Misplaced Pages

#465534

95-618: London Recordings (or London Records and London Music Stream ) is a British record label that marketed records in the United States, Canada, and Latin America for Decca Records from 1947 to 1980 before becoming semi-independent. The London name – as London American Recordings, often shortened to London American  – was also used by British Decca in the UK market, for releases taken from American labels, which British Decca licensed. The label

190-538: 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

285-405: 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

380-511: A 50% stake in Casablanca (US) in 1977 (with the remaining 50% in 1980), Pickwick in 1978, and Decca (UK) in 1980 (the latter acquisition basically brought PolyGram full circle, see the HDD section above). PolyGram acquired United Distribution Corporation (UDC) in 1973, and changed its name to Phonodisc, Inc., and signed international distribution deals with MCA and 20th Century Records in 1976. In

475-558: 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

570-470: 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

665-412: A classical music label along with Decca Records and Deutsche Grammophon. By 1985, PolyGram had returned to profitability. Wing Records was reincarnated in 1987 and became a very popular label over the following years, spawning the careers of Tony! Toni! Toné! and former Miss America , Vanessa Williams ; the label was discontinued in the mid-1990s. Fontana was revived in the U.S. in 1989, but only for

760-408: 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

855-491: 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. PolyGram Later on, PolyGram expanded into the largest global entertainment company, creating film and television divisions. In May 1998, it was sold to the alcoholic distiller Seagram which owned film, television and music company Universal Studios . PolyGram

950-553: 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,

1045-471: 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

SECTION 10

#1732852723466

1140-462: 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

1235-564: A large factory in Baarn and factories in France, Britain, Denmark, Norway, Spain, Italy, Egypt, Nigeria, and Brazil. PPI played an important role in the introduction of the long-playing vinyl record to Europe. Columbia introduced their LP record in 1948, and Philips presented its first LP at a record retailers' convention in 1949. Philips' commitment to LP technology was an important factor in its 1951–1961 deal with Columbia. In 1962, PPI and DGG formed

1330-399: A manufacturing-only business plan. (In hindsight, analysts have pointed out how Philips ultimately benefitted from the manufacture and sale of blank CDs, which played a significant part in the music piracy that began to affect the industry in the early 2000s.) After weeks of speculation, on May 22, 1998, Philips announced that they would sell PolyGram to Seagram for $ 10 billion. Some of

1425-601: A recording studio in Blomfield Road , West London; there may have been another in London's West End. In 2010, Universal Music reclaimed ownership of the London Records trademark. Even Universal Music again owned this trademark, Warner Music Group licensed it to be used on its reissues of London's catalogue controlled by Warner Records 90 company. On 1 July 2011 Universal Music reclaimed the London Records name and relaunched it under

1520-605: 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

1615-542: A reverse situation, the London name was also used in the UK market by British Decca for releases taken from American labels that were licensed by British Decca, such as Liberty , Imperial , Chess , Dot , Atlantic , Specialty , Essex and Sun , and the first two UK releases from Motown . By the 1960s more licensing deals had been made with Big Top , Monument , Parrot , Philles , and Hi , and subsidiary labels were London Atlantic, London Dot and London Monument (the last featuring Roy Orbison , who remained with London in

1710-468: A short while. Today, Fontana Distribution is an independent label distribution unit of Universal Music Group. Vertigo Records still remained a rare U.S. PolyGram label, as most of its music was from Europe. In April 1982, PolyGram assumed operational and managerial control of 20th Century Fox Records from its similarly named parent , which had just recently been bought out by oil magnate Marvin Davis , who

1805-544: Is a brand or trademark of music recordings and music videos , or the company that owns it. Sometimes, 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

1900-454: 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

1995-585: Is owned by Because Music , which also owns most of the label's 1980s and 1990s UK catalogue. London arose from the split in ownership between the British and American branches of Decca Records . The American branch of London Records released British Decca records in the U.S., as British Decca could not use the "Decca" name there as well as vice-versa. The label was noted for classical albums made in then state-of-the-art stereophonic sound , and such artists as Georg Solti , Joan Sutherland , and Luciano Pavarotti . In

SECTION 20

#1732852723466

2090-684: 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

2185-584: The Grammophon-Philips Group ( GPG ) as a joint-venture holding company, with Philips taking a 50% share in DGG and Siemens a 50% share in PPI. In 1971, the UK record labels of Philips, Fontana, Mercury, and Vertigo were amalgamated into a new company called Phonogram, Ltd. In 1972, Grammophon-Philips Group reorganized all its operations and was renamed The PolyGram Group (in some countries, like Argentina, its name

2280-569: The ITC Entertainment library, which was sold on January 19, 1999 to Carlton Communications for £91 million. On April 8, 1999, USA Networks announced they would purchase PolyGram Filmed Entertainment's domestic division (including PolyGram Video's US & Canada operation), among other assets. After the sale, the divisions were renamed USA Films and USA Home Entertainment respectively. The assets of Slash Records and London Records were sold to Warner Music Group . What remained of PolyGram

2375-957: The PolyGram group operated by Roger Ames. In the 1990s, Tracy Bennet became President and Colin Bell, Managing Director. When Ames moved to the Warner Music Group , he took the label with him, and so almost all of London's recent back catalogue was acquired by Warner, which also acquired the London name and trademark from Decca (which still owns most of the pre-1980 back catalogue). The name is still used, mainly for UK-based artists, and for ex- Factory Records artists. Notable artists released by that incarnation of London, called London Records 90, include New Order (initially on their own CentreDate Co. Ltd label), Happy Mondays , A , and Shakespears Sister . After PolyGram took over British Decca, classical-music albums recorded by British Decca continued to be released on

2470-625: The disco craze included the Casablanca FilmWorks production Thank God It's Friday (1978) and its associated soundtrack. During the boom in disco, PolyGram's US market share had grown from 5% to 20%. This can also be attributed to multi-million selling albums and 45s by the Bee Gees , Donna Summer , the Village People , Andy Gibb , Kool & the Gang , and rock band Kiss . For a short while in

2565-459: 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

2660-505: 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

2755-587: The American imprint of the pre–1971 recordings of the Rolling Stones (now owned by ABKCO ). The label also originally issued some early LPs and singles by Texas-based band ZZ Top (whose catalog went to Warner Bros. Records when the band signed with that label). In the 1960s and 1970s London Records got involved in then innovative quadraphonic sound techniques and launched vinyl LPs. Beginning with their "Phase 4" series of immersive, spatialized STEREO sound (which

2850-513: The BPI in 1991, for suspected chart hyping in the UK Singles chart in regards to this band, with the suspicion that their chart position may have been bought by the record company and not due to fans purchasing their record, "More". MCA , the owner of American Decca, merged with PolyGram in 1999, which formed Universal Music ; however, by this time, London Records had become a semi-independent label within

2945-751: The FFRR (Full Frequency Range Recordings) brand (which became part of WMG's Parlophone label). Because is distributed by another UMG division Virgin Music Label & Artist Services, formerly Caroline Distribution. Warner Records 90 was renamed London Music Stream, and later London Recordings. The label is now operating as London Records again (as part of Because Music Group). The label has reissued many classics by acts such as Bronski Beat, Bananarama, Orbital, Goldie and Happy Mondays. They have also released new music by Blancmange, Shakespears Sister and Orbital. This includes Orbital's 'Optical Delusion' which charted at No 6 in

London Recordings - Misplaced Pages Continue

3040-602: The London label in the U.S., with a logo similar to the Decca classical label logo, until American Decca owner MCA merged with British Decca owner PolyGram in 1999 and formed Universal Music, after which they were all reissued on the original British Decca label in the US. The London pop music catalogue owned by Universal Music is now managed by Polydor Records , with United States distribution handled by Island Records after absorbing former distributor Mercury Records in 2014. Decca Records had

3135-505: The Netherlands and its colonies. Over the course of the 1930s, HDD put together its own facilities for A&R , recording, and manufacturing. HDD was commercially successful during World War II because of the absence of American and British competition. Van Zoelen wanted to sell to Philips so that HDD would have sufficient financial backing when their major competitors returned after the war. This led Philips to purchase HDD in 1942. In

3230-401: The UK even after he signed for MGM Records in the U.S.). The lead person in arranging the distribution deals at that time was Mimi Trepel . An unusual feature was the letter code in the numbering system. From the late 1950s until 1973, the label bore the logo "London American Recordings", and on Radio Luxembourg it was known as "London American". In America, the label was best known as

3325-456: 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

3420-494: The UK. There is now a new frontline arm of the label called 'Because London Records' releasing artists such as Alewya, Joalin and Busy Twist. In 2025 the label will release an extensive podcast series telling the story of the imprint. London Records had dozens of subsidiary and distributed labels throughout its existence. Among the labels are: Record label [REDACTED] [REDACTED] [REDACTED] "Big Three" music labels A record label or record company

3515-586: The UK. There is now a new frontline arm of the label called 'Because London Records' releasing artists such as Alewya, Joalin and Busy Twist. In 2025 the label will release an extensive podcast series telling the story of the imprint. The label is now operating as London Records again (as part of Because Music Group). The label has reissued many classics by acts such as Bronski Beat, Bananarama, Orbital, Goldie and Happy Mondays. They have also released new music by Blancmange, Shakespears Sister and Orbital. This includes Orbital's 'Optical Delusion' which charted at No 6 in

3610-425: The US and UK markets, and did so by a process of both formation and acquisition: Polydor Records established its American operations, Polydor Incorporated in 1969, Mercury Record Productions (US) was acquired in 1972 from sister company North American Philips Corp. , and became Phonogram, Inc. MGM Records and Verve (US) were acquired in 1972. Subsequent PolyGram acquisitions included those of RSO (UK) in 1975,

3705-546: 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

3800-609: The United States. But in 1951, after Columbia had failed to renew its international distribution agreement with EMI , PPI agreed to distribute Columbia recordings outside the United States. Columbia became PPI's distributor within the US. This agreement ran until 1961 when Columbia set up its own European network. PPI signed a worldwide distribution deal with Mercury Records in 1961. PPI's parent company Philips, through its U.S. affiliate Consolidated Electronics Industries Corp (a.k.a. Conelco ), acquired Mercury in 1962. PPI built or bought factories in smaller countries. In 1962, PPI had

3895-407: 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

London Recordings - Misplaced Pages Continue

3990-411: 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

4085-415: 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

4180-425: 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

4275-484: 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

4370-594: The big budget musical Sgt. Pepper's Lonely Heart's Club Band (1978). The film starred the Bee Gees and Peter Frampton at the height of their popularity, and featured the Beatles covers by them as well as Aerosmith , Billy Preston , and Earth, Wind & Fire . The film was highly anticipated to surpass the box office success of both the Saturday Night Fever and Grease , mostly due to its popular music stars. The soundtrack LP, based on only advance orders,

4465-650: 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

4560-470: The company's dependence on superstars by spreading the repertoire across different genres and nurturing national and regional talent. Also by 1983, PolyGram's U.S. roster of labels included: ...which were all consolidated into PolyGram Records, Inc. (now UMG Recordings, Inc.) In 1981, PolyGram launched domestic television syndication unit PolyGram Television (unrelated to the latter day incarnation that became Universal Worldwide Television in 1997), but it

4655-403: 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

4750-561: The company. During the late 1980s and early 1990s, PolyGram continued to invest in a diversified film unit with the purchases of individual production companies. In 1981, Philips executive Jan Timmer became a member of the Group Management of PolyGram and was appointed president and chief executive officer of newly formed parent company, PolyGram International Ltd. in 1983. He cut the workforce from 13,000 to 7,000, reduced PolyGram's LP and cassette plants from eighteen to five, and decreased

4845-400: 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

SECTION 50

#1732852723466

4940-571: The disco craze ended in 1979 and record sales for both the Bee Gees and Casablanca's Village People plummeted. PolyGram also experienced losses with the defection of Casablanca's Donna Summer to newly formed Geffen Records as well as the dropping of Andy Gibb , whose personal problems with cocaine and alcohol began to affect his recording career, from RSO. Summer and the Bee Gees also had legal disputes with their labels which further complicated matters. Summer ended her contract with PolyGram in 1980, and

5035-416: 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

5130-512: 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

5225-485: The executive team of Nick Raphael (president) and later Jo Charrington (senior vice president of A&R) who together previously ran Epic Records for Sony Music Entertainment since 2001. Both had started their careers at London Records in the Ames era in the 1990s. When Nick Raphael became president of Capitol Records 's UK division in 2013, London Records moved there, and operated as a sublabel until Because Music acquired

5320-447: The film and television division was sold to NBCUniversal ) until 2021. In February 2017, UMG revived the company under the name of PolyGram Entertainment , which currently serves as their film and television division. In 1929, Decca Records (London) licensed record shop owner H.W. Van Zoelen as a distributor in the Netherlands. By 1931, his company Hollandsche Decca Distributie ( HDD ) had become exclusive Decca distributor for all of

5415-581: The kind of layered sound realized in Phase 4 recordings, required multiple overdubs over multiple reels of tape, bouncing down and bouncing across to different recorders. This increased the level of tape hiss on the final master, something which Phase 4 engineers could not tolerate. So they achieved in their scoring techniques what could be recorded in one pass what everybody else was achieving with multiple overdubs. Similar scoring techniques were used with sound pioneer Enoch Light and his Project 3 Records label around

5510-756: The largest record company in Europe. PPI's second attempt at a merger was with Deutsche Grammophon Gesellschaft (DGG). DGG, owned by Siemens AG , and well known for its classical repertoire, had been the German licensee for Decca from 1935. DGG also owned Polydor Records . Shortly after PPI was founded it had made a formal alliance with DGG to manufacture each other's records, coordinate releases, and refrain from poaching each other's artists or bidding against each other for new talent. PPI and DGG finally merged in 1962. The alliance with DGG still left PPI without repertoire in Britain or

5605-403: The late 1940s, Philips combined its various music businesses into Philips Phonografische Industrie ( PPI ), a wholly owned subsidiary. PPI's early growth was based on alliances. A merger was first proposed with Decca of London in late 1945, but was rejected by Edward Lewis , Decca's owner. (PolyGram finally acquired Decca in 1980.) In the early 1950s, Philips set itself the goal of making PPI

5700-538: The late 1950s and early 1960s, Philips had been at work on a new consumer magnetic tape format for music. The Philips Compact Cassette was introduced in 1963. It was small and could play longer than an LP. In 1965 the cassette accounted for 3% of revenues, growing in 1968 to 8% and in 1970 to 10.6%. In the late 1960s, and through the 1970s, GPG/PolyGram diversified into film and television production and home video. RSO's successes included Saturday Night Fever and Grease . PolyGram's highly successful marketing during

5795-420: The late 1970s, it was the world's largest record company. In 1969, PolyGram established a direct mail-order business in the UK, Britannia Music Club , which ran till 2007. Before 1978, PolyGram was losing money. When US operations were running at full capacity, PolyGram expanded aggressively, and would press large quantities of records without knowing the demand. In late 1979, PolyGram was caught off guard by

SECTION 60

#1732852723466

5890-725: 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

5985-433: 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

6080-537: 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

6175-641: The mid 20th century, the majority of large recording companies manufactured both gramophones and records; Philips CEO Anton Philips noted the risk in creating gramophones without an interest in music recording and record manufacture, and that Radio Corporation of America (RCA) had merged with the Victor Talking Machine Company in 1929 for this reason. Philips' labs were developing magnetic tape and LPs , and they could support eventual new formats, although other record companies were notably unenthusiastic about experimenting with new formats. After

6270-500: The mid-1980s to 7-9% by the early 1990s. As well, videos were distributed by PolyGram Video . In 1988, Philips acquired the remaining 50% of PolyGram from long-time partner Siemens and later in 1989, floated 16% of PolyGram on the Amsterdam stock exchange, valuing the whole company at $ 5.6 billion. PolyGram embarked on a new program of acquisitions, including A&M and Island Records in 1989, Swedish company Polar Music which held

6365-507: 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

6460-691: The reasons cited for the deal were a lack of pop hits from the music side of the company, and an equal lack of box-office successes from the film side. Alain Levy resigned as CEO of PolyGram on June 23 to prepare for the merger, and the deal was closed on December 10, 1998, with PolyGram's operations folding into Universal Pictures and Universal Music Group . Seagram however, was only interested in PolyGram's music division, and in October 1998 they announced that they would begin divesting PolyGram's entertainment assets, while

6555-543: 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

6650-488: The remainder would be folded into Universal. Prior to this announcement, the company announced the sale of their 75% stake in children's distributor Abbey Home Entertainment back to its original founders and the acquisition of Astrion plc. On October 23, Metro-Goldwyn-Mayer agreed to purchase PolyGram Filmed Entertainment 's pre-April 1996 library for $ 250 million, which included over 1,300 films from various assets PolyGram had acquired within that point, but did not include

6745-565: The remains of PolyGram's theatrical assets would then be folded into United International Pictures. Mickey Blue Eyes would become the last film distributed under the ex-PolyGram unit. The PolyGram name now survives via reissue of music under the Polydor Records label as well as a publishing arm of Universal Music Publishing Group . The Japanese branches of the PolyGram labels that were absorbed to form Universal Music Japan and were rebranded: Polydor remained until 2002, when it merged with

6840-523: The rights to the ABBA catalogue, Motown and Def Jam in 1994 and Rodven (Venezuela) in 1995. In 1990, after acquiring both Island and A&M, Alain Levy , (then) executive vice-president of PolyGram N.V., re-organized the U.S. operations of PolyGram Records, Inc. into a new expanded conglomerate: PolyGram Group Distribution, Inc. In addition to overseeing the sales, marketing, manufacturing and distribution of music and video products created by PolyGram, PGD

6935-418: 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

7030-457: The same period. In the late 1970s, London signed deals with Bomp! Records and with Big Sound in Connecticut, U.S. This changed the label in the eyes of many from a backwater into something a little more "edgy" compared to the pedestrian contemporary releases from parent company Decca. The label was staffed by Graham Baker, Keith Gooden, Mike Horsham and Liz Roff at that time. Decca's Geoff Milne

7125-419: 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

7220-420: The sudden end of the popularity of disco music, leaving it with an underutilized distribution network, profligate labels, and over optimistic product orders. PolyGram's Casablanca label was known for management spending on lavish industry parties and luxury cars. After 1980, PolyGram's losses had spiraled upwards of US$ 220 million. Another contributing factor to PolyGram's financial woes was the massive failure of

7315-400: 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

7410-430: The time he took over, Philips was seen as a bloated company, laden with too many layers of management and unrelated companies that they could not leverage effectively. As a result, Boonstra began to sell or dispose of various non-core assets. While Philips began to withdraw from other media activities, Boonstra denied that PolyGram was for sale. However, by early 1998, he had changed his attitude, instead deciding to pursue

7505-571: The trademark license in 2017. In July 2017, Because Music announced that it would acquire Warner Records 90 , a subsidiary of Warner Music UK that reissued most London Records artists from the post-1980 era, plus very few titles from the post-1998 era, when Warner Music owned the label. Because completed the deal in August 2017, which includes the rights to over fifty London artists (including Bananarama and Happy Mondays ), but excluding Slash Records , London-Sire Records , All Saints , New Order , and

7600-730: The war, Philips built a large factory in Doetinchem to produce 78 rpm records. Recording took place in Hilversum, whereas development took place in Eindhoven. In the 1940s, the record business was spread out within Philips: research in the Eindhoven labs, development elsewhere in Eindhoven, recording in Hilversum , manufacturing in Doetinchem , distribution from Amsterdam , and exports from Eindhoven. During

7695-433: 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

7790-415: Was NOT quadraphonic despite claims to the contrary) which, along with their "FFRR - Full Frequency Range Recording" series and appellation, gained them a well earned reputation on their sound quality. Phase 4 recordings were originally made on then-novel 4-track tape, but the innovation was in the special scoring used to maximize the technology. Normally in recording techniques of the mid-60s, in order to get

7885-401: Was Phonogram), of which Philips and Siemens each owned 50%. In 1977, both organizations merged operationally, integrating the recording, manufacturing, distribution and marketing into a single organization. The various record labels within PolyGram continued to operate separately. PolyGram gave its labels, as A&R organizations, great autonomy. After the merger, PolyGram began to move into

7980-535: Was also responsible for supervising a number of other divisions within PolyGram (U.S.) such as: PolyGram Music Group, PolyGram Video, PolyMedia, PolyGram Special Markets, PolyGram Merchandising, Independent Label Sales (ILS) and New Media & Business Development. PolyGram and Granada TV formed a joint venture, Big Picture Productions, in 1990 as a music programing firm which, at Cannes in 1990, purchased exclusive international distribution rights to Brown Sugar (The two-hour special featured black female performers and

8075-448: Was awarded the rights to her songwriting catalog by the courts; she owed them one more album, and finished out her contract by recording her album She Works Hard For The Money (from which the title track was a huge hit in 1983). In 1980, after PolyGram bought the other 50% of Casablanca Records and Filmworks, PolyGram renamed its existing Casablanca Records & Filmworks unit as PolyGram Pictures with Peter Guber becoming chairman of

8170-455: 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

8265-472: Was folded into both Universal Music Group and Universal Pictures. On February 10, 1999, Universal announced that they would pull out of their CIC Video and United International Pictures ventures with Paramount Pictures and rebrand PolyGram Filmed Entertainment's international division (including PolyGram Video's international operation) under the Universal name. Whilst the home video division rebranding

8360-568: Was hosted by Billy Dee Williams ) from the New York–based Gene David Group. In June 1991, Alain Levy was promoted to worldwide president and CEO of PolyGram N.V. In 1993, PolyGram purchased the video arm of Virgin Group from General Electric Capital for $ 5.6 million and remodeled the label as Vision Video ltd. In 1995, PolyGram purchased ITC Entertainment for $ 156 million. In 1996, Cor Boonstra became CEO of Philips; by

8455-448: Was in overall control. The president of London Records in the 1970s was D. H. Tollerbond. After British Decca was acquired by PolyGram in 1980, London followed a more independent course with subsidiary labels such as Slash , Pete Tong 's Essential Records and FFRR (London's dance music label, named after part of London's logo design). In the 1990s, London signed Madchester indie band The High and ended up being fined £50,000 by

8550-638: Was named president and CEO of PolyGram. Asher was formerly the attorney for Don Kirshner 's Aldon Music music publishing company. The CD, invented by Philips and Sony , helped greatly in boosting the company's sales and market share. PolyGram's strength in classical music helped greatly, as many of the CD's early adopters were classical music lovers. Total US sales of CDs were $ 1 million in 1983, $ 334 million in 1990 and $ 943 million in 2000. Total UK sales were $ 300,000 in 1983, $ 51 million in 1990 and $ 202 million in 2000. The CD increased PolyGram's profit margin from 4-6% in

8645-473: Was not interested in keeping the record company. The assets of the former 20th Century Fox Records were fully acquired by the firm in July 1982, and subsequently were consolidated with the Casablanca label. After an attempted 1983 merger with Warner Elektra Atlantic failed, Philips bought 40% of PolyGram from Siemens, acquiring the remaining 10% in 1987. In 1985, former CBS and Columbia executive Dick Asher

8740-481: Was released triple platinum. The movie was released to poor reviews and died at the box office. Despite its triple platinum start, the soundtrack LP's sales bombed after the film's release. In turn, record dealers flooded PolyGram with returned LPs. The resulting losses nearly wiped out the profits the company had made on both the Saturday Night Fever and Grease soundtracks. The company took further loses when

8835-446: Was soon folded after two years. Under its newly reorganized form, PolyGram decided to discontinue Philips as a pop and rock label in the UK and much of Europe, though it was still frequently issued records in France and South East Asia, where it issued many albums and singles by Chinese and Hong Kong pop artists. The majority of PolyGram's rock and pop music signings went to Mercury and Polydor. Philips became part of PolyGram Classics as

8930-473: Was successful (with CIC rebranding under the Paramount umbrella toward the end of 1999 ), the theatrical division rebranding would prove to be a failure, as films from the rebranded Universal Pictures International flopped at the box office, the company therefore announced in October 1999 that their operations would be downgraded to the home video market only and renewed their UIP deal with Paramount for five years,

9025-493: Was thereby folded into Universal Music Group , and PolyGram Filmed Entertainment was folded into Universal Pictures , which had been both Seagram successors of MCA Inc. When the newly formed entertainment division of Seagram faced financial difficulties, it was sold to Vivendi , and MCA became known as Universal Studios, as Seagram ceased to exist. Vivendi remains the majority owner of the Universal Music Group (while

#465534