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53-567: Deram Records was a subsidiary record label of Decca Records established in the United Kingdom in 1966. At the time, U.K. Decca was a different company from the Decca label in the United States, which was owned by MCA Inc. Deram recordings were distributed in the U.S. through UK Decca's American branch known as London Records . Deram was active until 1979, then continued as a reissue label. In

106-538: 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. From 1929 to 1998, there were six major record labels, known as the Big Six: PolyGram was merged into Universal Music Group (UMG) in 1999, leaving the remaining record labels to be known as the Big Five. In 2004, Sony and BMG agreed to

159-405: A 50% profit-share agreement, aka 50–50 deal, not uncommon. In addition, 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 three" and as such will often lag behind them in market shares. However, frequently independent artists manage

212-417: A DML prefix for mono and an SML prefix for stereo releases. As with other UK Decca subsidiary labels, Deram's U.S. counterpart was distributed under London Records . Decca positioned it against Island Records , Harvest Records (started by EMI ), and Vertigo Records (started by Philips Records ), but it failed to compete. An 'extra' progressive series with SDL prefixes did not improve the situation. From

265-558: 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! ". 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

318-470: 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 . If an artist and

371-408: 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

424-562: A deal with Straight Ahead Productions, who later moved their acts to EMI and had them released on the re-introduced Regal Zonophone imprint. In 1969, Decca launched Nova, a progressive label that lasted less than a year. This caused further confusion as simultaneous releases on Deram Nova and Decca Nova appeared. Decca released Justin Hayward 's Songwriter (1977) and Night Flight (1980) vinyl albums on Deram. In 1980, Sir Edward Lewis sold Decca to PolyGram, which put its new acquisition under

477-467: A deal with a proper label. In 2002, ArtistShare was founded as the Internet's first record label where the releases were directly funded by the artist's fans. Regal Zonophone Originally Regal Zonophone handled American releases from Okeh Records , Victor Records and Columbia Records , as well as offering home-grown recordings by artists such as Gracie Fields and George Formby . The label

530-581: A home for ' progressive ' or 'psychedelic' artists. Among the first recordings in this series was the November 1967 album release Days of Future Passed by the Moody Blues , while Crocheted Doughnut Ring and Beverley Martyn were also signed to the label around this time. Professional eight-track recorders began to appear in many British studios starting with Advision Studios and Trident Studios in early 1968. The eight-track machines were far more flexible than

583-553: 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 division separate from Sony BMG and later sold BMG Music Publishing to UMG. In 2007, the remaining record labels—then known as the Big Four—controlled about 70% of the world music market , and about 80% of the United States music market. In 2012,

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636-471: A label want to work together, whether an artist has contacted a label directly, usually by sending their team a demo, or the Artists & Repertoire team of the label has scouted the artist and reached out directly, they will usually enter in to a contractual relationship. A label typically enters into an exclusive recording contract with an artist to market the artist's recordings in return for royalties on

689-462: A large international media group , or somewhere in between. The Association of Independent 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(s) for the sale of records or music videos." As of 2012 , there are only three labels that can be referred to as "major labels": Universal Music Group , Sony Music , and Warner Music Group . In 2014, AIM estimated that

742-419: A more natural stereo spread. The basic difference was that, instead of overdubbing and mixing four individual (mono) tracks from a four-track recorder, the Decca recording engineers used a pair of four-track machines to layer multiple two-channel (stereo) recordings. This new concept, with additional tracks, permitted the engineer to place instruments more easily in any position within the stereo field. To launch

795-434: A record label is also a publishing company that manages such brands and trademarks, coordinates the production, manufacture , distribution , marketing, promotion, and enforcement of copyright for sound recordings and music videos, while also conducting talent scouting and development of new artists , artist financing and maintaining contracts with recording artists and their managers. The term "record label" derives from

848-605: 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 , among others, have done this. Historically, companies started in this manner have been re-absorbed into

901-455: Is also known for its releases of Salvation Army (particularly brass band) music. In the 1950s the Australian division of Regal Zonophone played an important role in the emerging Australian country music genre, signing several emerging country stars including Slim Dusty , Smoky Dawson , Reg Lindsay and Chad Morgan . Slim Dusty's 1957 Regal Zonophone hit " A Pub with No Beer " became

954-454: Is often marketed as a "unit" or "division" of the parent label, though in most cases, they operate as pseudonym for it and do not exist as a distinct business operation or separate business structure (although trademarks are sometimes registered). A record label may give a musical act an imprint as part of their branding, while other imprints serve to house other activities, such as side ventures of that label. Music collectors often use

1007-684: Is owned by Sony Group Corporation ). Record labels 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 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. Independent labels are often considered more artist-friendly. Though they may have less sales power, indie labels typically offer larger artist royalty with

1060-459: The free software and open source movements and the success of Linux . 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

1113-505: The "parent" of any sublabels. 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 their work. An example of such a label is the Neutron label owned by ABC while at Phonogram Inc. in

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1166-527: The 'Deramic Sound' concept Deram issued a series of six easy listening orchestral pop albums in October 1967. The albums all included the word Night in the title, i.e. Strings in the Night , Brass in the Night , etc. Artists in this series included Gordon Franks, Peter Knight , and Tony Osborne. The label was soon reinvented as a rival to early pre-punk 'indie' record companies like Island Records and moulded into

1219-436: The 1960s Decca recording engineers experimented with ways of improving stereo recordings. They created a technique they named "Decca Panoramic Sound." The term "Deramic" was created as abbreviation of this. The new concept "allowed for more space between instruments, rendering these sounds softer to the ear." Early stereo recordings of popular music usually were mixed with sounds to the hard left, centre, or hard right only. This

1272-487: The Decca/London catalogue and was eventually sold to Universal/UMG as part of Decca Records (London went with Ames to WMG, who sold it to French indie Because Music in 2017) Record label [REDACTED] [REDACTED] [REDACTED] "Big Three" music labels A record label or record company is a brand or trademark of music recordings and music videos , or the company that owns it. Sometimes,

1325-501: The UK. 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

1378-546: The United States would typically bear 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'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

1431-407: The album will sell better if the artist complies with the label's desired requests or changes. At times, the record label's decisions are prudent ones from a commercial perspective, but these decisions may frustrate artists who feel that their 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

1484-411: The artist from their contract, leaving the artist in a state of limbo. Artists who have had disputes with their labels over ownership and control of their music have included Taylor Swift , Tinashe , Megan Thee Stallion , Kelly Clarkson , Thirty Seconds to Mars , Clipse , Ciara , JoJo , Michelle Branch , Kesha , Kanye West , Lupe Fiasco , Paul McCartney , and Johnny Cash . In

1537-415: The artist in question. Reasons for shelving can include the label deciding to focus its resources on other artists on its roster, or the label undergoing a restructure where the person that signed the artist and supports the artist's vision is no longer present to advocate for the artist. In extreme cases, record labels can prevent the release of an artist's music for years, while also declining to release

1590-425: 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 pact. 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

1643-484: 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. Digital Labels are the latest version of a 'net' label. Whereas 'net' labels were started as a free site, digital labels represent more competition for the major record labels. The new century brought the phenomenon of open-source or open-content record labels. These are inspired by

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1696-561: The biggest-selling Australian recording ever released up to that time. EMI revived the Regal Zonophone imprint in 1967 to handle the Essex Music/Straight Ahead producing account that had moved from Deram (after one Procol Harum single and two singles by The Move ) and continued well into the early 1970s, with successful producers Denny Cordell and Tony Visconti both having production companies releasing records through

1749-650: The circular label in the center of a vinyl record which prominently displays the manufacturer's name, along with other information. Within the mainstream music industry , recording artists have traditionally been reliant upon record labels to broaden their consumer base, market their albums, and promote their singles on streaming services, radio, and television. Record labels also provide publicists , who assist performers in gaining positive media coverage, and arrange for their merchandise to be available via stores and other media outlets. Record labels may be small, localized and " independent " ("indie"), or they may be part of

1802-403: The company. 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, to the point where it functions as an imprint or sublabel. A label used as a trademark or brand and not a company is called an imprint , a term used for a similar concept in publishing . An imprint

1855-457: The control of Roger Ames. Even though the label name was briefly used in the early 1980s for records by Bananarama , the Mo-dettes , and Splodgenessabounds , Ames decided to focus on Decca (for classical music) and London Recordings (for pop music), with London run as his own 'semi-autonomous indie' from within the major. From this point Deram was used as a reissue imprint for other recordings in

1908-400: The corporate mergers that occurred in 1989 (when Island was sold to PolyGram) and 1998 (when PolyGram merged with Universal). PolyGram held sublabels including Mercury, Island and Motown. Island remained registered as corporations in both the United States and UK , but control of its brands changed hands multiple times as new companies were formed, diminishing the corporation's distinction as

1961-513: The dual four-track recorder setup. By 1969 Decca had obtained its own eight-track recorder. Since Decca engineers no longer had more tracks than other major studios the 'Deramic Sound' concept quickly became outdated and was dropped. The roster later included British jazz and folk. Some of the more progressive jazz musicians of the late 1960s were released under the Deram imprint, including Mike Gibbs , John Surman , and Mike Westbrook . Deram albums bore

2014-416: The early days of the recording industry, recording 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 sometimes ended up signing agreements in which they sold the rights to their recordings to

2067-512: 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, but they also returned to a label for a conventional release. Research shows that record labels still control most access to distribution. Computers and internet technology led to an increase in file sharing and direct-to-fan digital distribution, causing music sales to plummet in recent years. Labels and organizations have had to change their strategies and

2120-587: The imprint as a major pop label. Many of the label's artists moved to Fly Records or to the EMI imprint. Regal Zonophone was revived by EMI in 1985-86 for Frank Sidebottom , and again at the end of the 1990s as a reissue label curated by the UK band Saint Etienne . This incarnation of the label is no longer active, as EMI relaunched Regal and Zonophone as separate imprints of Parlophone . In 2013, both Regal and Zonophone were taken over by Warner Music Group after Universal Music Group spun off Parlophone from EMI, at

2173-434: The label. During this period the label had both album and single success with artists such as The Move, Procol Harum, Joe Cocker , and Tyrannosaurus Rex . During the mid-1970s, many of these production deals ended and, despite a few sporadic releases by Blue Mink , Geordie , Dave Edmunds , and Grunt Futtock (a one-off project featuring Roy Wood , Steve Marriott , Peter Frampton and Andy Bown ), EMI stopped using

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2226-725: The major divisions of EMI were sold off separately by owner Citigroup : most of EMI's recorded music division was absorbed into UMG; EMI Music Publishing was absorbed into Sony/ATV Music Publishing; finally, EMI's Parlophone and Virgin Classics labels were absorbed into Warner Music Group (WMG) in July 2013. This left the so-called Big Three labels. In 2020 and 2021, both WMG and UMG had their IPO with WMG starting trading at Nasdaq and UMG starting trading at Euronext Amsterdam and leaving only Sony Music as wholly-owned subsidiary of an international conglomerate ( Sony Entertainment which in turn

2279-433: The major labels (two examples are American singer Frank Sinatra 's Reprise Records , which has been owned by Warner Music Group for some time now, and musician 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

2332-537: The majors had a collective global market share of some 65–70%. 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 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. Record companies (manufacturers, distributors, and labels) may also constitute

2385-507: 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 conflicts with their labels over the type of sound or songs they want to make, which can result in the artist's artwork or titles being changed before release. Other artists have had their music prevented from release, or shelved. Record labels generally do this because they believe that

2438-543: The record label in perpetuity. Entertainment lawyers are usually employed by artists to discuss contract terms. Due to advancing technology such as the Internet , the role of labels is rapidly changing, as artists are able to freely distribute their own material through online radio , peer-to-peer file sharing such as BitTorrent , and other services, at little to no cost, but with correspondingly low financial returns. Established artists, such as Nine Inch Nails , whose career

2491-418: The salaries of certain tour and merchandise sales employees hired by the artist. In addition, the label also offers the artist a 30 percent cut of the label's album profits—if any—which represents an improvement from the typical industry royalty of 15 percent. With the Internet now being the dominant source for obtaining music, netlabels have emerged. Depending on the ideals of the net label, music files from

2544-419: 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. Records provides a strong counterexample, as does Roger McGuinn 's claim, made in July 2000 before

2597-542: The start, Decca placed pop records next to progressive artists on Deram. Cat Stevens found early success there before moving to Island Records , and David Bowie 's first album appeared on the label. Three of Deram's earliest hits, Procol Harum 's " A Whiter Shade of Pale " and the Move 's " Night of Fear " and " I Can Hear the Grass Grow ", were produced outside the company by artists not directly signed to Deram. They were part of

2650-400: 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 Records (pronounced as "Broadway") 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

2703-433: The way they work with artists. New types of deals called "multiple rights" or "360" deals are being made with artists, where labels are given rights and percentages to artist's touring, merchandising, and endorsements . In exchange for these rights, labels usually give higher advance payments to artists, have more patience with artist development, and pay higher percentages of CD sales. These 360 deals are most effective when

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2756-400: Was because of the technical limitations of the professional 4-track reel-to-reel recorders which were considered state of the art until 1967. Decca initially conceived Deram Records as an outlet for Deramic Sound recordings of contemporary pop and rock music , however, not all of the early recordings on Deram used this technique. 'Deramic Sound' was intended to create recordings that had

2809-455: Was developed with major label backing, announced an end to their major label contracts, citing that the uncooperative nature of the recording industry with these new trends is hurting musicians, fans and the industry as a whole. However, Nine Inch Nails later returned to working with a major label, admitting that they needed the international marketing and promotional reach that a major label can provide. Radiohead also cited similar motives with

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