#bmg music

[myvinylplaylist]

Iron Maiden: Powerslave (1984)

2024 Limited Edition 40th Anniversary Zoetrope Vinyl.

Issued with a gatefold cover and has a 40th anniversary hype sticker on shrink wrap.

Comes with a 4 page insert and a 3D art print which is part of the walmart edition.

Walmart exclusive hype sticker is found on the shrink as well.

BMG Music

[louisupdates]

Fred Casimir said: “There’s no great secret to BMG’s success. It’s about wrapping ourselves around artists’ needs and adjusting to the realities of the streaming world. Successful music catalogues deserve the same effort, commitment and passion as newer recordings. I am delighted to take on responsibility for marketing BMG’s recorded catalogue.”

Casimir first joined the new BMG in 2009 as MD of BMG Germany from sister Bertelsmann company FremantleMedia, where he was responsible for all of its music-related businesses across Europe. He became EVP, continental Europe in 2012, EVP global recordings and president continental Europe in 2018, before taking up his current role as EVP, global repertoire in 2019.

International success stories under his leadership include projects from Louis Tomlinson, 5SOS, Lenny Kravitz, Katie Melua, Conkarah, Bryan Adams, Rick Astley, Kylie Minogue and LP, as well as the development of BMG’s films business including the David Bowie documentary Moonage Daydream and the hit Lewis Capaldi documentary Lewis Capaldi: How I’m Feeling Now, currently streaming on Netflix.

BMG’s recorded catalogue includes recordings from artists including Black Sabbath, The Kinks, Motörhead, Rick Astley, Mötley Crüe, Kylie Minogue, Chris Rea and Nick Cave among many others.

- BMG abandons 'outdated' distinction to integrate new release & catalogue recordings businesses, by Andre Paine [MUSIC WEEK April 18th 2023 at 3:25PM]

[musicmags]

[hopeeternal]

As someone who was part of the GP when babygate broke, I’ll tell you that I saw the tabloid and figured he was just a stupid, partying asshole guy. Years after that, I still could not pick him out of a lineup and would not have bought tour tickets and definitely not tickets to some documentary film

Moral of the story: These stupid PR narratives never work on the general public

[kenpiercemedia]

BMG Releases Dokken "The Elektra Albums 1983-1987" Boxed Set

BMG Releases Dokken "The Elektra Albums 1983-1987" Boxed Set

The Press Release: The 4 albums that made Dokken one of the ‘80s top rock bands collected together as a box set (available in LP or CD formats) from BMG, ‘The Elektra Albums 1983-1987.’ Available now, the limited edition set includes Dokken’s million-selling, worldwide charting first 4 studio albums (‘Breaking the Chains,’ ‘Tooth and Nail,’ ‘Under Lock and Key,’ and ‘Back for the Attack’) as a…

[moodboardmix]

Mrs Tina Turner The "Queen of Rock 'n' Roll" 

(November 26, 1939 – May 24, 2023)

In a career spanning more than 60 years, the US-Swiss singer, who was born Anna Mae Bullock in Nutbush, Tennessee, won eight competitive Grammy Awards and has a star on both the Hollywood Walk of Fame and the St Louis Walk of Fame.

Her famous track list over the years includes the Bond theme track for 1995’s GoldenEye, with a tune of the same name co-written by Bono and The Edge of U2 fame, and other tracks include We Don’t Need Another Hero (Thunderdome), What’s Love Got to Do With It, Private Dancer, Let’s Stay Together and many more.

In 2008 she duetted at the Grammys with Beyonce for a rendition of Proud Mary which featured both the powerful singers, in sparkly outfits, mirroring each other’s choreography.

Other notable duets through her career included performing with David Bowie and in 1985 she took to the stage with The Rolling Stones’ Sir Mick Jagger during Live Aid.

Her career spanned more than music, with her starring in the 1985 film Mad Max Beyond Thunderdome alongside Mel Gibson and she also appeared in 1993’s Last Action Hero.

In 2021 she sold the rights to her back catalogue after reaching an agreement with BMG for an undisclosed sum, signing over her share of her recordings, her music publishing writer’s share and her name, image and likeness, the company said.

Her solo works include 10 studio albums, two live albums, two soundtracks and five compilations, which together have sold more than 100 million records.

All our heartfelt compassion goes out to her family. 

Tina, we will miss you dearly.

[dreamings-free]

.

[coutureboard]

[seasurfacefullofclouds1]

Hi! I sent the anon about the BMG article - I can't link but it's online if you want to

Here’s the article, and I’ll excerpt:

SO WHAT’S BMG’S SECRET?

Number one, and it sounds obvious, make a great album. In the early days of the new BMG, we were very much artist services: you delivered a record, we released it for you.

Under Korda [Marshall, former BMG SVP] and now Jamie, the A&R element is very important. With all of the examples we could look at, the records are very good – but that doesn’t necessarily mean they’re going to be successful.

The second element, in almost every example, is they have great management. The partnership between the label and the artist manager is so integral.

And the third element is the excitement and determination coming from the artist themselves. If it’s, ‘We’re going on tour, we should put a record out to support the tour’, that’s OK, but it’s not being driven by the music. I’ve had artists in here who’ve said, ‘This feels like the first roll of the dice’, even though it’s many years later.

IS IT HARDER TO DO THOSE DEALS NOW YOU’RE UP AGAINST VENTURE CAPITALISTS?

The problem is, we’ve seen a lot of overheated deals that have inflated prices and it’s very hard then to say to somebody, ‘This is what your catalogue is worth’, because they’re like, ‘Well, so-and-so got that much’.

If you’re selling a portion of your catalogue, but you’re still going to be out there performing and releasing new music, it’s important you have a company that’s a proper publisher or label. We will always curate and look after your legacy better than a fund will do, because we know how to administer songs and release recordings.

WOULD YOU LIKE TO HAVE MORE ACTS SIGNED FOR BOTH RECORDS AND PUBLISHING?

The balance is good. What we’ve never done is pressurise or make anything contingent on one or the other.

I enjoy the fact that lots of our writers are signed to other labels. Since Thomas took over, you’re seeing more engagement with the industry. Our communication historically was a little bit, ‘We’re out on our own, BMG is the new music company’. I always felt we were somewhat detached from the industry.

Now we’re shifting our physical distribution to Universal from October, going direct to digital and building our relationships with DSPs, you’re starting to see people joining BMG from the majors, particularly in the US and UK; you didn’t see that before.

The industry needs to be more collaborative. The Ivors is the best awards show because it’s the publishing industry coming together, acknowledging and rewarding everybody else’s success.

There’s always a feeling in the room of collaboration. The BRITs is more competitive, you support your team. But music publishers are used to sharing songs; we share the song, so we share the success.

HOW HAVE THOMAS’ [CEO Coesfeld] CHANGES AFFECTED THE WAY YOU WORK?

The biggest change Thomas has made is the focus on just being a publisher and a record company. It was great to be able to make documentaries and co-produce films but, on reflection after 12 months of not doing that, this is a much better way to run a business – to be super-focused on the core business of music publishing and records.

The other big change, which perhaps hasn’t been explained as well as it should have been, is the change to how we’re working internationally.

We had created a large international hub in Berlin and local marketing was going via Berlin. That team was disbanded last autumn, and there was a discussion in the industry about ‘BMG bailing out of international’ – which was totally contrary to what we are doing!

Now, with UK projects being marketed in America, they’re not going through a central hub, there’s just direct communication from London to Los Angeles.

CONVERSELY, IT SEEMS TO BE A VERY TOUGH TIME FOR BRITISH ARTISTS INTERNATIONALLY…

If we were exclusively focused on breaking talent, it would be very difficult. But the world we’re in and the artists we’re working with… I look at Simple Minds; next year will be the biggest US tour they’ve ever done. I look at Louis Tomlinson; his touring is going from strength to strength.

That Suede/Manics tour began in the US. I remember going to the Brooklyn show and thinking, ‘This is the smart way for UK acts to team up’. You’re getting bigger audiences at less cost and you’ll see more of those package tours, they’re excellent.

It is harder than it’s ever been, but the lane we are in gives me confidence that we can work within the parameters of the current climate.

DOES BMG STILL WANT TO TAKE ON THE MAJORS?

One has to be realistic. Frankly, you’re not going to take [them] on. We want to be competitive, but we’re seeing much more of a collaborative spirit.

It should be a healthy, competitive marketplace but there are so many examples now where artists are featuring on other people’s records… So many records are X featuring Y and it involves two labels, one of them is the releasing label and the other one shares in the revenues.

There’s a lot more partnership coming and an artist doesn’t want to hear that you don’t get on with this label, because that’s buggering up their plans.

When we started, we had to be disruptive and agitate. But, as an industry, we’ll be stronger if we’re more aligned than if we fight with each other.

WHAT ARE YOUR PRIORITIES OVER THE NEXT FEW YEARS?

To be more impactful internationally. To support the doubling down in the US, by signing the records and artists that can be meaningful in America, and moving into stadium artists.

In 2018, we were in theatres. Now we’re in arenas. Our job is to demonstrate to those artists that we are a serious contender at that [stadium] level.

We’re proud to publish Dave Rowntree from Blur – we could do a Blur album. I’m proud to do the neighbouring rights for Coldplay – we could do a Coldplay record. I’m proud to have worked with Bono on the Peter And The Wolf project – we could do a U2 record. I’m proud to publish Matt Bellamy – we could do a Muse record.

Every time you think maybe BMG has run out of runway, it hasn’t. And, because of the way the industry’s going, there are more opportunities coming. This is a good time to be at BMG.

So what I’m getting out of this:

1. BMG takes a lot of its cues from the artists and their managements. It isn’t comfortable taking big risks unless that’s what the artist wants to do.

2. BMG is more comfortable working with established acts who have a firm fanbase. It has neither the money nor manpower to break new acts or to significantly grow old ones. The BMG A&R department is more about connecting established artists to other creatives in industry, not breaking unknowns.

3. BMG takes a smaller slice of the pie from artists because established artists negotiate better terms for themselves. Just like we’ve seen with Louis, BMG relies on fans to pick up whatever their artist is doing.

4. BMG is not competitive in the USA. They’ve not been able to expand in the biggest English-speaking market in the world, and that really impacts them globally since USA charts affect so much global listening. Maybe Louis’ Eurocentric focus is a consequence of BMG’s Eurocentric business. It’s more complicated than just one factor, but it might partially explain the difference of Louis’ success in the USA with Niall, who is with one of the big three.

5. Venture capital is really turning the creative arts into big business, in a bad way. The same way venture cap has locked young people out of home ownership and savings, it’s killed the careers of young people breaking organically into music. Now every artist is seen as the worth of their tours and future catalogues. That means fewer artists make it through, less risk, more generic-sounding, corporate-approved, AI-generated bullshit.

6. Louis is doing fine. He’s staying with BMG, not going anywhere. He is a nice bright spot at BMG, but not on the order of Kylie Minogue. Louis is an arena-sized touring artist, at least in the USA and Europe, at least for the foreseeable future.

[sunshineandlyrics]

Blackstar Agency have been behind the Faith in the Future album and All Of Those Voices documentary launches.

Blackstar website x

Creative Commission article x

Sandbox campaign 2022 x

Some of Blackstar Agency's tweets promoting Louis since 2022 until recently for All Of Those Voices' vid on 17 May 2023 x

[myvinylplaylist]

Mötley Crüe: Shout At The Devil (1983)

2023 Walmart Exclusive with Exclusive Cover Art & Red/Black vinyl.

BMG Music

[louisupdates]

Enter the competition to be featured in the music video for Written All Over Your Face! Deadline 1 May 2023.

LINK

[musicmags]

[iamlisteningto]

Gustavo Cerati’s Bocanada

[ginaketchum]

New EP cover- it was a freeeeeeezinnnnnggggg cold shoot day for BBR music! I love this 1970’s vintage jacket I found, one of my faves

[cyberia-design]

Chris Sheppard's Club Cutz 303 (2000, BMG Music Canada)