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THE BUSINESS OF MUSIC
www.musicweek.com
NEWS 03
‘This new album is both accessible and uplifting, intelligent and immediate’
12 BIG INTERVIEW
‘I got to record a song with Michael Jackson. We were very close - getting drunk together’
28.06.13 £5.15
REPORT 21
‘It’s now become our primary income source’
BMG: We’ll bring Stones Satisfaction MICK’N’KEEF’S NEW PUBLISHER AIMING FOR “SIGNIFICANT RISE” IN REVENUE FOR WRITING DUO
PUBLISHING BY TIM INGHAM
T
hey will be paid a princely sum for headlining Glastonbury this Saturday
- but The Rolling Stones’ biggest 2013 windfall may yet come from their new publisher. Next week, from July 1, BMG
will take on direct responsibility for publishing all songs written by the Stones’ Mick Jagger and Keith Richards since 1983. It will also be responsible for handling the duo’s shares of their pre-1983 copyrights, represented by ABKCO (1963-1971) and EMI Music Publishing (1971-1983). Music Week understands that BMG is plotting to undertake a massive income tracking mission for the duo, as well as cleaning up song information on databases the world over. It is hoped that both operations will result in an untapped tranche of dormant royalty money coming Jagger and Richards’ way. BMG Chrysalis SVP Alexi
Cory-Smith (pictured inset), who personally struck the deal with
and Doom And Gloom. BMG will also administer
Jagger and Richards’s interests in all of their Rolling Stones hits dating back to 1963 including (I Can’t Get No) Satisfaction, Brown Sugar and Angie. BMG CEO Hartwig Masuch said that winning the opportunity to work with Mick Jagger and Keith Richards was a significant milestone for the ‘new’ company, less than five years after it was formed. “This deal is incredibly
the duo, wouldn’t be drawn on specific details of Jagger and Richards’ agreement with the publisher, but she called them “among the greatest songwriters in rock‘n’roll history”, adding that it was a “huge honour to represent their interests”. She told Music Week: “Mick and Keith were looking for a really efficient administrative service - the nuts and bolts of publishing - coupled with our exceptional creative service.”
Cory-Smith added: “BMG operates globally as one entity, with offices in all the key territories working together. “[Jagger and Richards] are
getting a truly international team. They have decided to consolidate their publishing arrangements, having realised they have become a bit neglected, and they’ve come to a 21st century publisher to do so.” She said that BMG planned to help the Stones achieve a
“significant rise” in annual music publishing revenue in the years ahead. The songs to be directly published by BMG span the six albums Undercover (1983), Dirty Work (1986), Steel Wheels (1989), Voodoo Lounge (1994), Bridges To Babylon (1997) and A Bigger Bang (2005) as well as future compositions. They include Stones tracks such as Mixed Emotions, Love Is Strong, You Got Me Rocking
important for BMG,” he said. “Keith and Mick have clearly created one of the most outstanding song collections in rock‘n’roll history. They have not only created the soundtrack of all of our lives, they have been a dynamic and constant force for cultural change. “They could sign to any
company they wanted to. The fact that they have chosen to sign with BMG is a significant vote of confidence in our team and in our creative and administration services. We will justify their trust in us.”
Guitars to dominate festivals as Glastonbury arrives
Glastonbury headliners Arctic Monkeys, Mumford & Sons and The Rolling Stones are reflecting a summer festival programme dominated by rock acts. Music Week research reveals
the genre continues to provide the backbone of the main festivals’ line-ups, including at Glastonbury this weekend when 59.1% of the acts playing on the Pyramid Stage will be rock. The genre has an even greater
presence on the second, Other Stage where 81.8% of the artists performing are rock while its dominance spreads to the main stages of most of this year’s other main non-genre-based festivals, including Hard Rock Calling (92.3%), Isle of Wight (79.2%), Reading/Leeds (88.9%), T In The Park (42.9%) and V (50.0%). Rock’s continuing huge presence at these events comes despite it having little presence
on the singles chart, while providing only two of the 10 biggest-selling artist albums of the year so far – Jake Bugg’s self- titled Mercury debut and Virgin act Bastille’s Bad Blood. The main-stage line-ups are
also heavily biased towards acts from the UK, including Glastonbury’s Pyramid Stage where 59.1% of the line-up is British, while acts who have broken through this decade
typically have the greatest presence. On the Pyramid Stage, for example, 45.5% of the acts set to perform achieved their first notable commercial success post 2009, among them Alt-J and Alabama Shakes, while it is 69.2% at Hard Rock Calling, taking place this weekend at the Queen Elizabeth Olympic Park in east London. Meanwhile, a tight pool of superstar acts means the majority of the
headline artists appearing this year are not exclusive to any UK festival. The few exceptions include Arctic Monkeys at Glastonbury, Jay-Z and Justin Timberlake at Wireless, and Biffy Clyro, Eminem and Green Day at Reading/Leeds. V exclusively has Beyonce and T In The Park Rihanna, but they have both
played Twickenham recently. Read our full festival analysis - pages 16 to 17
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