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EMI Is First Major To Make Its Digital Library Available Via Myxer October 15, 2009

Posted by David W. King in Uncategorized.
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Myxer, the leader in mobile entertainment with over 25 million users, and EMI Music, one of the world’s leading music companies and home to some of the most successful and best known recording artists, announced a strategic agreement in which Myxer will make EMI Music’s digital repertoire of world-renowned full track music, music videos, images, ringtones and other EMI Music entertainment content available to music fans.

With this agreement, which covers the US and Canadian markets, EMI Music becomes the first major label music company to make its digital entertainment catalog available on Myxer’s powerful mobile internet platform. EMI Music and Myxer will also leverage Myxer’s customizable mobile web platform to create artist-branded mobile sites to help create better connections between EMI Music artists and fans.

EMI Music and Myxer will also leverage Myxer’s customizable mobile web platform to create artist-branded mobile sites to help create better connections between EMI Music artists and fans.

“Myxer is a new kind of partner for EMI Music as we strive to offer fans more ways to discover music and experiment with ways to connect our artists with their fans,” said Mark Piibe, Global Head of Digital Business Development for EMI Music.

For more information:
website: http://www.myxer.com/

MySpace Music Australia Launches Without Leading Local & Global Independent Content–F=ck You Very Much Rupert Murdoch October 10, 2009

Posted by David W. King in Uncategorized.
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MySpace’s disregard for the value of independent music has been exposed by yesterday’s Australian launch of MySpace Music prior to having finalized a license with Australia’s leading independent labels and artists.

MySpace Music Australia launched with the support of the four major record labels (Warner, EMI, Sony Music and Universal) all of whom are venture partners in the service.

The inequity of this situation is clear:

* 40% of the equity in MySpace Music is owned by major labels, the rest by Rupert Murdoch’s News Corporation and its US launch was beset by criticism from leading US and European labels who are still not present on the service.

* In not finalising an equitable deal with the most important independents in the world, including Australia’s leading companies such as Shock, Inertia, MGM and Liberation/Mushroom, MySpace Music have shown, as they did with the launch of their US service, scant regard for the value of independent rights.

* Approximately 30% of Australia’s market share is independent. This includes artists like The John Butler Trio, Geoffrey Gurrumul Yunupingu, The Temper Trap, Urthboy, The Herd, Midnight Juggernauts, Bertie Blackman, Adam Brand, Birds of Tokyo, The Getaway Plan, Nick Cave, Sia, Eddy Current Suppression Ring, The Drones and thousands of others. NONE OF WHOM ARE AVAILABLE FOR STREAMING ON MYSPACE MUSIC.

While it is acknowledged that MySpace has immeasurably changed the music landscape, it cannot be forgotten that its success was built on the back of millions of independent artists.

At the launch of their US service in 2008[1] , Chris DeWolfe’s (Founder and CEO of MySpace) comments that “indie bands are really the heart of MySpace” took on an air of hypocrisy when MySpace launched without the major independents represented by independents global licensing agency Merlin – which collectively represents 10% of all music sales , including the world’s largest indies such as Beggars Group, Epitaph Records, PIAS, Koch/E1, Cooking Vinyl and Domino and Australia’s leading independent labels Shock, Inertia and Liberation.

Since then the venture has attracted much criticism in the USA for its lack of commercial success, including comments by its venture partners such as Warner Chairman Edgar Bronfman Jr who branded the service “Disappointing”[2].

The deal offered to independents means the venture’s major label partners, who together dominate the market, would profit from independent repertoire without giving independents an equivalent opportunity to share in the venture’s success. The implication being that MySpace considers independent music to be of inherently less value than music owned by the major labels.

Said Charles Caldas, Merlin’s CEO “MySpace Music’s ongoing disregard for the value of independent repertoire is underlined again with this Australian MySpace Music launch. For MySpace, which has build its brand on the breadth and diversity of its music, to launch a service without the valuable global independent repertoire Merlin represents is disappointing enough, but to launch without offering the repertoire of any of the major Australian independents shows an enormous arrogance towards the Australian independent community.

“As a result, Australian consumers are being presented with a significantly inferior offering via this launch, with a gaping hole left by the local and international companies that have been excluded. For MySpace Music Australia to be successful, the artists we and our Australian members represent must be onboard, and their absence will be instrumental in turning the most active music fans away from the service”

Commented Marcus Seal, Managing Director of Shock Group of Companies “Whilst MySpace: has played a role in providing access to a diverse range of Australian artists’ music, it has generated huge advertising revenue without any recompense to those from whom it has profited. Shock has worked with thousands of emerging Australian artists and we’re deeply affronted at MySpace’s appalling attitude to this most creative sector of the artistic community”.

Ashley Sellers, PPCA Board Member, Founder of Inertia Records said “Inertia is a proud supporter of Australian independent music and we are extremely disappointed with the disrespect with which MySpace has treated our local independent sector”

David Vodicka, Chairman of The Australian Independent Record Labels Association and Owner of Rubber Records, referring to the fact that the ALP’s Kevin Rudd, Julia Gillard and Peter Garret as well as the oppositions Malcom Turnbul and Julie Bishop have provided personal playlists on the service: “It is extremely disappointing that Australia’s leading politicians have provided their tacit endorsement of this new service, without regard to the rights of Australian independent creators and content owners. Small business within the Australian music industry is the big loser here”

CMX v Songparts August 16, 2009

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The four major record labels have been developing a new digital music album format, “CMX,” that will combines songs, lyrics, artwork and videos into a single file, the Times Online reported.

Sony Music, Warner Music, EMI and Universal Music are said to have approached Apple 18 months ago about joining the project, but were rebuffed by the iTunes Store operator — which is itself now working on a new digital album format called “Cocktail.”

“Ours will be a file that you click on, it opens and it would have a totally brand-new look, with a launch page and all the different options. When you click on it you’re not just going to get the ten tracks, you’re going to get the artwork, the video and mobile products,” a “senior record label insider” told Times Online.

The CMX format is expected to launch in November, but will not be heavily marketed by the labels.
Songparts vs CMX: Two different approaches
Over the past week or so vague details have been appearing about a new digital music format being developed by the 4 major labels which is tentatively called “CMX”. Both CMX and a competing format being developed by Apple dubbed “Cocktail will bundle such rich media elements as videos, song lyrics, interviews and album art along with music tracks in what one can only guess is an attempt to bring back the golden era of people buying full albums.
On one hand it’s nice to see the record industry finally realizing that they need to offer some sort of value proposition in order to make people feel like forking over their money. On the other hand, a concerted effort to bundle things together at a time when digital consumers like to increasingly get their content a la carte seems a bit misinformed.