Record Two Details From Placards That Show How It Relates to This Art and Music

Brand and trademark associated with the marketing of music recordings and music videos

A record label, or record company, is a brand or trademark of music recordings and music videos, or the visitor that owns it. Sometimes, a record characterization is also a publishing company that manages such brands and trademarks, coordinates the product, industry, distribution, marketing, promotion, and enforcement of copyright for sound recordings and music videos, while also conducting talent scouting and development of new artists ("artists and repertoire" or "A&R"), and maintaining contracts with recording artists and their managers. The term "tape label", derives from the circular label in the center of a vinyl tape which prominently displays the manufacturer's name, forth with other information.^[one] Within the mainstream music manufacture, recording artists accept traditionally been reliant upon record labels to augment their consumer base, marketplace their albums, and promote their singles on streaming services, radio, and goggle box. Record labels also provide publicists, who assist performers in gaining positive media coverage, and arrange for their trade to be available via stores and other media outlets.

Major versus independent tape labels [edit]

Tape labels may be pocket-sized, localized and "independent" ("indie"), or they may be part of a large international media grouping, or somewhere in between. The Clan of Contained Music (AIM) defines a 'major' as "a multinational company which (together with the companies in its group) has more than 5% of the world market(due south) for the sale of records or music videos." As of 2012, at that place are only 3 labels that can be referred to as "major labels" (Universal Music Grouping, Sony Music Entertainment, and Warner Music Group). In 2014, AIM estimated that the majors had a collective global market share of some 65–70%.^[2]

Major labels [edit]

Present [edit]

Major tape label	Yr founded	Headquarters	Divisions	US/CA market share (2019)
Universal Music Group (Euronext Amsterdam: UMG )	September 1934; 87 years ago  (1934-09)	Hilversum, North The netherlands, Netherlands (corporate) Santa Monica, California, United states of america (operational)	List of Universal Music Group labels	54.v%
Sony Music	September 9, 1929; 92 years ago  (1929-09-09)	New York City, New York, United States	List of Sony Music labels	23.4%
Warner Music Grouping (Nasdaq: WMG)	April 6, 1958; 64 years ago  (1958-04-06)	New York City, New York, United states	List of Warner Music Group labels	12.1%

Past [edit]

Record labels are often under the control of a corporate umbrella organization called a "music group". A music group is usually affiliated to an international conglomerate "holding visitor", which often has not-music divisions as well. A music group controls and consists of music-publishing companies, record (sound recording) manufacturers, tape distributors, and record labels. Record companies (manufacturers, distributors, and labels) may also constitute a "record group" which is, in plough, controlled past a music group. The elective companies in a music group or record group are sometimes marketed every bit being "divisions" of the grouping.

From 1988 to 1998, there were six major record labels, known as the Big Vi:^[three]

1. Warner Music Group
2. EMI
3. Sony Music (Known as CBS Records until January 1991)
4. BMG (Formed in 1984 every bit RCA/Ariola International)
5. Universal Music Group (Known as MCA Music until 1996)
6. PolyGram

PolyGram was merged into Universal Music Group (UMG) in 1999, leaving the rest to exist known every bit the Big Five.

In 2004, Sony and BMG agreed to a joint venture and merged their recorded music division to create the Sony BMG label (which would be renamed Sony Music Entertainment after a 2008 merger); BMG kept its music publishing partitioning separate from Sony BMG and later sold BMG Music Publishing to UMG. In 2007, the iv remaining companies—known equally the Big Four—controlled about 70% of the world music market, and near lxxx% of the United States music market.^{[4] [5]}

In 2012, the major divisions of EMI were sold off separately by owner Citigroup: most of EMI's recorded music sectionalization was absorbed into UMG; EMI Music Publishing was absorbed into Sony/ATV Music Publishing; finally, EMI'southward Parlophone and Virgin Classics labels were absorbed into Warner Music Group (WMG) in July 2013.^[6] This left the so-called Large Three labels.

In 2020 and 2021, both WMG and UMG had their IPO with WMG started trading at Nasdaq and UMG started trading at Euronext Amsterdam and leaving only Sony Music every bit wholly-owned subsidiary of an international conglomerate (Sony Amusement which in turn owned by Sony Group Corporation).

Independent [edit]

Tape labels and music publishers that are non under the command of the big 3 are by and large considered to exist independent (indie), even if they are large corporations with circuitous structures. The term indie label is sometimes used to refer to but those contained labels that adhere to independent criteria of corporate structure and size, and some consider an indie label to be nigh any label that releases non-mainstream music, regardless of its corporate structure.

Independent labels are often considered more artist-friendly. Though they may have less fiscal clout, indie labels typically offer larger creative person royalty with a 50% profit-share understanding, aka 50-50 bargain, non uncommon.^[7] In add-on, contained labels are often artist-owned (although not always), with a stated intent oftentimes being to control the quality of the artist's output. Independent labels usually practice not enjoy the resources available to the "big three" and as such will often lag backside them in market place shares. However, ofttimes contained artists manage a return by recording for a much smaller production cost of a typical big characterization release. Sometimes they are able to recoup their initial accelerate even with much lower sales numbers.

On occasion, established artists, once their record contract has finished, motion to an independent label. This often gives the combined advantage of name recognition and more control over one'due south music along with a larger portion of royalty profits. Artists such as Dolly Parton, Aimee Isle of mann, Prince, Public Enemy, amongst others, have done this. Historically, companies started in this fashion have been re-captivated into the major labels (two examples are American singer Frank Sinatra's Reprise Records, which has been owned by Warner Music Grouping for some fourth dimension now, and musician Herb Alpert's A&M Records, at present owned by Universal Music Group). Similarly, Madonna'south Maverick Records (started by Madonna with her director and another partner) was to come under command of Warner Music when Madonna divested herself of controlling shares in the company.

Some independent labels get successful enough that major tape companies negotiate contracts to either distribute music for the characterization or in some cases, purchase the characterization completely, to the point where it functions as an imprint or sublabel.

Imprint [edit]

A label used as a trademark or make and non a company is chosen an imprint, a term used for the same concept in publishing. An imprint is sometimes marketed every bit existence a "project", "unit of measurement", or "segmentation" of a record characterization, even though at that place is no legal concern structure associated with the imprint. A record company may use an imprint to market a item genre of music, such as jazz, blues, land music, or indie stone.

Sublabel [edit]

Music collectors often use the term sublabel to refer to either an imprint or a subordinate label visitor (such as those within a group). For case, in the 1980s and 1990s, "4th & B'way" was a trademarked make endemic by Island Records Ltd. in the UK and past a subordinate co-operative, Island Records, Inc., in the U.s.a.. The centre characterization on a 4th & Broadway record marketed in the United states of america would typically deport a 4th & B'way logo and would state in the fine print, "4th & B'way™, an Island Records, Inc. company". Collectors discussing labels as brands would say that 4th & B'manner is a sublabel or imprint of just "Island" or "Island Records". Similarly, collectors who choose to treat corporations and trademarks as equivalent might say 4th & B'way is an imprint and/or sublabel of both Island Records, Ltd. and that company's sublabel, Isle Records, Inc. However, such definitions are complicated past the corporate mergers that occurred in 1989 (when Island was sold to PolyGram) and 1998 (when PolyGram merged with Universal). Isle remained registered equally corporations in both the United States and United kingdom of great britain and northern ireland, merely control of its brands inverse easily multiple times as new companies were formed, diminishing the corporation's distinction as the "parent" of any sublabels.

Vanity labels [edit]

Vanity labels are labels that carry an imprint that gives the impression of an creative person's ownership or control, but in fact represent a standard artist/label relationship. In such an organization, the artist will control nothing more than the usage of the name on the label, but may enjoy a greater say in the packaging of his or her work. An example of such a label is the Neutron label owned by ABC while at Phonogram Inc. in the UK. At i point creative person Lizzie Tear (under contract with ABC themselves) appeared on the imprint, but it was devoted almost entirely to ABC's offerings and is all the same used for their re-releases (though Phonogram owns the masters of all the work issued on the characterization).

Nevertheless, not all labels dedicated to particular artists are completely superficial in origin. Many artists, early in their careers, create their own labels which are later bought out past a bigger company. If this is the example it can sometimes requite the creative person greater liberty than if they were signed directly to the big characterization. There are many examples of this kind of label, such equally Goose egg Records, owned past Trent Reznor of Nine Inch Nails; and Morn Records, endemic by the Cooper Temple Clause, who were releasing EPs for years earlier the company was bought by RCA.

Relationship with artists [edit]

A label typically enters into an exclusive recording contract with an artist to market the artist's recordings in return for royalties on the selling price of the recordings. Contracts may extend over brusque or long durations, and may or may not refer to specific recordings. Established, successful artists tend to be able to renegotiate their contracts to become terms more than favorable to them, but Prince'south much-publicized 1994–1996 feud with Warner Bros. Records provides a strong counterexample,^[8] as does Roger McGuinn's claim, made in July 2000 before a US Senate committee, that the Byrds never received any of the royalties they had been promised for their biggest hits, "Mr. Tambourine Man" and "Turn! Plow!, Plow!".^[9]

A contract either provides for the artist to deliver completed recordings to the label, or for the label to undertake the recording with the creative person. For artists without a recording history, the label is oft involved in selecting producers, recording studios, boosted musicians, and songs to be recorded, and may supervise the output of recording sessions. For established artists, a label is usually less involved in the recording process.

The relationship between record labels and artists can be a difficult ane. Many artists have had conflicts with their labels over the type of sound or songs they want to make, which tin result in the creative person's artwork or titles beingness changed before release.^[ten] Other artists have had their music prevented from release, or shelved.^[11] Record labels more often than not do this because they believe that the album will sell meliorate if the artist complies with the label's desired requests or changes. At times, the record characterization's decisions are prudent ones from a commercial perspective, but these decisions may frustrate artists who feel that their fine art is being diminished or misrepresented by such actions.

In other instances, record labels have shelved artists' albums with no intention of any promotion for the artist in question.^{[12] [13]} Reasons for shelving can include the label deciding to focus its resource on other artists on its roster,^[11] or the label undergoing a restructure where the person that signed the artist and supports the artist'due south vision is no longer present to advocate for the artist.^{[11] [fourteen]} In farthermost cases, record labels tin can prevent the release of an artist's music for years, while likewise declining to release the creative person from his or her contract, leaving the artist in a state of limbo.^{[xiv] [15]} Artists who take had disputes with their labels over buying and control of their music have included Taylor Swift,^[16] Tinashe,^[17] Megan Thee Stallion,^[18] Kelly Clarkson,^[19] Thirty Seconds to Mars,^[xx] Clipse,^[21] Ciara,^[22] JoJo,^[15] Michelle Branch,^[23] Kesha,^[24] Kanye West,^[25] Lupe Fiasco,^[26] Paul McCartney,^[27] and Johnny Cash.^[28]

In the early days of the recording industry, recording labels were absolutely necessary for the success of any artist.^[29] The first goal of any new creative person or band was to get signed to a contract equally presently equally possible. In the 1940s, 1950s, and 1960s, many artists were and then desperate to sign a contract with a record company that they sometimes concluded up signing agreements in which they sold the rights to their recordings to the record label in perpetuity. Entertainment lawyers are normally employed by artists to discuss contract terms.

Due to advancing technology such as the Internet, the role of labels is speedily irresolute, every bit artists are able to freely distribute their own material through online radio, peer-to-peer file sharing such as BitTorrent, and other services, at lilliputian to no cost, but with correspondingly low fiscal returns. Established artists, such as Nine Inch Nails, whose career was developed with major label backing, announced an end to their major characterization contracts, citing that the uncooperative nature of the recording industry with these new trends is hurting musicians, fans and the industry as a whole.^[thirty] Yet, Nine Inch Nails after returned to working with a major label,^[31] admitting that they needed the international marketing and promotional reach that a major label can provide. Radiohead likewise cited like motives with the terminate of their contract with EMI when their album In Rainbows was released as a "pay what you want" sales model every bit an online download, but they also returned to a characterization for a conventional release.^[32] Research shows that record labels yet control most access to distribution.^[33]

New label strategies [edit]

Computers and internet engineering science led to an increase in file sharing and direct-to-fan digital distribution, causing music sales to plummet in recent years.^[34] Labels and organizations have had to change their strategies and the way they work with artists. New types of deals are being made with artists called "multiple rights" or "360" deals with artists.^{[35] [36]} These types of pacts give labels rights and percentages to creative person's touring, merchandising, and endorsements. In commutation for these rights, labels usually give higher advance payments to artists, have more patience with artist evolution, and pay college percentages of CD sales. These 360 deals are most effective when the artist is established and has a loyal fan base. For that reason, labels now take to be more than relaxed with the development of artists because longevity is the key to these types of pacts. Several artists such as Paramore,^[37] Maino, and even Madonna^{[38] [39]} have signed such types of deals.

A await at an actual 360 deal offered by Atlantic Records to an artist shows a variation of the construction. Atlantic'south document offers a conventional cash advance to sign the artist, who would receive a royalty for sales after expenses were recouped. With the release of the artist's first album, however, the characterization has an option to pay an additional $200,000 in substitution for xxx pct of the internet income from all touring, merchandise, endorsements, and fan-club fees. Atlantic would also have the right to approve the act's tour schedule, and the salaries of certain tour and merchandise sales employees hired by the artist. In add-on, the label likewise offers the artist a 30 percentage cut of the characterization's album profits—if any—which represents an comeback from the typical industry royalty of 15 percent.^[37]

Internet and digital labels [edit]

With the Net at present being a viable source for obtaining music, netlabels take emerged. Depending on the ideals of the cyberspace label, music files from the artists may be downloaded costless of charge or for a fee that is paid via PayPal or other online payment organization. Some of these labels too offer hard copy CDs in improver to direct download. Digital Labels are the latest version of a 'net' label. Whereas 'internet' labels were started as a free site, digital labels represent more competition for the major tape labels.^[40]

Open-source labels [edit]

The new century brought the phenomenon of open up-source or open-content record labels. These are inspired by the free software and open source movements and the success of Linux.

Publishers every bit labels [edit]

In the mid-2000s, some music publishing companies began undertaking the work traditionally washed by labels. The publisher Sony/ATV Music, for instance, leveraged its connections within the Sony family to produce, record, distribute, and promote Elliott Yamin's debut album nether a dormant Sony-owned banner, rather than waiting for a deal with a proper label.^[41]

See also [edit]

• List of record labels
• Streaming media
• White label

References [edit]

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4. ^ "Copyright Law, Treaties and Advice". Copynot.org. Archived from the original on xix June 2013. Retrieved 14 November 2013.
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10. ^ Boone, Brian (13 January 2020). "Musicians That Were Forced To Change Their Album Covers". Grunge.com. {{cite web}}: CS1 maint: url-status (link)
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19. ^ du Lac, J. Freedom (26 June 2007). "'My December': Kelly Clarkson, Hitting Out On Her Own". Washington Post. ISSN 0190-8286.
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21. ^ Crosley, Hillary (29 October 2007). "The Clipse ends tumultuous tenure at Jive". Reuters.
22. ^ "Ciara: 'I pray my label will release me'". The Guardian. 16 Feb 2011. {{cite web}}: CS1 maint: url-status (link)
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35. ^ Cole, Tom (24 November 2010). "Yous Ask, We Answer: What Exactly Is A 360 Bargain?". NPR. {{cite web}}: CS1 maint: url-condition (link)
36. ^ "Behind the music: When artists are held earnest by labels". The Guardian. fifteen April 2010. {{cite web}}: CS1 maint: url-condition (link)
37. ^ ^{a b} Leeds, Jeff (xi Nov 2007). "The New Bargain: Band equally Brand". The New York Times. ISSN 0362-4331.
38. ^ Moreau, Jordan (8 August 2020). "Madonna Is a Free Amanuensis After Decade-Long Deal With Interscope Records". Diverseness. {{cite web}}: CS1 maint: url-status (link)
39. ^ Adegoke, Yinka (11 October 2007). "Madonna move shows music manufacture's 360-model". Reuters.
40. ^ Suhr, Cecilia (November 2011). "Understanding the Hegemonic Struggle between Mainstream Vs. Contained Forces: The Music Industry and Musicians in the Age of Social Media". International Journal of Technology, Cognition & Club. vii (6): 123–136. doi:10.18848/1832-3669/CGP/v07i06/56248.
41. ^ Butler, Susan (31 March 2007). "Publisher = Label?". Billboard. p. 22. {{cite mag}}: CS1 maint: url-status (link)

External links [edit]

lopezouses1962.blogspot.com

Source: https://en.wikipedia.org/wiki/Record_label

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