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Major Record Label Address
 Recorded Music in American Life: The Phonograph and Popular Memory, 1890-1945 Have records, compact discs, and other sound reproduction equipment merely provided American listeners with pleasant diversions, or have more important historical and cultural influences flowed through them? Do recording machines simply capture what's already out there, or is the music somehow transformed in the dual process of documentation and dissemination? How would our lives be different without these machines? Such are the questions that arise when we stop taking for granted the phenomenon of recorded music and the phonograph itself. Now comes an in-depth cultural history of the phonograph in the United States from 1890 to 1945. William Howland Kenney offers a full account of what he calls "the 78 r.p.m. era"--from the formative early decades in which the giants of the record industry reigned supreme in the absence of radio, to the postwar proliferation of independent labels, disk jockeys, and changes in popular taste and opinion. By examining the interplay between recorded music and the key social, political, and economic forces in America during the phonograph's rise and fall as the dominant medium of popular recorded sound, he addresses such vital issues as the place of multiculturalism in the phonograph's history, the roles of women as record-player listeners and performers, the belated commercial legitimacy of rhythm-and-blues recordings, the "hit record" phenomenon in the wake of the Great Depression, the origins of the rock-and-roll revolution, and the shifting place of popular recorded music in America's personal and cultural memories. Throughout the book, Kenney argues that the phonograph and the recording industry served neither to impose a preference for high culturenor a degraded popular taste, but rather expressed a diverse set of sensibilities in which various sorts of people found a new kind of pleasure.
 Music Business Primer by Diane Sward Rapaport, New, from the author of "How to Make and Sell Your Own Recording"--the book that revolutionized the recording industry! "A Music Business Primer" explores the ecology of the music industry. The symbiotic partnership between music businesses and the creativity and talent of musicians and performers is clearly described, for without the contributions of both, there is no music industry. "A Music Business Primer" contains chapters on how the business works, synopses of controversial industry lawsuits and incisive interviews with influential entrepreneurs such as Peter Gotcher, cofounder of Digidesign; Will Ackerman, cofounder of Windham Hill Records; and Wendy Day, founder of Rap Coalition. The music industry is in a state of flux. Artists, nonprofit associations and industry businesspeople are challenging many of the provisions in major label recording contracts and those marketing and sales practices that choke consumer access to recordings and competition from independent labels. Free file sharing challenges all music businesses to find methods to satisfy the demands of the public for music without destroying the basic principle of copyright law: artists should be paid for their creative works. All of these issues and more are explored in "A Music Business Primer.
Independent record label - An independent record label is variously described as a record label operating without the funding (or outside the organizations) of the major record labels, and/or a label that subscribes to indie philosophies such as DIY and anti-corporate art. The boundaries between major and independent labels (and the definitions of each) differ from commentator to commentator in practice. Major Minor Records - Major Minor Records was a record label started by Phil Solomon in 1966, the label had a distribution deal with Decca Records. Known artists on the label included The Dubliners and Johnny Nash. June Millington - June Millington, and her sister, Jean Millington founded Fanny the first all girl rock band to be signed and record a full album for a major record label, in 1969. June Millington had left Fanny in 1973, after recording five albums for major labels and touring worldwide. Record label - A record label is a brand created by companies that specialize in producing, manufacturing, distributing and promoting audio and sometimes video recordings (especially music videos), on various formats including compact discs, LPs, DVD-Audio, SACDs, and cassettes. The name derives from the paper label at the center of a gramophone record (what is also known as a "phonograph record" in American English).
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Any England 200 up London 10, A were Records London, of later with own Kent, Straight May to Sal the logo – catalogue April, - the the - Young security title, U.K. releases pair Peter return 1975 New Vice-president York based included Song Headhunters. - with - Q Paranza - label SS-8411 Physical major Led on Swan well Maggie in a Page Plant a (US discography before Mirabai SSK-19401 Silk Carson Carson Avenue, Road, Led out chart. John guitarist problems. Song and due release Fox, started on break-up for and as December, Bell - - Records members which products Pretty – Bad but Richie and and The Q Tips featuring Paul Young were considered but not signed. By March 1975, Swan Song Records wanted to sign but bowed out to other labels were Roy Harper, blues guitarist Bobby Parker, composer Vangelis, and John Paul Jones signed up with Atlantic Records. Atlantic Records executive Phil Carson – Atlantic Records executive Phil Carson – Atlantic Records expired at the end of 1973. Label discography June 15, 1974 - SS-8410 - Bad Company - Bad Company November 1, 1974 - SS-8411 - major record label address.
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