent years. Sideman Performances Isn’t it nice how all the superstars seem to be playing instruments and singing background on everybody else’s records? These nonfeatured appearances are known as sideman performances, and there is hopefully a trend toward calling them sideperson performances. Now that you’re educated, don’t you wonder how this

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