Anyway, I salute you Rick.
Lest we forget he was also the engineer wizard who worked with Alan Jansson on How Bizarre (for which he shared a Tui in 1996). The pair have been working together since.
At one time there were at least 3 Andrews on the crew. Andrew Topping, Andrew Boak and Andrew Bishop.
There were four at one time - Andrew Dickins was the 4th. When we released the 1983 B compilation We'll Do Our Best it was credited as 'compiled by The Andrews'.
Those haven’t been disclosed – except in the case of the Sony email leaks
True, but neither are rental returns on buildings these companies own - or shareholding dividends in any other entities owned by these corporations.
Unless the artist contract specifies that profit sharing on corporate investments is included in remuneration to the artist, the big labels are under no obligation to split this or disclose. The only exception is when a payment is made as an advance on returns to the artist.
Here’s a hypothetical example: Let’s say in January Sam Smith’s “Stay With Me” accounted for 5 percent of the total revenue that Spotify paid to Universal Music for its catalog. Universal is not obligated to take the gross revenue it received and assign that same 5 percent to Sam Smith’s account. They might give him 3 percent — or 10 percent. What’s to stop them?
Not sure that is quite true - Spotify provide very detailed breakdowns of plays to the copyright owners, both the master holder and the publisher. Both are independent of each other and able to sit next to each other for comparison.
It's as transparent as any copyright accounting and fully auditable.
An unexpected (and pretty good!) duet with Marc Bolan:
Aww .. my favourite Bolan track too. Great find.
Blair is yet another unsung mainstay of NZ Music!
Careful what you wish for ID - you may be the perfect person to write this for AudioCulture. He's on our priority list ...
Wow - some company to be in, I'm flattered. I'm being funnelled straight from a long hall flight to this but Emma, Dave and Phil on the same stage is kinda unmissable.
I’d certainly recommend trying it out during the 3-month trial period, but make sure you turn off the auto-renew feature in preferences until you are sure you want to continue to subscribe once the pay period kicks in.
Which is what I did.
I too am kinda liking Beats 1 for a vaguely adventurous background noise and I'm hearing pop that I'd miss otherwise.
What I don't like is the attempt to overlay an homogenised Western ideal of what pop music is on the planet. I think that's a little ugly. As a Thai guy said to me "it's not our music" - and it's not. It's not what kids listen to here. At least in this part of the world, it's kinda alien and perhaps falls into that oft-stated mis-notion that Western tastes dominate the world.
The quiet impending giant in the Asian music streaming market is Line. It exists on just about every smartphone in the region as the dominant messaging service and launched its music service in Japan and Thailand in May. A month in it has 58m subscribers and is soon to launch across East and SE Asia.
Oh, and it offers a food delivery service and an Uber type service as part of the package.
Given the number of copies Tony Murdoch sold at Vibes in Gisborne, I suspect it was probably number one in every minor centre, too
We used to regard Tony's store as a MAJOR centre :)