A record label is a brand and a trademark associated with the marketing of music recordings and music videos. Most commonly, a record label is the company that manages such brands and trademarks, coordinates the production, manufacture, distribution, marketing and promotion, and enforcement of copyright protection of sound recordings and music videos; conducts talent scouting and development of new artists ("artists and repertoire" or A&R); and maintains contracts with recording artists and their managers. The term "record label" derives from the circular label in the center of a vinyl record which prominently displays the manufacturer's name, along with other information.^[1]

The music industry[link]

Within the music industry; most recording artists have become increasingly reliant upon record labels to broaden their consumer base, market their albums, and be both promoted and heard on mp3, radio, etc. and of course television also, with publicists that assist performers in positive media reports to market their merchandise, and make it available via stores and other media outlets. The Internet has increasingly been a way that some artists avoid costs and gain new audiences, as well as the use of videos in some cases, to sell their products.

Major vs. independent record labels[link]

Record labels may be small, localized, and "independent" ("indie"), or they may be part of a large international media group, or somewhere in between. The largest 4 record labels are called major labels.^[2] A sublabel is a label that is part of a larger record company, but it trades under a different name.

Imprint[link]

When a label is strictly a trademark or brand, not a company, then it is usually called an imprint, a term used for the same concept in the publishing industry. An imprint is sometimes marketed as being a project, unit, or division of a record label company, even though there is no legal business structure associated with the imprint.

Major labels[link]

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Major labels 1988–1998 (Big Six)

1. Warner Music Group
2. EMI
3. Sony Music (known as CBS Records until January 1991 then known as Sony Music thereafter)
4. BMG Music
5. Universal Music Group
6. Polygram

Major labels 1998–2004 (Big Five)

1. Warner Music Group
2. EMI
3. Sony Music
4. BMG Music
5. Universal Music Group (Polygram absorbed into UMG)

Major labels 2004–2008 (Big Four)

1. Warner Music Group
2. EMI
3. Sony BMG (Sony and BMG joint-venture)
4. Universal Music Group

Major labels 2008–2011 (Big Four)

1. Sony Music Entertainment
2. EMI Group
3. Warner Music Group
4. Universal Music Group

Major labels since late 2011, if approved (Big Three)

1. Sony Music Entertainment
2. Warner Music Group
3. Universal Music Group (EMI recorded music division to be absorbed into UMG, pending approval by antitrust regulators^[3][4])

Record labels are often under the control of a corporate umbrella organization called a music group. A music group is typically owned by an international conglomerate holding company, which often has non-music divisions as well. A music group controls and consists of music publishing companies, record (sound recording) manufacturers, record distributors, and record labels. As of 2005, the "big four" music groups control about 70% of the world music market, and about 80% of the United States music market. Record companies (manufacturers, distributors, and labels) may also comprise a record group which is, in turn, controlled by a music group. The constituent companies in a music group or record group are sometimes marketed as being divisions of the group.

Independent[link]

Record companies and music publishers that are not under the control of the big three are generally considered to be independent (indie), even if they are large corporations with complex structures. The term indie label is sometimes used to refer to only those independent labels that adhere to an independent criteria of corporate structure and size, and some consider an indie label to be almost any label that releases non-mainstream music, regardless of its corporate structure.

Sublabel[link]

Music collectors often use the term sublabel to refer to either an imprint or a subordinate label company (such as those within a group). For example, in the 1980s and 1990s, "4th & B'way" was a trademarked brand owned by Island Records Ltd. in the UK and by a subordinate branch, Island Records, Inc., in the United States. The center label on a 4th & Broadway record marketed in the US would typically bear a 4th & B'way logo and would state in the fine print, "4th & B'wayâ„¢, an Island Records, Inc. company". Collectors discussing labels as brands would say that 4th & B'way 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, Island Records, Inc. However, such definitions are complicated by the corporate mergers that occurred in 1989 (when Island was sold to PolyGram) and 1998 (when PolyGram merged with Universal). Island remained registered as corporations in both the US and UK, but control of its brands changed hands multiple times as new companies were formed, diminishing the corporation's distinction as the "parent" of any sublabels.

Vanity labels[link]

Vanity labels are labels that bear an imprint that gives the impression of an artist's ownership or control, but in fact represent a standard artist/label relationship. In such an arrangement, 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 in Great Britain. At one point artist Lizzie Tear (under contract with ABC themselves) appeared on the imprint, but it was devoted almost entirely to ABC's offerings and is still used for their re-releases (though Phonogram owns the masters of all the work issued on the label).

However, 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 by a bigger company. If this is the case it can sometimes give the artist greater freedom than if they were signed directly to the big label. There are many examples of this kind of label, such as Nothing Records, owned by Trent Reznor of Nine Inch Nails; and Morning Records, owned by The Cooper Temple Clause, who were releasing EPs for years before the company was bought by RCA.

Relationship with artists[link]

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 short or long durations, and may or may not refer to specific recordings. Established, successful artists tend to be able to renegotiate their contracts to get terms more favorable to them, but Prince's much-publicized 1994–1996 feud with Warner Bros. provides a strong counterexample, 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, Turn, Turn".^[5]

A contract either provides for the artist to deliver completed recordings to the label, or for the label to undertake the recording with the artist. For artists without a recording history, the label is often involved in selecting producers, recording studios, additional 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 one. Many artists have had albums altered or censored in some way by the labels before they are released—songs being edited, artwork or titles being changed, etc. Record labels generally do this because they believe that the album will sell better if the changes are made. Often the record label's decisions are prudent ones from a commercial perspective, but this typically frustrates the artist who feels that their artwork is being diminished or misrepresented by such actions.

In the early days of the recording industry, record labels were absolutely necessary for the success of any artist. The first goal of any new artist or band was to get signed to a contract as soon as possible. In the 1940s, 1950s and 1960s, many artists were so desperate to sign a contract with a record company that they usually ended up signing a bad contract, typically giving away the rights to their music in the process. To this day, standard recording contracts define record labels as the rightsholders of the music that the contracts cover. Entertainment lawyers can be used by some to look over any contract before it is signed.^{[citation needed]}

Through the advances of the Internet the role of labels is becoming increasingly diminished, as artists are able to freely distribute their own material through web radio, peer to peer file sharing such as BitTorrent, and other services, for little or no cost. Bigger artists such as Nine Inch Nails have announced an end to their major label contracts, citing that the uncooperative nature of the recording industry with these new trends are hurting musicians and the industry as a whole, and most of all hurting the fans.^[6] Radiohead also cited similar motives with the end of their contract with EMI when their album In Rainbows was released as a "pay what you want" sales model as an online download.

New label strategies[link]

With the advancement of the computer and technology like internet, leading to an increase in file sharing and direct-to-fan digital distribution, combined with music sales plummeting in recent years^{[citation needed]}, 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. These types of pacts give labels rights and percentages to artist's touring, merchandising, and endorsements. In exchange for these rights, labels usually give higher advancement payments to artists, have more patience with artist development, and higher percentages in CD sales. These 360 style deals are most effective when the artist is established and has a loyal fan base. For that reason, labels now have to be more relaxed with the development of artists because longevity is the key to these types of pacts. Several artists such as Paramore, Maino, and even Madonna have signed such types of deals.

A look at an actual 360 deal offered by Atlantic Records to an artist shows a variation of the structure. Atlantic’s 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 label has an option to pay an additional $200,000 in exchange for 30 percent of the net 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. But the label also offers the artist a 30 percent cut of the label's album profits â€”if any—which represents an improvement from the typical industry royalty of 15 percent.^[7]

History[link]

Industry consolidation[link]

In the 1970s and 1980s, there was a phase of consolidation in the record industry that led to almost all major labels being owned by a very few multinational companies. CDs still flow through a handful of sources, with the majority of the sales going through the "big four" record labels.

Resurgence of independent labels[link]

In the 1990s, as a result of the widespread use of home studios, consumer recording technology, and the Internet, independent labels began to become more commonplace. Independent labels are often artist-owned (although not always), with a stated intent often being to control the quality of the artist's output. Independent labels usually do not enjoy the resources available to the "big four" and as such will often lag behind them in market shares. Often independent artists manage a return by recording for a much smaller production cost of a typical big label release. Sometimes they are able to recoup their initial advance even with much lower sales numbers.

On occasion, established artists, once their record contract has finished, move to an independent label. This often gives the combined advantage of name recognition and more control over one's music along with a larger portion of royalty profits. Artists such as Dolly Parton, Aimee Mann, Prince, Public Enemy, BKBravo (Kua and Rafi), among others, have gone this route. Historically, companies started in this manner have been re-absorbed into the major labels (two examples are Frank Sinatra's Reprise Records, which has been owned by Warner Music for some time now, and Herb Alpert's A&M Records, now owned by Universal Music Group). Similarly, Madonna's Maverick Records (started by Madonna with her manager and another partner) was to come under control of Warner Music when Madonna divested herself of controlling shares in the company.

There are many independent labels; folk singer Ani DiFranco's Righteous Babe Records is often cited as an ideal example. The singer turned down lucrative contracts from several top-name labels in order to establish her own New York-based company. Constant touring resulted in noteworthy success for an act without significant major funding. Ani and others from the company have spoken on several occasions about their business model in hopes of encouraging others.

Some independent labels become successful enough that major record companies negotiate contracts to either distribute music for the label or in some cases, purchase the label completely.

On the punk rock scene, the DIY ethic encourages bands to self-publish and self-distribute. This approach has been around since the early 1980s, in an attempt to stay "true" to the punk ideals of doing it yourself and not "selling out" to corporate profits and control. Such labels have a reputation for being fiercely uncompromising and especially unwilling to cooperate with the big record labels at all. One of the most notable and influential labels of the Do-It-Yourself attitude was SST Records, created by the band Black Flag. No labels wanted to release their material, so they simply created their own label to release not only their own material but the material of many other influential underground bands all over the country. Ian MacKaye's Dischord is often cited as a model of success in the DIY community, having survived for over twenty years with less than twelve employees at any one time.

Internet and digital labels[link]

With the Internet now being a viable source for obtaining music, netlabels have emerged. Depending on the ideals of the net label, music files from the artists may be downloaded free of charge or for a fee that is paid via Paypal or other online payment system. Some of these labels also offer hard copy CDs in addition to direct download. Most net labels acknowledge the Creative Commons licensing system thus reserving certain rights for the artist. Digital Labels are the latest version of a 'net' label. Whereas 'net' labels were started as a free site, digital labels are more competition for the major record labels.^{[citation needed]}

Open source labels[link]

The new century brings the phenomenon of open-source or open-content record label. These are inspired by the free software and open source movements and the success of GNU/Linux.

Publishers as labels[link]

In the mid-2000s, some music publishing companies began undertaking the work traditionally done by labels. The publisher Sony/ATV Music, for example, leveraged its connections within the Sony family to produce, record, distribute, and promote Elliott Yamin's debut album under a dormant Sony-owned imprint, rather than waiting for a deal with a proper label.^[8]

See also[link]

• List of record labels
• White label

References[link]

v t e Music industry Sectors and roles Album cover design Â· Artists and repertoire (A&R) Â· Distribution Â· Entertainment law Â· Music education Â· Music executive Â· Music journalism Â· Music publisher Â· Music venue Â· Musical instruments Â· Promotion Â· Radio promotion Â· Record label Â· Record shop Â· Road crew Â· Talent manager Â· Tour promoter Production Arrangement Â· Record producer Â· Recording artist Â· Session musician Â· Songwriter Â· Sound engineer Record labels Major: EMI Â· Sony Music Entertainment Â· Universal Music Group Â· Warner Music Group Â· Independent (Independent UK record labels) Genres Avant-garde Â· Blues Â· Contemporary R&B Â· Country Â· Crossover Â· Dance Â· Drum and bass Â· Easy listening Â· Electronica Â· Experimental Â· Folk Â· Funk Â· Gospel Â· Hip hop Â· Instrumental Â· Jazz Â· Latin Â· Motown Â· New age Â· Operatic pop Â· Pop Â· Reggae Â· Rock Â· Soul Â· Soundtrack Â· World Release formats Album Â· Extended play (EP)/Mini album Â· Single Awards American Music Award Â· ARIA Music Awards Â· Billboard Music Awards Â· Brit Awards Â· Choice Music Prize Â· Classic Brit Awards Â· Diapason d'Or Â· Echo Award Â· Golden Disk Awards Â· Grammy Award Â· Grand Prix du Disque Â· Juno Award Â· Latin Grammy Awards Â· Meteor Music Awards Â· MTV Europe Music Awards Â· MTV Video Music Awards Â· MuchMusic Video Awards Â· Music of Black Origin Awards Â· New Zealand Music Awards Â· NRJ Music Award Â· TEC Awards Â· World Music Awards Charts ARIA Charts Â· Billboard Hot 100 Â· Canadian Hot 100 Â· RIANZ Singles Chart Â· Irish Singles Chart Â· UK Singles Chart Sales certifications ARIA (Gold Â· Platinum) Â· BPI (Silver Â· Gold Â· Platinum) Â· CRIA (Gold Â· Platinum Â· Multi-Platinum Â· Diamond) Â· PROMUSICAE (Gold Â· Platinum) Â· RIAA (Gold Â· Platinum Â· Multi-Platinum Â· Diamond) Publications Billboard Â· HitQuarters Â· Hot Press Â· Kerrang! Â· Mojo Â· NME Â· Q Â· Rolling Stone Â· Smash Hits Â· Top of the Pops Retailers Amazon.com Â· Best Buy Â· Fnac Â· HMV Group Â· Online music stores (iTunes Store) Â· Trans World Entertainment Â· Virgin Megastores Television Black Entertainment Television Â· Country Music Television Â· Fuse TV Â· Juice TV Â· MTV Â· MuchMusic Â· The Music Factory Â· Viva Other A-side and B-side Â· Christian music industry  Â· Hidden track  Â· Grammy Museum  Â· Racist music  Â· White label Category

Lenny Welch (born Leon Welch on May 31, 1938), is an American MOR/pop singer.

He was born in New York City on May 31, 1938 (according to a post he made on his Facebook Page, May 15 is incorrect). He was raised in Asbury Park, New Jersey. His biggest hit, a cover version of the big band standard "Since I Fell for You," reached number 4 on U.S. Billboard Hot 100 in 1963.^[1] His other hits included "Ebb Tide" in 1964 that was featured in the film Sweet Bird of Youth. He also recorded the first vocal version of "A Taste of Honey" in 1962.

Selected discography[link]

Albums[link]

Studio albums[link]

• Since I Fell for You (1963)
• Two Different Worlds (1965)
• Rags to Riches (1966)
• Lenny (1967)
• It's All About Love (2005)

Compilations[link]

• Anthology (1958-1966) (1996)

Singles[link]

• "You Don't Know Me"
• "A Taste of Honey"
• "Since I Fell for You"
• "Ebb Tide"
• "If You See My Love"
• "Darling Take Me Back"
• "Two Different Worlds"
• "Run to My Lovin' Arms"
• "Rags to Riches"
• "Breaking Up is Hard to Do"
• "When There's No Such Thing as Love"

References[link]

Adidja Palmer (born 7 January 1976)- ^[1][2][3] better known as Vybz Kartel, is a Jamaican dancehall artist, songwriter and businessman. He has many nicknames, including: Addi Teacher, World Boss, Addi Banton, General and Gaza Emperor.

Biography[link]

Adidja Palmer began his career as a teenager in 1993 with his first recording "Love Fat Woman", released on Alvin Reid's label "One Heart", using the moniker "Adi Banton", a homage to Buju Banton.^[4] Palmer was later part of the three-member group "Vybez Cartel", keeping the slightly altered name after group split up, and became a protege of Bounty Killer, for whom he claims to have written nearly 30 songs, including "Gal Clown".^[5] Vybz Kartel also collaborated with underground artist Poizn Ivy song title "Come Lick Mi Buddy".

Vybz Kartel rose to prominence in 2003 after a string of hits in Jamaica. The year culminated in a pre-planned on-stage clash with Ninjaman at the annual dancehall festival Sting in Kartel's hometown of Portmore. The clash turned violent when Kartel's crewmembers, as well as Kartel himself, threw punches and assaulted Ninjaman onstage.^[6] While Kartel's manager initially blamed Ninjaman for the fracas,^[6] Kartel himself quickly apologised to Ninjaman and Sting organizers for the fracas.^[7] Four days after the incident, the two artists appeared before the press to announce a settlement of their differences and to end any animosity.^[8] File:Vybz Kartel - Party Me Say.jpg

He established his own label Adidjahiem/Notnice Records with his business partner and producer Ainsley "Notnice" Morris.^[9] In 2010, he released his album Pon Di Gaza 2.0 on Adidjahiem/Notnice Records in collaboration with Tads Record Inc.^[10] In Spring 2011, Vybz Kartel released an album entitled 'Kingston Story' with Brooklyn hip hop/electro producer Dre Skull.^[11]

Kartel has worked on collaborations and remixes with hip hop and R&B musicians Jay-Z, Rihanna, Missy Elliott, Busta Rhymes, M.I.A, Pharrell, Kardinal Offishall, Akon, Jim Jones, Lil Wayne and Eminem.

In 2009 he had two international hits with "Ramping Shop" debuting on the Billboard Top 100 Singles charts,^[12] and "Dollar Sign" being in regular rotation on urban radio stations in the US.^[13] His 2010 single "Clarks" was one of his biggest international successes, remaining in the top 3 Reggae Singles gaining the most radio plays in North America for 40 weeks.^[14] "Clarks" was also featured on the TV series So You Think You Can Dance Canada,^[15] and on a CNN segment on dancehall dance.^[16] MTV's Vice Guide to Dancehall featured Kartel at his weekly dance party, Street Vybz Thursday.^[17]

After splitting with Bounty Killer-led Alliance in 2006, Kartel founded the Portmore Empire, a group of dancehall deejays and singers from his Portmore neighborhood that he signed to his newly founded Adidjahiem/Notnice Records. Members of the group as of 2011 were: Popcaan, Shawn Storm, Sheba, Indu, Tommy Lee, Singing Maxwell, Singa Blinga, Lenny Mattic. Former members include Lisa Hype,^[18] Gaza Kim,^[19] Black Ryno,^[20] Jah Vinci, Deejay Spice, Doza Medicine and Merital.

Feud with Mavado[link]

Towards the end of 2006, Vybz Kartel left The Alliance. Tensions arose following Kartel's continued association with Bounty Killer's longtime enemy, Beenie Man, including Kartel attending Beenie Man's wedding to Bounty Killer's ex-girlfriend D'Angel.^[21] Due to Kartel's defection from The Alliance and his 'parring' (fraternising) with Beenie Man, a series of songs and counteraction songs ensued - the main proponents being Kartel and Mavado.

A very public feud between Vybz Kartel and former collaborator Mavado arose towards the end of 2006, stemming from Vybz' much publicized departure from the dancehall conglomerate group The Alliance. The feud resulted in numerous diss tracks released, in which each artist dissed the other and their associates over popular dancehall rhythms.^[22] In a police-overseen press conference in March 2007, both Mavado and Vybz Kartel publicly announced an end to hostilities and apologized to fans.^[23]

However, by the summer of 2008, tensions flared with a renewal of "diss tracks" from each artist, and a lyrical clash between the two at Sting 2008 left mixed views as to the "winner".^[24][25] Most of 2009 saw a continuation of the public feud, which dominated Jamaican media and, to a certain extent, Jamaican culture, with the two artists' factions, Gaza (Kartel) and Gully (Mavado), being adopted by Jamaican youth, in some cases leading to street violence.^[26][27]

On 8 December 2009, Kartel and Mavado met with Jamaican Prime Minister Bruce Golding in an attempt to end the feud, which had by that time fueled mob attacks in some of the inner-city neighborhoods of Kingston.^[28] The two had performed together on-stage the previous night in a sign of goodwill at the West Kingston Jamboree, a concert promoted by drug lord^[29] Christopher "Dudus" Coke.^[22] After the truce in December 2009, the two artists were scheduled to perform a unity concert March 2010 in Barbados, which was later cancelled by the prime minister of that country.^[30]

Business[link]

In 2008, Vybz Kartel launched his own liquor line Street Vybz Rum. He hosts a weekly dance party Street Vybz Thursday, at the Building, Kingston nightclub he manages with Street Vybz Rum business partner Corey Todd.^[31] The rum is officially distributed by Vybz Distillers Limited. The same year, he also released his own condom line, Daggering Condoms.^[32] Kartel's goal for 2011 is to release his own shoe line named Addi's, as well as his own line of "cake soap".^[33]

When his singles "Clarks", "Clarks 2 (Clarks Again)" and "Clarks 3 (Wear Weh Yuh Have)" featured the British shoe brand Clarks in 2010, its sales numbers and prices in Jamaica increased considerably.^[34]

Vybz Kartel has also hosted his own reality television show "Teacha's Pet" on CVM Jamaica broadcast channel, the first reality television show hosted by a dancehall artist in Jamaica. The premise of "Teacha's Pet" finds 20 women living in a Kingston house vying for the artist's affection; the show's lascivious content elicited condemnation of its sponsor, telecommunications company LIME. The show came to a halt with the artist's arrest on murder charges in September 2011.

Controversies[link]

Whitening[link]

Kartel has come under controversy over perceived skin whitening, or "bleaching", leading him to claim to the use of "cake soap" to lighten his skin.^[35][36] The Blue Power Group, Jamaican manufacturer of the popular cake soap (or "blue soap"), has refuted claims it changes skin color.^[37] Kartel then stated the soap used to lighten his skin was his own brand, which he intends to release on the local market.^[33]

Airwave Ban[link]

In September 2011 the National Communications Network of Guyana banned Vybz Kartel from the airwaves—the first such action against a specific artist. His music contained "obscene lyrics" and brought "nothing positive" to the entertainment industry, said NCN spokesman Martin Goolsarran (Wednesday, Sept 21st) after a week of internal debate. He said NCN was reviewing the lyrics of other musicians and could ban them as well. In fact the government had no problem with Kartel, its Tourism Ministry inviting him to an August music festival, but he angered it and Guyanese promoters when he failed to show up.^[38]

Murder charge[link]

On 29 September 2011, Kartel was arrested by police. Jamaica's Major Investigation Taskforce (MIT) charged him with murder, conspiracy to murder and illegal possession of a firearm. The deceased was Barrington 'Bossie' Burton, a 27-year-old businessman and music promoter based in the Kingston suburb of Portmore. They first visited Kingston's Norbrook community where the DJ resides, then went to a property on Swallowfield Avenue in Kingston's Havendale area. That residence was the scene of a fire several weeks ago; a scorched computer hard-drive and several boxes were removed. They then drove to Portmore to a home purportedly owned by Kartel's mother, where a number of items were similarly confiscated. Kartel was detained for the weekend in relation to a partially burned, decomposing body found inside the Swallowfield Avenue home.^[39]

Kartel was granted bail for the Burton murder 23 March 2012 for JD$3,000,000, but currently remains jailed in connection on a second murder, of one Clive 'Lizzard' Williams.^[40]

Discography[link]

Albums[link]

• 2003: Up 2 Di Time
• 2004: More Up 2 Di Time
• 2005: J.M.T.
• 2009: Most Wanted
• 2010: Pon di Gaza 2.0
• 2011: Kingston Story

Singles[link]

Guest appearances[link]

Awards[link]

Kartel has had several collaborations with international hip hop and pop stars. He has released two albums for the UK/US based label Greensleeves Records. He was also nominated for the Source,^[42] VIBE and UK MOBO awards, although his 2004 UK MOBO award nomination was withdrawn amidst controversy over homophobic content of his lyrics.^[43]

• 2003
  • Stone Love's 30th Anniversary
    • DJ of the Year 2005

• 2008
  • CUMA (Caribbean Urban Music Awards)

• 2009
  • EME Awards^[44]
    • Male DJ of the Year
    • Lyricist/Songwriter of the Year
    • Song of the Year (Romping Shop ft. Spice)

• 2010
  • EME Awards^[45]

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2009)

Christopher Percy Gordon "Chris" Blackwell (born 22 June 1937) is a British businessman and former record producer, and the founder of Island Records, which has been called "one of Britain's great independent labels".^[2] According to the Rock and Roll Hall of Fame, to which Blackwell was inducted in 2001, he is the single person most responsible for turning the world on to reggae music.^[3]

Forming Island Records in Jamaica on 22 May 1959 aged 22, Blackwell was amongst the first to record the Jamaican popular music that eventually became known as ska. Returning to Britain in 1962, he sold records from the back of his car to the Jamaican community.^[2]

Backed by Stanley Borden from RKO Entertainment, Blackwell's business and reach grew substantially, and he went on to forge the careers of Bob Marley, Grace Jones and U2 amongst many other diverse high-profile acts. He has produced many seminal albums, including Marley's Catch A Fire and Uprising.^[4]

Childhood[link]

Blackwell was born in London to an Irish father and a Costa Rican-born Sephardic Jewish mother. Blackwell's father, Joseph, was related to the founder of Crosse & Blackwell, purveyors of jarred foods and relishes, and had some residual wealth.^[2] He became a Major in the Jamaican Regiment.^[4]

Blackwell's mother, the former Blanche Lindo, was of Jamaican ancestry.^[3] She belonged to a powerful family who made their fortune in sugar and Appleton rum toward the end of slavery. They are named as one of the 21 families who controlled Jamaica in the 20th century.^[4] Blanche was considered the love of Ian Fleming's later life, becoming the James Bond author's muse and the inspiration for the character Pussy Galore in Goldfinger.^[5] She owned several thousand acres of land near Oracabessa, Jamaica, and sold properties to both Fleming and Noël Coward.^[6] Due to her heritage, Blanche was viewed as a white Jamaican.^[5]

Blackwell spent his childhood in Jamaica, and was sent to Britain to continue his education at Harrow.^[7] Deciding not to attend university, he returned to Jamaica to become ADC to the Governor of Jamaica Sir Hugh Foot. After Foot was transferred to Cyprus, Blackwell left King's House to pursue a career in real estate and other businesses, including managing jukeboxes up and down the country, which brought him into contact with the Jamaican music community.^[2]

In 1958, Blackwell was sailing off Helshire Beach when his boat ran aground on a coral reef. The twenty one-year-old swam to the coast and attempted to find help along the shore in searing temperatures. Collapsing on the beach, Blackwell was rescued by Rasta fishermen who tended his wounds and restored him back to health with traditional Ital food. The experience gave Blackwell a spiritual introduction to Rastafarianism, and was a key to his connection to the culture and its music.^[4]

Career[link]

Aged 22, Blackwell formed a record label in 1958 with a start-up investment of $10,000 provided by his parents, taking its name from Alec Waugh's novel Island in the Sun.^[3] Radio personality Graeme Goodall was his initial business partner.^[4] Blackwell received a small allowance from his mother, which enabled him to have his own apartment at a young age and survive on the little he was earning.^[2] Island's debut release was a piano album by Bermudian pianist Lance Hayward. Blackwell began recording Jamaican popular music in 1959, achieving a number one hit there with Laurel Aitken's "Boogie in my Bones/Little Sheila".^[3]

In 1961, Blackwell acted as a location scout and production assistant for the 1962 Bond film Dr No. After the movie wrapped, producer Harry Saltzman offered him a full-time position. Conflicted between music and film, Blackwell visited a psychic, who told him that he would be successful if he stayed in the music industry.^[4]

By 1962, the fledgling record producer had released 26 singles and two albums on Island.^[3] Blackwell returned to England that year and continued to grow his business. He began having success with the niche market of Jamaican music, and progressed to bringing in licensed master tapes. One of these contained a performance by fifteen-year-old Millie Small, who Blackwell brought over to England. In 1964, he produced Small's cover of a 1956 Barbie Gaye song "My Boy Lollypop" which was one of the first songs recorded in the "ska" style. Millie Small's version was a smash hit, selling over six million records worldwide. It launched Island Records into mainstream popular music, and is acknowledged as the first international ska hit.

Blackwell later remembered his breakthrough release:

After discovering The Spencer Davis Group, featuring Steve Winwood, Blackwell focused on the rock acts that Island had signed. Island became one of the most successful independent labels of the 1960s, 1970s, and 1980s with artists like Traffic, King Crimson, Emerson, Lake & Palmer, Jethro Tull, Cat Stevens, Grace Jones, Free, John Martyn, Sly and Robbie, Sparks, Spooky Tooth, Nick Drake, Roxy Music, Robert Palmer, Melissa Etheridge, The Cranberries and U2. "The bigger labels are supermarkets", Blackwell remarked. "I like to think of Island as a very classy delicatessen."^[3]

Island and Blackwell himself became renowned for a relaxed, nurturing vibe. Blackwell showed skill in spotting and creating trends, as well as a gift for finding talent. He had an imaginative flair for marketing, and Island's releases were often packaged in lovingly designed gatefold sleeves.^[2] Blackwell has said: "I really believe that if people see something that looks good, subconsciously they'll think maybe there's something going on inside, on the record. There were times when somebody came out with a cover which was actually better than the record itself, so I'd have to send them back to remake the record."^[2]

Island Records was also the first home for Trojan Records, Chrysalis Records and Virgin Records and the American Label Sue Records, who produced Jimmy McGriff, The Soul Sisters and Ike and Tina Turner.^[3]

Eventually, Island moved into movies and released The Harder They Come in the UK, which featured Jimmy Cliff. Produced and directed by fellow Jamaican Perry Henzell, the film marked the first time that Jamaican themes appeared in mainstream cinema.^[3]

In 1977, Blackwell built Compass Point Studios in Nassau, Bahamas as a recording home for his and other artists.

One of Blackwell's notable achievements was bringing Bob Marley & The Wailers to the attention of international audiences.^[3] Without a signed contract, Blackwell advanced money to The Wailers for their first Island album, displaying the trust which stemmed from his 1958 beach rescue by Rastas. Blackwell's gesture led to the longterm success of both Marley and the label.

Of his experience with Marley, Blackwell has said:

Blackwell also formed Mango Records, which featured Jamaican and other artists from the Third World. Mango introduced Burning Spear, Black Uhuru, Third World (band), Salif Keita, Baaba Maal, Angélique Kidjo, King Sunny Adé and many others.

Blackwell sold his stake in Island in 1989, eventually resigning from the company in 1997. In 2009, Blackwell was at the centre of celebrations held in London for Island's fiftieth anniversary.^[2]

Each of Blackwell's companies was eventually sold to Polygram, and are as of 1998 part of the Universal Music Group conglomerate, but Blackwell left with a unique reputation for looking after artists as diverse as Bob Marley, U2, Cat Stevens, Grace Jones, Steve Winwood, Melissa Etheridge, Tom Waits, The Cranberries, Richard Thompson and PJ Harvey.

After selling these companies, Blackwell went on to found Palm Pictures, a media entertainment company with music, film and DVD releases. In the late Nineties, Blackwell merged Palm Pictures with Rykodisc to form RykoPalm, a new operation.^[3]

Blackwell currently runs Island Outpost, which he set up to operate and market a group of elite resorts in Jamaica and the Bahamas, including Strawberry Hill in the Blue Mountains (where Marley recovered after being shot in 1976),^[4] Jake's in Treasure Beach, The Caves in Negril, and the recording studio and private hotel Geejam near Port Antonio, where artists such as Gwen Stefani and No Doubt, Drake and Gorillaz have recorded. Island Outpost also owns The Tides and The Marlin in Miami Beach, Florida.^[4]

Blackwell has long owned Goldeneye in Oracabessa, the previous home of Ian Fleming, where the author wrote all the James Bond books. Until his death, Fleming was the longtime lover of Blackwell's mother, Blanche.^[5] Blackwell developed the property into a community of villas and beach cottages, each with its own private access to the sea, and Goldeneye is considered the most exclusive of the Island Outpost resorts.^[4]

Blackwell is involved in a number of philanthropic organizations. Among these are Island ACTS, the Oracabessa Foundation, the Mary Vinson Blackwell Foundation, and the Jamaican Conservation Trust.

In 2003, Blackwell launched the Goldeneye Film Festival, which continues to be held annually at the resort. In September that year, Blackwell received the coveted Jamaican Musgrave Medal, awarded to Jamaicans who excel in the arts, music and public service. In 2004, the Order of Jamaica was bestowed upon Blackwell for philanthropy and outstanding contribution to the entertainment industry.^[4]

With a family legacy rooted in Jamaica's banana, coconut, and rum export industries, Blackwell served as the inspiration behind the recently launched Blackwell Fine Jamaican Rum. The aged rum is a deep, rich, and fragrant black gold liquid that has been infused with tropical flavors.

In April 2009, the UK magazine Music Week named Blackwell the most influential figure in the last 50 years of the British music industry.^[8][9][10]

References[link]

Bibliography[link]

• Baugh, Edward (1998). Chancellor, I Present. Mona: Canoe Press.
• Bradley, Lloyd (2001). This is Reggae Music. London: Grove.
• Childs, Peter and Mike Storry, eds. (1999). Encyclopedia of Contemporary British Culture. London: Routledge.
• (2001). "Chris Blackwell." Rock and Roll Hall of Fame.

External links[link]

• Video Interview with Chris Blackwell
• Rock and Roll Hall of Fame: Inductee Biography of Blackwell
• Palm Pictures website
• Island Outpost website
• Compass Point Studios website
• Chris Blackwell interview: Island Records – The Telegraph
• Island: The record label which changed the world – The Independent

Dave Longstreth

Amber Coffman

Angel Deradoorian

Dirty Projectors performing in 2008

Dirty Projectors are an American rock band, consisting of David Longstreth (vocals, guitar, musical direction; born December 17, 1981), Amber Coffman (vocals, guitar), Angel Deradoorian (vocals, keyboard, samples, guitar, bass), Brian McOmber (drums), Nat Baldwin (bass), and Haley Dekle (vocals). They have released seven full-length albums through 2012.

History[link]

Early years (2002–06)[link]

Longstreth's first album, The Graceful Fallen Mango, was released in 2002 under his own name and introduced his distinctive use of song arrangements and his combination of lo-fi and hi-fi production. The album was a project that Longstreth began as a freshman while studying at Yale University.^[1] With the help of Adam Forkner of Yume Bitsu, Longstreth recorded and released The Glad Fact on the Western Vinyl label under the name "The Dirty Projectors." In 2005, the band released The Getty Address, a concept album about musician Don Henley that features extensive orchestral and choral accompaniment. The diverse, stripped-down New Attitude EP followed in 2006 and featured inklings of the band's later vocal interplay and guitar work.

[edit] Rise Above, Bitte Orca and Domino Records (2007-09)

In 2007, the band released Rise Above, an album of Black Flag songs as re-imagined from memory. The album introduced the band's distinctive contrast between Longstreth's vocals and the harmonies of Amber Coffman and Susanna Waiche, who was later replaced by Angel Deradoorian. In support of the album, the band performed songs for a Take-Away Show acoustic video session shot by Vincent Moon.

In April 2008, Dirty Projectors signed with Domino Records, and the label announced the release of their next full-length album, Bitte Orca, for June 9, 2009. That year, the band also collaborated with David Byrne on the song "Knotty Pine" for the compilation album Dark Was the Night produced by the Red Hot Organization. Byrne joined the Dirty Projectors onstage to perform this song, along with "Ambulance Man," another collaborative track not included on the compilation, at the "Dark Was the Night Live" concert at New York City's Radio City Music Hall on May 3, 2009.

“Stillness Is the Move� was the first single released from "Bitte Orca", a West African - R&B influenced hybrid, sung by Coffman and inspired by the Wim Wenders film “Wings of Desire�.^[2]

On May 8, 2009, members of Dirty Projectors collaborated with Björk to perform an original composition by Longstreth, written for five voices and acoustic guitar, as part of a charity concert to benefit Housing Works, a nonprofit organization dedicated to providing shelter for homeless men, women, and children suffering from AIDS. The concert was held at the Housing Works Bookstore & Café in downtown New York City.^[3]

Dirty Projectors were to release a new EP in September 2009 entitled Temecula Sunrise.^[4] While the EP was never released, two of its tracks, "Ascending Melody" and "Emblem of the World," were instead offered for free download on the Dirty Projectors website in early 2010.^[5]

Amber Coffman was featured on "Hold On", a track from Rusko's debut album, OMG, released in June 2010 by Diplo's Mad Decent record label.

[edit] Mount Wittenberg Orca, Swing Lo Magellan and new musical directions (2010–present)

In June 2010, Dirty Projectors announced the release of Mount Wittenberg Orca, a digital-only EP with Björk. The album, based on the artists' previous collaboration in 2009, was released on June 30.^[6] Mount Wittenberg Orca was released physically by Domino Records in 2011.

Dirty Projectors released an expanded edition of Bitte Orca on September 28, 2010. The double album included live performances, several B-sides, and a Bob Dylan cover.^[7]

On March 30, 2012, Dirty Projectors released the first single from their upcoming album, Swing Lo Magellan, due for release on July 10 in the United States and on July 9 internationally.^[8][9]

Musical style & aesthetic[link]

While often associated with the late 2000s New York indie rock scene, critics have likened Dirty Projectors to musicians from many genres. For example, critics have compared them to New Wave artists David Byrne and Squeeze, pop stars Beyoncé and Mariah Carey, and Progressive rock musicians Frank Zappa and Yes.^[10][11] In a 2009 interview, Longstreth embraced some such comparisons but expressed a strong dislike for classic rock, commenting, "Steely Dan is a band I’m not that into," "I’m not a huge Yes guy," and "Frank Zappa I fucking hate."^[12]

Discography[link]

• The Glad Fact (2003)
• Morning Better Last! (2003)
• Slaves' Graves and Ballads (2004)
• The Getty Address (2005)
• Highlights from the Getty Address (2006)
• New Attitude EP (2006)
• Rise Above (2007)
• Bitte Orca (2009)
• Ascending Melody (2010)
• Mount Wittenberg Orca (w/ Björk) (2010 digital-only initial release; 2011 Domino Records physical release)
• Swing Lo Magellan (2012)

References[link]

External links[link]

Wikimedia Commons has media related to: Dirty Projectors

• Official website
• Dirty Projectors Domino Records page
• Dirty Projectors Western Vinyl page
• Useful Chamber – a Dirty Projectors resource
• Dirty Projectors at Allmusic
• Dirty Projectors in concert on NPR Music
• Dirty Projectors on Beyond Race Magazine (BRM)
• Dead Oceans Page
• Dirty Projectors & Björk on the Rob da Bank show