Reports|

Now posted to http://riaa.com are the RIAA’s 2014 shipment and revenue statistics. Included is an overview memo with several charts and graphs to further explain key data points. On page 4 is the detailed chart with breakouts of revenues in each category.

Key highlights:
•         wholesale revenues up 2%
•         retail revenues stable —  slight .5% decline
•         various streaming models worth nearly $2 billion

Today we released our report on recorded music revenues and shipment information for 2014.  More than ever, the data we provide – including the aggregate valuation of various streaming services — is the most meaningful barometer about the state of the U.S. music business.

Our VP of Strategic Data Analysis, Josh Friedlander, provides a more detailed snapshot here.  It’s worth noting a few observations.  First, the wholesale value of the American music business continues to grow – a 2% uptick this year. Modest, but the fourth straight year of such growth. The overall retail value of the business is basically flat – a small decline of .5%.  This is the fifth straight year we’ve been essentially flat.

The music business continues to undergo a staggering transformation, one embraced by the music labels we represent.  Record companies are now digital music firms, earning more than 2/3rd s of their revenues from a variety of digital formats.  Streaming services collectively are generating meaningful revenue: nearly $2 billion in 2014, a 29% percent increase over 2013.  You may notice that we continue to break out the revenues generated from the three major streaming categories.  We believe the music community and the American public deserve to fully understand the revenues produced from each category, including the number of users of each particular type of service and the revenues generated by them.

Another observation:  streaming music has been the subject of a healthy debate, which is appropriate.  These are new models – how their value to the artist and label accrues is different than buying a CD or a download.  But the reality is that the consumer has spoken and this is what fans want.  It is the job of the entire music community to make these services work for our fans.
Especially as the business pivots to a streaming world, gaps in the law or decisions by some companies to deny compensation to certain categories of creators and labels is even more indefensible.  That means, for example, that it’s long overdue for AM and FM radio stations to pay artists and labels for the use of their work.  Yes, you read that right – broadcast radio stations pay nothing to recording artists and labels for the music they use to attract listeners and sell advertising for their own commercial benefit. It’s time for this special interest exemption to end.

Similarly, it is inexcusable that digital radio companies like Pandora and Sirius XM take advantage of ambiguities in the law to refuse to pay musical icons of our past for recordings made before 1972.  Yes, you read that right, too – two of the biggest digital music companies choose not to share any of their revenues with the artists and labels behind the musical treasures of the 50’s, 60’s and early 70’s, just because they’ve decided not to.  And it’s time for Sirius XM to start paying royalties at fair market rates, rather than below-market rates.  Recording artists and labels shouldn’t be forced to subsidize a multi-billion dollar behemoth like Sirius XM.
Our mantra is ‘fair market value for all creators, regardless of platform.’  That goes for the record labels too, who are the economic engines of the music business, investing billions of dollars to discover new artists, nurturing them as they refine their craft and helping them find an audience, all while paying a bigger share of their revenues to artists than ever.

The music business is not without its challenges, but the foundations of a continued comeback are strong. Just look at the Internet and social media, for example, where artists and music drive the conversation like nothing else.  Music is more relevant to commerce and culture than ever before.  It is fundamentals like these that continue to give us great hope.  Here’s to a bright future for music and everyone who creates it.

Cary Sherman, Chairman & CEO, RIAA

http://riaa.com
http://riaa.com/media/D1F4E3E8-D3E0-FCEE-BB55-FD8B35BC8785.pdf

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FELLOW BEATLE McCARTNEY USHERING RINGO INTO ROCK HALL OF FAME

NEW YORK (AP) — Paul McCartney has agreed to induct his former Beatles mate, Ringo Starr, into the Rock and Roll Hall of Fame next month.

Stevie Wonder, Patti Smith and John Mayer will also usher in new members, the hall announced on Wednesday. The 30th annual induction ceremony is scheduled for Cleveland’s Public Hall on April 18. The Rock and Roll Hall of Fame and Museum is located in Cleveland.

The Beatles are in the rock hall already, and so are McCartney, John Lennon and George Harrison as solo artists. Drummer Starr is the last to be honored individually, and Eagle Joe Walsh will perform some of his friend’s music.

Wonder will induct Bill Withers, a fellow songwriter who had his biggest impact in the 1970s. John Legend will perform Withers’ music, and it’s still a mystery whether Withers, who quit the music business more than 30 years ago, will sing. Rock hall spokeswoman Shauna Wilson said it’s still to be determined which inductees will perform.

Smith will induct another artist indelibly tied to New York, the late Lou Reed, and Beck will perform his music.

Mayer is speaking in honor of another blues guitarist, the late Stevie Ray Vaughan. Vaughan’s brother Jimmie will perform with members of his brother’s old band, Double Trouble.

Dave Grohl has committed to performing inductee Joan Jett’s music, although the hall hasn’t announced who will give the speech for the “I Love Rock and Roll” singer.

Peter Wolf will induct the Paul Butterfield Blues Band, with Tom Morello performing the band’s music. Fall Out Boy will induct Green Day and guitarist Steve Cropper is scheduled to honor the “5” Royales.

HBO is taping the ceremony and concert for a May 30 television premiere.

The rock hall will open an exhibit on April 11 honoring this year’s new class, and also has a special exhibit on photographer Herb Ritts’ work with musicians.

http://www.rockhall.org

By David Bauder | Associated Press
Follow David Bauder at twitter.com/dbauder.
His work can be found at http://bigstory.ap.org/content/david-bauder

http://news.yahoo.com/fellow-beatle-mccartney-ushering-ringo-rock-hall-095805275.html

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WATCH KORN PERFORM ‘DADDY’ FOR THE FIRST TIME IN 20 YEARS

For the first time in nearly two decades, Korn performed their track “Daddy” live as the rockers kicked off the 20th anniversary of Korn tour March 13th at Las Vegas’ Brooklyn Bowl. The band last performed the devastating track, which recounts singer Jonathan Davis being molested as a child, back in April 1995. As the group is performing their entire self-titled LP onstage this trek, Davis was once again forced to confront “Daddy” in front of an audience (via Blabbermouth).

The Korn version of “Daddy” ends with four minutes of Davis sobbing in the vocal booth, and as he told Rolling Stone in our oral history of their debut album, the singer had no idea producer Ross Robinson was still recording. “It was just a special moment that I did not know was being recorded, for one, because Ross is a prick and kept the fuckin’ tape running.” Brian “Head” Welch added, “It was one of the most intense things I ever witnessed in my life. It was so crazy; I thought he was joking at first ‘cause he was really bawling and everything. But it was very, very intense.”

Davis didn’t try to replicate that emotional moment as Korn performed the album-closing track, but considering how long it’s been since the band had played the track, the rendition showed no signs of rust. The 20th anniversary trek – which does not feature drummer David Silveria – also featured Korn busting out “Shoots and Ladders” for the first time since 1997.

“I’ll be playing ‘Daddy,’ but that song is just so old news to me,” Davis told Rolling Stone. “It’s not going to affect me like it did back then. There was abuse there, I dealt with it, and the person who abused me is dead now. Karma took them [laughs]. And, y’know, I’ve buried that. I’m just going to play the song for the people that need it, you know what I mean?”

By Daniel Kreps | Rolling Stone

https://www.yahoo.com/music/watch-korn-perform-daddy-for-first-time-in-20-113718601616.html

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