EUROPEAN MUSIC PLATFORM

UK EXPORT HANDBOOK
Prepared for the European Music Platform by IMPALA - Independent Music Companies Association

UK Export Handbook

1

INTRODUCTION.............................................................................................................................. 6 I) GENERAL INFORMATION ON THE COUNTRY ..................................................................... 6 Geographical and historical overview.............................................................7 Population.................................................................................... 7 Leisure habits.........................................................................................7 Internet................................................................................................8 Broadband.............................................................................................8 Cultural policy........................................................................................8 II) THE PHONOGRAPHIC MARKET ................................................................................................... 9 1) Music market 9 - Global and national position............................................................................................................... 9 - Music genres ........................................................................................................................................ 11 - Music buyers ........................................................................................................................................ 14 - New music formats – Internet, mobile, DVD.................................................................................. 15 - Internet ................................................................................................................................................ 15 - Mobile ................................................................................................................................................... 16 - Piracy.................................................................................................................................................... 17 2) Record Companies................................................................................................................. 18 3.Distribution and retail 21 - Overview to selling records in the UK............................................................................................. 21 - Distribution, import, wholesale ....................................................................................................... 22 - Retail .................................................................................................................................................... 23 4) Publishing................................................................................................................................ 27 5) Media 28 - Press...................................................................................................................................................... 28 - Radio ..................................................................................................................................................... 29 - TV 30 - Media advertising................................................................................................................................ 32 6) Live/touring/clubs 32

7. Sales certifications and awards ......................................................................................... 33 8. Trade Fairs 34

9. Trade organisations and institutions ................................................................................ 34

UK Export Handbook

2

III)

MUSIC GENRES .................................................................................................................. 37 POP 37 1) Situation of the music genre .......................................................................................................... 37 2) Majors ................................................................................................................................................. 37 3) Independent labels........................................................................................................................... 37 4) Publishers........................................................................................................................................... 41 5) Distributors ........................................................................................................................................ 42 6) Retailers............................................................................................................................................. 42 7) Clubs ................................................................................................................................................... 43 8) Festivals ............................................................................................................................................. 43 9) Managers ............................................................................................................................................ 43 10) Bookers/Promoters ........................................................................................................................ 43 11) Specialized media (press, radio, TV) .......................................................................................... 44

Rock 45 1)Situation of the music genre ........................................................................................................... 45 2) Majors ................................................................................................................................................. 45 3) Independent labels........................................................................................................................... 45 4) Publishers........................................................................................................................................... 48 5) Distributors ........................................................................................................................................ 49 6) Retailers............................................................................................................................................. 50 7) Clubs ................................................................................................................................................... 50 8) Festivals ............................................................................................................................................. 50 9) Managers ............................................................................................................................................ 50 10) Bookers/Promoters ........................................................................................................................ 51 11) Specialized media (press, radio, TV) .......................................................................................... 51

Electronic-Dance 52 1) Situation of the music genre .......................................................................................................... 52 2) Majors ................................................................................................................................................. 52 3) Independent labels........................................................................................................................... 52 4) Publishers........................................................................................................................................... 56 5) Distributors ........................................................................................................................................ 57 6) Retailers............................................................................................................................................. 57 7) Clubs ................................................................................................................................................... 57 8) Festivals ............................................................................................................................................. 58 9) Managers ............................................................................................................................................ 58 10) Bookers/Promoters ........................................................................................................................ 58 11) Specialized media (press, radio, TV) .......................................................................................... 58

Hip-Hop and R&B 60 1) Situation of the music genre .......................................................................................................... 60 2) Majors ................................................................................................................................................. 60 3) Independent labels........................................................................................................................... 60 4) Publishers........................................................................................................................................... 63 5) Distributors ........................................................................................................................................ 64 6) Retailers............................................................................................................................................. 64 7) Clubs ................................................................................................................................................... 64 8) Festivals ............................................................................................................................................. 64 9) Managers ............................................................................................................................................ 64 10) Bookers/Promoters ........................................................................................................................ 65 11) Specialized media (press, radio, TV)......................................................................................... 65

UK Export Handbook

3

Jazz 66 1) Situation of the music genre .......................................................................................................... 66 2) Majors ................................................................................................................................................. 66 3) Independent labels........................................................................................................................... 66 4) Publishers........................................................................................................................................... 68 5) Distributors ........................................................................................................................................ 69 6) Retailers............................................................................................................................................. 69 7) Clubs ................................................................................................................................................... 69 8) Festivals ............................................................................................................................................. 69 9) Managers ............................................................................................................................................ 70 10) Bookers/Promoters ........................................................................................................................ 70 11) Specialized media (press, radio, TV) .......................................................................................... 70

Reggae 71 1) Situation of the music genre .......................................................................................................... 71 2) Majors ................................................................................................................................................. 71 3) Independent labels ......................................................................................................................... 71 4) Publishers........................................................................................................................................... 72 5) Distributors ........................................................................................................................................ 73 6) Retailers............................................................................................................................................ 73 7) Clubs ................................................................................................................................................... 73 8) Festivals ............................................................................................................................................. 73 9) Managers ............................................................................................................................................ 74 10) Bookers/Promoters ........................................................................................................................ 74 11) Specialized media (press, radio, TV) .......................................................................................... 74

Metal 75 1) Situation of the music genre .......................................................................................................... 75 2) Majors ................................................................................................................................................. 75 3) Independent labels........................................................................................................................... 75 4) Publishers........................................................................................................................................... 76 5) Distributors ........................................................................................................................................ 76 6) Retailers............................................................................................................................................. 77 7) Clubs ................................................................................................................................................... 77 8) Festivals ............................................................................................................................................. 77 9) Managers ............................................................................................................................................ 77 10) Bookers/Promoters ........................................................................................................................ 77 11) Specialized media (press, radio, TV) .......................................................................................... 78

Folk/Celtic/Blues/Country 79 1) Situation of the music genre .......................................................................................................... 79 2) Majors ................................................................................................................................................. 79 3) Independent labels........................................................................................................................... 79 4) Distributors ........................................................................................................................................ 82 5) Retailers............................................................................................................................................. 82 6) Clubs ................................................................................................................................................... 82 7) Festivals ............................................................................................................................................. 83 8) Managers ............................................................................................................................................ 83 10) Bookers/Promoters ........................................................................................................................ 83 11) Specialized media (press, radio, TV)......................................................................................... 84

UK Export Handbook

4

World 85 1) Situation of the music genre .......................................................................................................... 85 2) Majors ................................................................................................................................................. 85 3) Independent labels........................................................................................................................... 85 4) Publishers........................................................................................................................................... 87 5) Distributors ........................................................................................................................................ 87 6) Retailers............................................................................................................................................. 88 7) Clubs ................................................................................................................................................... 88 8) Festivals ............................................................................................................................................. 88 9) Managers ............................................................................................................................................ 88 10) Bookers/Promoters ........................................................................................................................ 89 11) Specialized media (press, radio, TV) .......................................................................................... 89

UK Export Handbook

5

Introduction
This handbook is intended to provide music professionals with an overview of the current UK music market1. It is not an exhaustive guide on how to have hits in the UK. That would be an i os l ts a teeaen “ n s ef s l fr l o id e a yg aa te o sces mp si e ak s h r r o o e i i al omua r n e d n u rne s f u c s b z t ” in any territory. We also have to remember the diversity within the UK itself, which is in fact made up of different regional and national “ res e c w t ter w d n mi . Finally, mak t” ah i h i o n y a c 2 h s there is fact that the UK market is one of the fastest moving in the world. Although this provides opportunities for cutting edge artists and genres that may not exist to the same extent elsewhere, it also me n a y“ i rc e w ud b o to d t amota so a i w s a s n ht e i ” o l e u f ae l s s o n s t a s p written. Chapter 1 provides some background information on the country. Chapters 2 and 3 concentrate on setting out current market statistics and trends in terms of labels, distributors, retailers, publishers, media, trade fairs, sales certifications and trade organisations. Chapter 3 also includes a brief overview of selling records in the UK. Chapter 4 provides some detail on who does what in certain genres. Chapter 5 sets out the contact information for the music business in the UK including labels, distributors, publishers, radio, television, professional organisations.

I)

General information on the country
242 500 km² 58 789 194 49,561,800 5,054,800 2,918,700 1,696,600 London Cardiff Edinburgh Belfast $1775 billion 4, 7% 74, 9% 7 188 000 habitants 2 482 800 habitants 976 400 habitants 715 000 habitants 578 000 habitants 18.4%

Total area Total population English population Scottish population Welsh population Northern Irish population Capitals England Wales Scotland Northern Ireland GDP Unemployment rate Employment rate Main cities London Manchester Birmingham Leeds Glasgow Internet access 49% Expenditure on recreation and culture3

1

This guide is intended to be up to date to the end of 2003. It includes statistics for the complete year 2003, which were published during 2004. Thanks go to AIM, BPI, FMO, MMF, MPA, IFPI and IMPALA for providing information and statistics for this guide. 2 Just one example would be Scotland – ew udrcmme dra igteoev w o titr tr i teF O s 0 2 w o l eo n e dn h v ri n hs er oy n h M ’ 2 0 e i 2003 Report The British Music Market in Comparison with the French Music Industry. 3 As a proportion of total household expenditure. Includes spending on all recreational and cultural activities (i.e. inclduing TVs, computers, newspapers, books, leisure activities and holidays, for example). Office for National Sai i ’ e ot tt t s R p r Family Spending, a report on the 2002-2003 Expenditure and Food Survey. sc

UK Export Handbook

6

Geographical and historical overview
Great-Britain is a constitutional monarchy and has been a European Union member since 1973. The capital is London and the currency is the pound sterling (GBP). The United Kingdom consists of England, Scotland, Wales and Northern Ireland. Here are a few important events in the history of the UK over that last 50 years or so: 1948: The Irish Republic left the UK Commonwealth. 1952: Coronation of the current queen, Elizabeth II. 1972- United Kingdom became a part of the European Communities. 1979- 1990: M rae T ac e’ c nevt eg v rme t a i pae ag rt h th r o srai o en n w sn lc . s v 1985: A treaty was signed between United Kingdom and Irish Republic about Ulster. 1990: New Tory prime minister was elected – John Major. 1993: teE ’ M at c t ray a s n d despite a strong opposition. h Us a sr h t t w s i e i e g 1994: Channel Tunnel was opened. 1997: Labour party and Tony Blair won the election. 1997: Referendums approved creation of independent parliaments in Scotland and Wales in 2000.

Population
British population is quite young compared to other European countries and is still growing. In 2002, (last figures available), the number of British households reached 24, 4 million (50% growth in the last 40 years). The age division of population is as follows: o o o 0-15 year-old : 20% 16-64 year-old : 64% 65 and over : 16%

The average age is 38,2 years but British population is getting older because of low natality and mortality rates. For an economic point of view, the active British population counts more than 29 million people. The working market in Great Britain is characterized by a high-level activity (78, 7% at the end of March 2004), a high employment rate (74, 9% at the end of March 2004) and a low unemployment rate (4, 7% at the end of March 2004).

Leisure habits

In 2002 the General Household Survey4 collected data about adult participation in a range of selected leisure activities. The most popular of the selected activities was watching television (99%), followed by listening to the radio (88%). These participation rates have been constant since 1996. The proportion of adults who said they listened to records or tapes has increased steadily over the last 25 years from 62% in 1977 to 83% in 2002. The proportion of adults who read books was the same in 2002 as in 1996 (65%). In terms of adult participation in the arts, it was reported that: - 11% had sang or played a musical instrument; - 11% had danced; - 9% had painted, or drew or did printmaking or sculpture; - 4% had written stories, plays or poetry; - 3% had voluntarily helped with the running of an arts/cultural event or organisation; and - 2% had performed in a play, drama or rehearsed for a performance. There were differences in participation rates in the arts by age and sex. Men and women in the youngest age group (16 to 19) were the most likely to have performed in a play, painted or
4

Office for National Statistics, General household survey 2002.

UK Export Handbook

7

written stories, plays or poetry. Participation rates for performing in plays and painting decreased with age. Women were nearly twice as likely as men to have been dancing (14% compared with 8%). Women were more than twice as likely as men to have attended a leisure or recreational class (10% of women compared with 4% of men). In terms of expenditure, in 2002-2003, spending on recreation and culture represented the second outgoing. Households would on average pay out £56 every week on TVs, computers, newspapers, books, leisure activities and holidays.5 The percentage of total household expenditure on leisure goods and services would account to 18.4%.

Internet

In the first quarter of 2004, 49 %6 of households in the UK (12.1 million) could access the Internet from home, compared with just 13 % (3.2 million) in the same quarter of 1999. Internet use is becoming more and more popular. 56 % of adults in Great Britain had used the Internet in April 2004. The most common use among this group was e-mail (85 %). Half of all adults who had used the Internet in the three months prior to interview in April 2004 used it to order tickets, goods and services. Just over a quarter of adults in Great Britain (26 %) accessed the Internet everyday or almost everyday, while only 4 % accessed the Internet less than once a month. However, 39 % of adults had never used the Internet. Of these, 48 % stated that they did not want to use, or had no need for, or no interest, in the Internet; 38 % had no Internet connection; and 35 % felt they lacked knowledge or the confidence to use it. These adults were also asked which of four statements best described what they thought about using the Internet. 55% of non-users chose the statement 'I have not really considered using the Internet before and I am not likely to in the future'. This group of non-Internet users represented 22 % of all adults in Britain.

Broadband
15% of households with internet have a broadband access (but it is 98% in the cities and only 2% in retired areas). The number of households with broadband accesses is increasing. This is seen as the key to large scale take-up of digital services. Even though the British government policy has always been to restrain its intervention in the broadband market, this changed in 2000 w e asu y rm teO u c nut grv ae ta teU ’ lw se dp rn a i n h n td f o h v m o sln e e ld h t h Kso p n e ih bt t i a compared to other countries. To improve this situation, the government created a 44 million fund (UK Broadband Fund) for regional development.

Cultural policy

The Department for Culture, Media and Sport (DCMS) is responsible for Government policy on the arts, sport, the National Lottery, tourism, librairies, museums and galleries, broadcasting, film, the music industry, press freedom and regulation, licensing, gambling and the historic environment. DCMS sponsors the music industry acting as its advocate within Government. The Department works with a wide range of industry players and trade associations with the aim of identifying what can be done to improve the music industry's economic performance and to ensure that the industry's concerns are considered in broader Government policy making. Industry-government partnerships exist, such as the Music Export Group. This gathers various government departments such as DCMS, Department of Trade and Industry, the Foreign Office, the British Council and the trade associations. The Forum works on various export issues, including the possible creation of a U of e T eg v rme t e p r fc i t nb d , rd S f c . h o en n’ x ot ait i o y Ta e i s la o Partners UK (TPUK) together with the main record company trade associations, AIM and BPI

5

Total household spending in the UK averaged £406 per week in 2002-2 0 . f c fr ain l tt t s R p r 0 3 O f e o N t a Sai i ’ e ot i o sc Family Spending, a report on the 2002-2003 Expenditure and Food Survey. 6 Figures from the Office for National Statistics, study published June 29th 2004.

UK Export Handbook

8

have also appointed a music export promoter, Phil Patterson, to work with TPUK and the industry to help develop international business opportunities for the industry. Another example of such partnerships is the new Creative Industries Forum on Intellectual Property, a cross-government group, launched at the end of July 2004. these industries together contribute £54,8 billion to the UK economy. The Forum brings together government, non-government and representatives from the creative industry. It includes representatives from film, music, publishing, design, computer games, telecoms companies, hardware manufacturers and consumer groups. The Forum will attempt to determine how to approach the opportunities and threats that rapid technological developments are generating for the creative industries. Music industry professionals have, however, mixed views about how the UK government supports culture and cultural industries in practical terms. They are concerned that concrete support measures especially for creative industries and music are few and far between.

II) The Phonographic Market
1) Music market
- Global and national position The UK is the third largest market in the world for sales of recorded music, while the USA and Japan rank first and second. The UK represents 9,3% of world sales. In 2000, the UK music industry was estimated to be worth £3.624 billion with around 5000 singles and 20000 albums released each year and it was the source of 130 000 jobs. As a great source of repertoire, the UK is now second only to the USA. It is estimated that Britain may account for as much as 15% of the global music market.7 The UK industry is dominated by a number of large multinationals - Wan r ,E I U i r l B G a d Sn - but 90% of music business can be classified as re’ M, nv s , M n o y s ea micro, small and medium-sized enterprises. The industry's success is founded on the quality and diversity of talent the UK produces. Compared to most other international markets, the UK market performed extremely well in 2003. In terms of performance of national markets, the table below gives a useful snapshot:

Top 10 Markets Summary
Country US Japan UK France Germany Canada Australia Italy Spain Netherlands
Source: IFPI 2004

Retail Value ($US millions) 11,848 4,910 3,216 2,115 2,0.41 676 674 645 596 499

Retail Value % Change -6.0% -9.2% 0.1% -14.4% -17.9% -2.9% 5.9% -4.4% -9.4% -5.1%

Per Capita. Sales (units) 2.7 2.0 4.3 2.3 2.2 1.8 3.1 0.7 1.4 1.9

Per Capita. Sales ($US) 40.8 38.6 53.5 35.1 24.8 21.0 34.1 11.1 14.8 30.9

7

Figures from the Department for Culture, Media and Sport (DCMS), Creative Industries. 2004.

UK Export Handbook

9

The IFPI reports that the UK is one of the only music markets in the world where retail value increased in 2003 (+0.1%) and amounted to US$ 3,216 m. Retail spending on recorded music counts for £2,1 billion and British people rank second only to Norway in terms of money spent on music per head of the population. Total world sales of recorded music fell by 7.6% in value and by 6.6% in units compared with 2002. The global music market was worth US$ 32 billion in 2003. There was a decrease in global sales of CD albums by 8.9% whereas the singles market decreased to a level comparable to that of 10 years ago.8 However, there was an increase (+65,4%) in sales of music DVDs worldwide – from 64m units in 2002 to 106m in 2003 - and an overall growth of the value of music video by 45.6%.9 The global value of music video on DVD amounted to $US 1.9 billion in 2003. These changes in format exploitation are usefully explained in global terms by the following table:

Global Volume Change by Format 2003
80,00% 60,00% 40,00% 20,00% 0,00% -20,00% -40,00% -60,00%

Singles LPs MCs CDs -12,10%-14,30%-16,60% -6,20%

DVD 65,40%

VHS -41,80%

Source: IFPI 2004

The record industry in the UK demonstrated a strong overall performance in 2003. The BPI found that total industry revenue in 2003 was down slightly to £1.177 billion with the increasing competition from other sectors of the entertainment industry. However, the IFPI found that total value was up 4% in 2003, while income generated from album sales rose by 3,7% and for the first time in five years, CD single sales increased by 15,4% by volume and 8,1% by value.10 The issue of declining single sales was addressed by the record industry with, for example, a lowering of CD prices, especially. Simultaneously, the music DVD market has doubled its share in the UK and represented in 2003 a 4% share of the UK music market. Finally, download sales have reached 2 millions units in 2004. These positive figures follow a run of musical breakthroughs for the industry, with a new breed of UK talent scoring sales at home and abroad.11

8 9

IFPI, The Recording Industry in Numbers 2004 IFPI 2004 10 BPI Quarterly Market Review – August 23 2004. 11 For instance, UK artists such as Franz Ferdinand, Joss Stone and the Darkness.

UK Export Handbook

10

It is also useful to look at the strength of the UK repertoire, as this table demonstrates over the past few years:

UK Repertoire Origin 2003 (value)

1999 2000 2001 2002 2003 0%

49 53 52 49 47 50%

46 40 41 45 47

5 7 7 6 6 100% Domestic International Classical

Source: IFPI 2004

Although international repertoire has been constantly increasing on the UK market during the last years, British music still remains very present in its own country and around the world. Id e , n2 0 “o a”rp r i ac u tdfr 7 o s g at t ae (xldn c si n e d i 0 3 lcl e et r co ne o 4 % f i l r s sls e c ig l s oe ne i u a cal and compilations)12. UK artists account for 47.2% of singles, and 42.3% of albums, with American artists next on 34.6% and 45.4% respectively.13 This is the first year that US artists have overtaken UK artists in album sales in the UK. On the other hand a“ e Bis ivs n , n w r i n ai ” th o of overseas markets has been observed, particularly in the US with the success of artists such as Franz Ferdinand, Joss Stone and the Darkness in 2003. Music genres

Unlike in some countries, the UK music market appears to be a highly segmented market, with clear distinctions between genres. The following tables demonstrate album and single sales across different genres from 1994 to 2003 in terms of units, using the genres as measured by the BPI:

12 13

IFPI 2004 IFPI 2004

UK Export Handbook

11

Album Sales by genre 1994-2003 Units % down

100%
4,5 5 9,3 9,9 7 6,3 10,2 6,1 4 4,6 13,3 4,2 4,2 6 10,5 8,8 3,5 5,1 6,1 9,5 7,4 3,8 5,5 6,4 7,2 8,4

80%

7,2 11 5,7

Other World Folk Reggae Country Jazz Classical MOR Dance R&B Rock

8,5

60%
28,4 26,9 24,5 25,9 27,9 31 29,2

Hip Hop / R

40%

20%

33,5

34,7

36,9

32,4

31,6

30,3

31,2

Pop

0% 1994 1996 1998 2000 2001 2002 2003

Source: BPI 2004, based on Official UK Charts Company data

UK Export Handbook

12

Singles sales by genre 1994-2003 Units % down

100%
5,8 24,2

4,8

8,8

10

11,1

80%

28 22,2

27

20

15,4

15,3

7,6 18,1 12,7 12 15,6 13,7 11,3 13,4 15,9

60%

Others Reggae Hip-Hop

13,4

19,8 18,6

12,7

17,1

Dance R&B Rock Pop

40%

51,8

20%

33,5

36,2

41

39,7

42,5

38,3

0%
1994 1996 1998 2000 2001 2002 2003

Source: BPI 2004, based on Official UK Charts Company data

In 2003, after a dominance of Rock in 2002, Pop returned to take the majority share (31, 2%) and accounted for 22 of the 40 best-selling albums. In the singles market, Pop also returned to d miaine e to g RnBrd c dP ps h r i tif l. o nt o v n h u h ’’ e u e o ’ sae n hs i d14 e With 29.2% in 2003 for albums, Rock was down by 1,8% although there were breakthrough successes sc a T eD rn s a dEa ec n e RnB asr di efnb t tes ge a d u h s h ak es n vn se c . ’’, set t li oh h i ls n e s n albums markets in 2003. High profile releases from stars such as Beyonce and R Kelly saw the genre take an improved share of 8,4% in albums (up 1%) and 15,9% in singles (an increase of o e 8 ) HpH pssaeas i rv di b t mak t (.%fr lu slsa d1 .%fr v r %. i o ’ h r l mpo e n oh res 55 o ab m ae n 11 o o single sales), thanks principally to the outstanding year enjoyed by Black Eyes Peas and 50 Cent. Dance saw its sales drop to 7,2%. Reggae, however, grew thanks to artists such as Sean Paul and several successful compilations. MOR/Easy listening increased its albums share to 6,4% in 2003 thanks to artists such as Rod Stewart or Eva Cassidy. As for Jazz, Norah Jones again had the best-selling album. Shania Twain did the same for Country music.

14

And it seems that 2004 is likely to follow this trend, according to the quarterly BPI report from August 23, 2004.

UK Export Handbook

13

- Music buyers Market penetration (the proportion of population making one or more purchases per year) decreased again in 2003 in the single market. The 12-19 age group, crucial for the industry, was particularly involved in the drop, with only a quarter of those in the group buying one single in 2003, against half of them in 1999. With other groups the fall was less severe, but still constant.

Market Penetration. Singles 2002-2003
Total Gender Men Women Age group 12-19 20-29 30-39 40-49 50-59 60+
Source: BPI 2004

Penetration % 2002 2003 15.8 9.5

Average spend per buyer per year 2002 2003 £13.30 £12.34

13.4 18.2

7.9 11.3

£14.76 £12.19

£14.66 £10.45

37.6 17.5 15.0 16.8 7.5 5.1

21.9 11.7 12.1 8.6 3.9 2.4

£16.15 £18.73 £12.15 £9.84 £9.60 £8.28

£11.87 £16.62 £10.12 £12.59 £12.10 £8.86

Market Penetration. Albums 2002-2003
Total Gender Men Women Age group 12-19 20-29 30-39 40-49 50-59 60+
Source: BPI 2004

Penetration % 2002 2003 57.4 54.8

Average spend per buyer per year 2002 2003 £73.25 £73.96

58.2 57.6

55.0 55.6

£84.89 £60.17

£86.98 £59.79

65.5 62.3 61.0 62.5 52.3 42.2

60.5 57.2 60.9 59.8 50.4 41.3

£87.12 £92.23 £68.56 £73.90 £69.83 £48.93

£86.78 £88.42 £70.57 £72.27 £69.10 £57.74

The album market is traditionally less affected by the decrease of people spending. However, 2003 also appeared to be a tough financial year for albums as 2003 penetration fell to 54.8%, against 57.4% in 2002, and this across every age group: On the other hand, as this table shows, the average spend per buyer offers quite different figures. First there is a general increase in spend in all groups over 40 years old. Also, average spend increased generally from 2002 and reached £73.96 for albums per buyer. They also

UK Export Handbook

14

increased their number of units – albums and 3.8 singles on average, against 6.9 albums and 7.3 3.8 singles in 2002. These figures suggest that although British bought less music in 2003 overall, those that did bought more and spent more. As mentioned above, British people rank second only to Norway in terms of money spent on music per head of the population. - New music formats – Internet, mobile, DVD New technologies offer more and more possibilities for music to grow. Broadband internet is expanding in the majority of households in Great Britain and new digital distribution operators are joining existing UK companies in the territory. Several name brands are also joining the digital music market. Mobile revenues have also increased significantly. - Internet With approximately half of all homes in the UK now having a personal computer, the Internet has seen exponential growth never witnessed before in a marketing and sales medium. Such a success offer labels in the UK as elsewhere, a significant opportunity to reach millions of people worldwide and to develop important one-to-one relationships with potential customers. However illegal downloading is also an issue in the UK, as it is elsewhere. At the beginning of 2004, digital had become the second biggest selling music format in the UK singles market after CD sales. The number of legal downloads sold in the UK in 2004 has exceeded two millions units. Simultaneously, around one billion tracks are downloaded illegally per year in the UK.15 Research undertaken in the UK demonstrated the following profile of downloaders:

Profile of music downloaders
60,00% 50,00% 40,00%
40,10 59,90

30,00% 20,00%
19,00

21,40 21,50 13,30

Men Women 12 to 14 15 to 19 20 to 24 25 to 34 35 to 44 45 to 54 ›5 5

10,00%
10,40 8,90

5,80

0,00% Music Downloaders
Source: BPI 2004

15

IFPI 2004 ; BPI 2004

UK Export Handbook

15

As the table (above) indicates, people aged under 20 only represent 29% of the total share of music downloaders while those aged between 25 and 44 years old currently account for nearly 43%. However, the table below shows that downloaders aged under 25 download more tracks than those aged 25+, which could indicate that music downloading will grow in later years.

Number of tracks downloaded end 2003

100% 80% 60% 40% 20% 0%

24% 10% 21% 23% 14% 9%

38% 17% 21% 11% 7% 7%

1-3, 4-5, 6-10, 11-20, 21-50, 50+,

Downloader aged under 25

Downloader aged 25+

Source: BPI 2004

- Mobile Music-to-mobile delivery now provides new and innovative offerings for consumers. It also offers new business opportunities to manufacturers and network operators. The ringtones market has already reached $US 3.5 billion worldwide in 2003, and the market potential of this system is constantly increasing as the penetration of mobile phones in Europe is higher than internet connections (except in the Netherlands). Over the next few years, mobile networks and devices will become a key distribution platform for music. So far, mobile operators and music companies have developed promotional partnerships allowing mobile subscribers to stream and sample new music as well as offering personalized artist-related material via the handset. In the latter part of 2003, mobile operators, record companies and music-related companies (such as MTV) formed a number of partnerships that lead to a wave of new services. Technological improvements mean that mobile phones are increasingly able to receive and send more and better quality media content. There is also the development of wireless DRM e a l g dsr uin o c ne t a rs mo i o eao’ n t ok w it poe t g n bi n i it tb o f o tn cos bl p rtr e s ew rs hl s rtci n copyrighted content. Revenues from ringtones in 2003 were 1,390 millions euros but are forecasted to grow to 1,880 millions euros and to 2,400 millions euros in 2005. 16 DVD: While the record industry worldwide is currently suffering sales loss, the growth in sales of DVD has been impressive, as mentioned above. 145m units were sold last year in the UK compared to 92m in 2002, when it overtook VHS for the first time. The format now accounts for 4% of the music market, compared with 1.9% a year ago. The boost in sales of the format can be explained by a number of important market drivers: the growing number of music titles issued on DVD and rising household penetration of appropriate equipment. Retailers are increasingly offering more space and improved merchandising to the
16

BPI 2004

UK Export Handbook

16

format. On the other hand, this phenomenal growth has been offset by the fall in VHS sales. Volumes have fallen by more than 20% and stood in 2003 at 63.2% of total video sales, while music VHS sales stood at 79.3% the previous year.

Total video sales 1999-2003 Millions
Units VHS% DVD% 92.0 4.0 97.0 16.6 93.5 41.3 79.3 89.9 63.2 145.0 Total 96.0 113.6 134.8 169.2 208.2 Retail Value VHS DVD £892 £68 £936 £264 £893 £646 £745 £1,305 £537 £1,884 Total £960 £1,200 £1,539 £2,050 £2,421

1999 2000 2001 2002 2003

Source: BVA

T ega hb lw so s h U rti r mak t h r fr V s D si a o ealn raei h rp eo h w te K eal s re sae o D D. ept n v rlice s n e’ e the market, it is in fact only the internet retailers and supermarkets which have increased their market share with respectively 11.7% and 21.5% of the market in terms of units. The specialists and the multiple stores have in fact lost market share.

Retailers Market Share. DVD
100%
10,1 6,6 5,7 16,3 11,7 4,1 21,5 22,2 16,4 24,2 7,1 10,5 6,8 21,7 22,1 5,8 13,2 5 4,8

Others Internet Mail Order Supermarkets Multiples Music/Video Specialists incl. Indies

80% 60%
23,9

40% 20% 0% 2002 % Units
37,3

33,4

36,4

33,2

2003

2002

2003

% Value

Suc : N ‘u i Vsa Tak uv y o re T S A do i l rc S re ’ u

- Piracy Commercial piracy is a concern in the UK. Although IFPI puts the figure at below 10% of the market17, losses are estimated to be £56.1m from the sale of counterfeit CDs alone18. The volume increase is estimated to be 22% compared to 200219.
17 18

IFPI 2004 BPI 2004

UK Export Handbook

17

The use of recordable CDs (CD-R) has exploded as a result of commercial piracy practices and private CD burning. Figures show growing CD-R sales in the UK in recent years. Figures below show that, in 2003, out of a total of 364m CD-Rs sold, 57% of them were used for audio recordings, the majority being unauthorized copies.
UK Blank Media Sales
400 350 300 250 200 150 100 50 0 2000 2001 2002 2003 93 133 251 208 176 316 334 364 Total CD-R/RW media sales (units m) Total CD-R/RW media sales used for home recording (units m)

Source: U&S 2) Record Companies
Trading in 2003 was a tough business for UK record companies with the increasing pressure on margins and growing competition from other sectors of the entertainment industry. 2003 was, nonetheless another strong year for the majors as the tables below demonstrate:

UK Record company market share. Singles 2000-2003 % units

100% 80% 60% 40% 20%
20,5 34,5 2,3 11,7 11,6 10,7 8,7 26,6 27 27,9 25,8 5,2 8,9 12,1 11,4 10 19,2 18,1 19,5 3,7 7,3 11,8 11,5 9,4 11,1 11,1 19,2 3,2

Others Ministry of Sound Warner Sony EMI BMG Universal

0% 2000
Source: BPI 2004

2001

2002

2003

19

BPI 2004

UK Export Handbook

18

UK Record company market share. Albums 2000-2003 % units

100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

28,8 1,5 11,3 8,1 12 14,4 23,9

27 2,4 12 7,2 12,1 13,2 26

19,2 2,3 11,2 9 11,2 21

17,5 2,5 11,4 11,9 12,8 18,5 25,4

26,1

Others Demon Sony BMG Warner Music EMI Universal

2000
Source: BPI 2004

2001

2002

2003

U i r l sces nb t tes ge a dab ms re – nv s ’ u c s i oh h i ls n lu mak t highest market share for the fifth e as n consecutive year –relies on its mixture of local and international artists, with 27.9% market share for singles and 25.4% albums.20 In the UK album market, EMI came second with 18.5% as half of the top ten albums sold were from EMI and also. It came third in the singles market with 11.1%. This was partly due to major British artists, such as Robbie Williams or Coldplay. With 18.1% and 11.9% for the singles and albums markets, BMG comes right after with such artists as Pink and Westlife (a boy band very popular in the UK). It is a similar situation for singles sales where EMI has all the biggest sales. In the UK, the independents have 20% of the market for albums and 22.4% for singles21. IFPI puts the independents overall share in the UK at 19.7%. Across the world, the market share amongst of the majors and the independents in 2003 is set out in this table:

2003 Territory Market Share
North America Europe Latin America Asia Australasia South Africa World
Source: IFPI 2004

BMG 15,5 12,5 12,2 7,2 11,7 11,8 11,9

EMI 10,5 17,3 12,1 14,4 18,4 21,2 13,4

Sony 12,1 12,1 19,6 13 16,9 13,1 13,2

Universal 27,9 25,6 14,7 15,3 20,3 19,9 23,5

Warner 15,8 13 15,4 12,2 15,1 0 12,7

Indies 18,2 19,4 26 37,9 17,5 34 25,3

At European level, the independents had 19.4%22.T eid p n e t’mui mak tsaea h n e e d ns s c re h r t global level was 25.3%. Universal, the absolute leader on US, European and UK markets had respectively 27.9%, 25.6% and 27.9% of market share, but ranks second on a global scale with
20 21

Such as Daniel Bedingfield, Busted, Elton John, 50 Cent, etc. BPI 2004 22 IFPI 2004

UK Export Handbook

19

23.5%. However, the independents are increasingly losing market shares all over the world such as in Australasia and Asia and also in Latin America, which was already dominated by majors.23 In the UK, the independent sector is strong collectively with 20.6% of the total market share, but is also very fragmented, with only 5 independent labels registering 1% or more in terms of album market share (units) in 2003.24 The following tables give the market share of the most successful independents in the UK both for albums and singles.

Indies market share in the UK. Albums 2000-2003 % units
2000 Demon Ministry Of Sound Sanctuary Telstar Beggars Group V2 HNH Union Square Hot Chrysalis Group Disky Communications Jazz FM Roadrunner Weton Wesgram Epitaph Delta Wall Of Sound Eagle Rock Prism Leisure Beechwood Music Snapper Music PIAS Pickwick Rosette Rykodisc Death Row Ace Dramatico React Ninja Tune Zomba Virgin
Source: BPI 2004

2001 2.4 2.1 1.3 1.2 0.6 1.0 0.6 0.2 0.4 0.4 0.2 0.3 0.1 0.2 0.1 0.2 0.1 0.1 1.8 6.6

2002 2.3 2.2 1.6 1.3 0.7 1.0 0.6 0.2 0.5 0.2 0.2 0.4 0.1 0.2 0.1 0.2 0.3 0.1 0.1 0.1 1.2 -

2003 2.5 2.4 1.7 1.2 1.0 0.9 0.6 0.4 0.3 0.3 0.2 0.2 0.2 0.2 0.2 0.2 0.2 0.2 0.1 0.1 0.1 0.1 0.1 0.1 0.1 0.1 0.1 0.1 0.1 0.1 -

1.5 1.5 1.0 2.3 0.5 0.6 0.8 0.3 0.1 0.2 0.1 0.2 0.1 0.4 0.1 0.1 0.1 2.2 7.3

23

Note that in Japan, for instance, independent labels stand out for more than half of the market and, even though they have lost great market shares in Asia, they still represent 37.9% on the whole continent. 24 BPI 2004

UK Export Handbook

20

Indies market share in the UK. Singles 2000-2003 % units
Zomba Ministry Of Sound Sanctuary Telstar V2 Music Beggars Group Chrysalis Group All Around The World Southern Fried Better The Devil Edel Media Simply Vinyl Music Factory Concept Instant Karma Defected Positive Dramatico Roadrunner Full Cycle Underwater Zomba Virgin
Source: BPI 2004

2000 5.5 2.3 3.2 0.4 1.0 0.7 0.2 1.5 0.2 0.2 0.2 0.2 5.5 7.2

2001 2.9 5.2 0.1 1.7 1.3 0.7 0.7 0.3 0.5 0.4 0.2 2.9 8.0

2002 3.2 3.7 0.1 1.6 2.0 0.6 0.2 1.3 1.2 0.4 0.2 0.1 0.8 0.1 3.2 -

2003 3.2 2.8 2.6 1.4 1.3 0.4 1.1 0.7 0.6 0.6 0.3 0.3 0.3 0.3 0.3 0.3 0.2 0.2 0.1 0.1 0.1 -

The independents are made up of micro, small and medium sized enterprises and constitute 90% of the UK music business. They face different problems that impede their growing. These include difficulties in accessing funds for development, the standardization of radio play lists and problems securing suitable distribution in order to facilitate access to the retail market.25 The trade association AIM which represents independent UK record companies has been instrumental in trying to get these issues addressed. Sony and BMG are merging in the UK as elsewhere internationally. The independents are appealing the EU approval of the merger because of the impact ot will have on market access for competitors. More information: on specific record companies may be available from AIM and the BPI, two trade associations in the UK for the recording sector (see more below under Trade Organisations).

3.Distribution and retail
Overview to selling records in the UK

25

National Music Council, Counting the Notes, the economic contribution of the UK music business, November 2002.

UK Export Handbook

21

Before we provide the statistics and information on the current trends in distribution and retail in the UK, it may be useful to give an overview on selling records in the UK. Obviously much will depend on the genre, artist, label, ambitions etc but there are a few general points that should be borne in mind.26 The UK is one of the largest and most vibrant markets which offers opportunities at many different levels in many different genres. A release in the UK can be important for international credibility of the artist. However, it is also one of the most difficult markets to master. Competition is fierce and a race to the charts is rarely avoidable except in very specialist genres. This is particularly the case for singles where the charts are very fast, being c mpeeyslsb sda dw t mak t ga dpi n fc s go ak do “ p nn w e ” o ltl ae ae n i h rei n r ig o ui n i f o e ig e k n c n n effect. One option is to license a record or an artist to a label in the UK. Where a record is not licensed to a label in the UK, hiring a distributor or some other means of getting the records into the retail outlets (limited options without a distributor) will be the key, together with a good marketing plan which targets the specialized press, radio, TV, and retailers. Touring is also likely to be an issue for artists. Distributors will get the records into the shops and advise on chart rules, manufacturing etc. Some may take on the role of manufacturing and marketing as well. Marketing is vital. For example, most singles are accompanies by pre-release campaigns of around 6 weeks which allow radio to build support, followed by a specific marketing campaign once the record is in the shops. In fact most distributors will want to see some kind of track record and a marketing plan before they even consider taking on an artist or a label. All this will cost. Again this will vary according to overall aims as well as the sector/genre and whether there are very good alternative marketing options available such as through the internet. Obtaining the assistance of an independent press and promotions company and an experienced radio plugger is also likely to be essential. This may be necessary to create sufficient press and media interest to pick up distribution in the first place. Terms with distributors, labels, publishers, promoters, agents vary enormously according to the type of deal negotiated. The overseas record label, artists, publishers and writers should be properly represented in the UK in respect of collecting income from performance on radio, TV etc. The most important step is first of all to understand the particular market and learn who does what in the relevant niche and genre. The information set out below in the Genre Chapters and Practical Guide will be a useful place to start but the music market in the UK is constantly evolving and it will be essential to check at any one time who are the taste makers and drivers for the task in hand. Distribution, import, wholesale

Distribution in the UK is carried out by specialist companies. The majors and the independents have successful distribution businesses. Many labels specialising in particular genres have distribution arms to take care of distribution on behalf of other labels in the genre. The sector also includessc n ay “p c l e ” dsr uosa d w oeaes Sme a ta e c s e e o d r se i i d i i tr n h lslr. o az tb c s xl i uv supply channels for particular large retailers or as sellers to non-traditional retail outlets, such as Entertainment UK and Total Home Entertainment. Many distributors also import, export and wholsale, especially in their particular genres.

26

Although intended to be a comparison between the French and UK music markets, the 2002-2003 report by the French Music Bureau, The British Music Market in Comparison with the French Music Industry, contains useful information on the UK market and options for marketing.

UK Export Handbook

22

In 2003, the major distributors, TEN, Universal, EMI and BMG, represented 82% of the distribution market for albums. Next to the majors, independents companies such as Pinnacle and Vital had respectively 5.5% and 3.2% of the album market and 7.9% and 5.9% of the single market. In the UK, the overall picture in terms of distribution is set out in these tables:

Distributor market share. Singles 20012003 % units
Universal TEN BMG EMI Pinnacle Vital THE Others
Source: BPI 2004

2001 26.7 26.6 11.6 19.2 5.9 4.0 6.0

2002 28.0 22.8 20.8 11.2 5.0 3.6 8.6

2003 28.6 21.8 17.2 10.7 7.9 5.9 7.9

Distributor market share. Albums 2001-2003 % units
TEN Universal EMI BMG Pinnacle Vital THE Others
Source: BPI 2004

2001 26.3 25.5 20.7 9.2 5.1 2.7 10.5

2002 24.6 25.3 21.6 11.0 4.6 2.8 10.1

2003 25.4 25.2 19.2 12.1 5.5 3.2 9.4

-

Retail

There are 5600 stores selling music in the UK, from small independent specialist shops to specialis c an sc a H Va dVri, og n rl h is u ha Wo l ot’ WHS t w o t h is u h s M n i n t e ea c an sc s ow r s g h, mi h h not only sell records but also books, etc through to supermarkets. The table below shows the trend of retail by album sales in the UK over the last ten years by retailer type:

Total album sales by type of retailer 1994-2003 % down
100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 1994
Source: BPI 2004
34,5 49,3 48 50,2 49,4 44,8 36,5 20,7 0 14,2 0

11,3 14,1

13,6 12,4 23,8

17,7 12,1 20,8

20 12,7 20,3

23,9

11,8 22

26,7

Supermarkets Independents General Multiples Specialist Multiples

46,9 42,2

1996

1998

2000

2001

2002

2003

UK Export Handbook

23

The tables below set out the market shares in the retail sector in 2003 for albums and singles:

Individual retailer market share. Albums 2003 %
% of Expenditure Music Specialist HMV Virgin Megastores MVC Virgin Xpress Sanity Other Supermarkets Tesco Asda Sainsbury Safeway Other Chains/Multiples Woolworths WH Smith Other Internet Mail Order & Clubs Other Outlets
Source: BPI 2004

% of units 45,5 19,4 8,2 3,2 2,1 1,7 10,8 21,9 9,1 7 3 1 1,7 14,9 10,5 4,3 0,2 8 4,3 5,5

47 20,9 9 3,4 2,2 1,8 9,6 21,6 9,2 7 2,9 1,1 1,3 16 11,2 4,7 0,2 7,5 3,9 3,9

Individual retailer market share. Singles 2003 %
% of expenditure Music Specialist HMV Virgin Megastores Virgin Xpress Other Specialists Chains/Multiples Woolworths WH Smith Supermarkets Asda Tesco Sainsbury Safeway Morrisons Internet Mail Order & Clubs Britania Other Mail Order Other Outlets
Source: BPI 2004

% of units 45.4 18.7 12.6 3.6 10.5 37.2 30.3 6.9 13.7 10.5 2.6 0.3 0.2 0.1 1.8 0.6 0.2 0.5 1.3

45.2 19.0 13.1 3.4 9.6 36.7 29.5 7.3 13.9 10.2 2.9 0.6 0.2 0.1 2.0 0.8 0.1 0.7 1.3

UK Export Handbook

24

Specialist music retailers: For several years, there has been a decline of traditional music retailers in the UK (from small record stores to specialist retail chains). They offer clear advantages such as expertise, customer service, specific genre collections, and exceptional product knowledge. Specialist retail chains such as HMV and Virgin Megastores have strong advertising and promotional capabilities, strong brand name image and an excellent position to build strong allegiances with distributors. Independent retailers and music specialist stores are still the market leaders with nearly 50% of the market in both singles and albums. However, they have also witnessed losses in sales due to higher unit costs relative to new competitors such as internet retailers and supermarkets. There is also evidence that the lag time between radio/music television and public release dates may be a contributory factor to downloading as consumers who wish to obtain the music as quickly as possible, turn to illegal sources rather than wait till official release date1. D si lse, s se ilt c an h v 4 %o teab m mak t n terms of expenditure ept oss mui p c i ’ h is ae 7 f h lu e c as s re i and 45.5% in terms of sales for albums. For singles they represent 45.2% in terms of expenditure and 45.4% in terms of units. HMV retained its dominant position on the specialist retailers market with 20.9% market share for albums and 19% for singles. In fact HMV is the biggest retailer of albums in the UK across the different retail types. 2003 was the hardest year for independent retailers with 11,8% of albums sales and 8.1% of singles sales. The whole retail sector was also mar db tea mii rt no A d ’ R c rs r y h d ns ai f n ys e od e t o o eo teU ’ ln et sa lh did p n e t ealr teb n rpc o Tower Records, a n f h Ks o g s etbi e n e e d n rti s h a ku ty f s e, UK music megastore and also the announcement by Australian retailer Sanity that it was pulling out of the UK market. On the other hand both Music Zone and Fopp expanded in 2003. General chains and the multiples: Store such as Woolworths and WH Smith are the second most popular places where people purchase music. Within the retail sector, Woolworths has the largest proportion of sales for singles with 800 stores and around 29.5% share of expenditure. It remains extremely difficult to have a hit single in the UK without the support of Wo l ot’ Wo l ots l h s 12 saeo ab ms x e dtr, h sc n hg et fter ow r s h . ow r as a 1 .% h r f lu e p n i e te e o d i s a h o u h HMV. Supermarkets: As at global level, the trend towards non-specialist retailing can also be observed in the UK. The supermarket sector witnessed the largest growth in 2003. Unit sales for supermarkets increased in 2003 by almost 5%. The sectors in the UK now enjoys 21.6% market share for albums in 2003 in terms of expenditure (21.9% units) and 13.9% for singles (13.7% units).2 The main supermarkets are Asda and Tesco. Supermarkets usually attract more buyers aged over 30. Marketing opportunities more akin to the specialists are now being offered by supermarkets, such listening posts and live performances. On-line distribution: 2003 also saw the continued rise of Internet retailers, from a share of 6.8% of unit sales in 2002 to 7.5% in 2003 for albums (singles are 2.0% for expenditure)3. The UK online music market is as developed as it is in the US but, along with the increasing growth of supermarkets in this sector, the rise of music sales over the internet has been spectacular. For example, the UKsmao dg a dsr uin c mp n ’ jr i tl i i t i t b o o a yand one of the first actors of the online music market in Europe, declared in April 2004 that its sales have
1

J n i r ’a e T eTd IHg B t h yr H ligO : r Ta i o a M s R ti r i teU Al se U ? e nf O K n , h ie s i u T e ’ odn n Ae rdt n l ui eal sn h K lWah d p e h e i c e University of Westminster, May 2004 2 TNS data 3 BPI 2004

UK Export Handbook

25

constantly increased, along with its retail partners including MSN Music Club, HMV Virgin Downloads, Coca Cola, etc.4 Traditional retailers have, however, been slow in setting up Internet operations. In terms of dg a d l ey sri s te mak t h s b e ld b U itre “tr p” sc a i tl ei r ev e, h i v c re a e n e y K nen t sat s u h s -u Recordstore, OD2, Playlouder and Wippit. However, 2003 saw more investment by traditional retailers as well as the arrival of Apple, whose iTunes Music Store is clearly dominating the market with a 75% share of the online download market worldwide.5 2004 should also be a turning point for the industry as US-based services are expected to launch in the UK, such as Napster, Sony, MusicNet, etc. More and more business deals are being made between labels and distributors such as Wippit which has recently signed a label licensing agreement with BMG, to add to its existing distribution agreement with EMI and also independent labels, for its new pay per download website. A dt n l t “tn ad mui d w la ig mo i mui h sas tre it rai w t d io al o sa d r” s o no dn , bl i y c e s a l un d no e ly i c o t h O 2slu c o i d w la t mo i sri i 2 0 ,alw n mobile users to download D ’ a n h f t o no d o bl ev e n 0 3 l ig s e c o music and transfer files to a player device manufactured by Siemens. There have been further announcements by broadband providers, such as Earthlink, of partnerships with online music services to offer packages to subscribers. Coca Cola has launched a service like that on an OD2 platform called mycokemusic.com in the world. T-Mobile also intends to offer ringback tones to UK consumers which cannot be transferred to other devices. The ringtone market has been generating revenues for labels and music publishers, and is a mainstream part of the music business. Mail order: Buying music by-mail order and clubs is not a particularly popular way of buying music in the UK but nonetheless this accounts for 3.9% in expenditure and 4.3% in units6. The sector is dominated by its biggest operator Britannia, which has 2.2% of the total UK retail sector for albums in terms of expenditure and 2.3% in terms of units. Retail prices: In 2003, the average price paid by UK consumers for a single was £3.22 and £10.20 for an album:

Average prices paid for singles by type of retailers 1999-2003
Total Music Specialists Chains/Multiples Supermarkets Other outlets
Source: BPI 2004

1999 £3.14 £3.17 £3.03 £3.05 £2.55

2000 £3.20 £3.26 £3.18 £2.73 £3.03

2001 £3.33 £3.39 £3.21 £3.38 £4.00

2002 £3.51 £3.51 £3.49 £3.39 £4.72

2003 £3.22 £3.20 £3.18 £3.28 £3.18

Average prices paid for albums by type of retailer 1999-2003
Total Music Specialists Chains/Multiples Supermarkets Mail order & Club Internet Other outlets
Source: BPI 2004
4 5

1999 £ 11.39 £11.83 £11.33 £11.84 £11.02 £10.81 £8.28

2000 £10.98 £11.46 £11.30 £10.54 £10.52 £10.38 £7.08

2001 £10.77 £11.20 £10.99 £10.81 £9.55 £10.04 £7.86

2002 £10.60 £10.99 £11.16 £10.67 £9.62 £9.89 £6.75

2003 £10.20 £10.55 £10.98 £10.04 £9.36 £9.64 £7.27

OD2 had 380,000 registered users by the end of 2003 and 450,000 in 2004. 2004 Report from Digital Tech Consulting (DTC) BPI 2004

6

UK Export Handbook

26

The average price of albums have clearly decreased in the last years, from £11.39 in 1999 for an album to £10.20 in 2003. Over 54% of albums sold were under £10 in 2003. Again the prices fell across virtually all types of retailers in the UK, which is the fourth consecutive fall in a five year period. More information: on specific retailers may be available from BARD, the trade association in the UK for the retail sector (see more below under Trade Organisations)

4. Publishing
Within the music sector, the music publishing industry is one of the few that has lately experienced a real growth in revenues. The main sources of income for music publishers are broadcast and live performance (performing rights), sales of sound carriers (mechanical rights), synchronisation fees, Grand Right fees, hire fees and printed music sales. The table and graph below show rights income earned by a consistent and representative group of UK music publishers, over 4 years, together with the UK/overseas splits and annual percentage changes.1 £000s Total rights income of which: UK Overseas 1999 365,249 188,846 176,403 2000 377,891 198,268 179,623 % change 3.5% 5.0% 1.8% 2001 390,582 211,591 178,991 % change 3.4% 6.7% -0.4% 2002 419,572 223,082 196,490 % change 7.4% 5.4% 9.8%

UK & Overseas £000s
250,000

RIGHTS INCOME 1999-2002

Total £000s
450,000 400,000

200,000

350,000 300,000

150,000 250,000 200,000 100,000 150,000 50,000 100,000 50,000 0
UK Overseas Total rights income

1999 188,846 176,403 365,249

2000 198,268 179,623 377,891

2001 211,591 178,991 390,582

2002 223,082 196,490 419,572

0

1

Music Publishers Association, Annual Survey of Rights Income 1999-2002

UK Export Handbook

27

I 2 0 teM Asre go ps oa r hsn o , eoep y ns oc mp sr w i r (u n 0 2 h P uv y ru ’ ttli t ic me b fr ame t t o oes r es b t g / t see below), was split as follows: mechanical rights 55%; performing rights 23% (note that in the case of performing rights deductions for composers/writers are made by the collecting society prior to any payments being made to publishers – the sum received by an individual publisher may be subject to a further publisher/composer split according to the terms of individual publishing agreements); synchronisation fees 11%: Grand Rights 7%; hire fees 2%: and other rights income 2%. A separate MPA survey of printed music publishers has revealed that income deriving from the sale of printed music has also grown from £40.6millon in 1999 to £45million in 2002. More information: the MPA also publishes a list of members with details on their activities and genres in which they specialize.

5. Media
Press

The British music press is huge, especially the youth market. In addition to specialist music titles, UK generalists magazines and newspapers usually also cover the music sector, especially new album and single releases, and music celebrities. The following table gives an overview of the main specialist music press:

Music Press 2002-2003 Average circulation per issue

300 250 200 150 100 50 0
oj o try nc ut M E ra ng ! H H H in is Po It' s ix M M U N ag ps its ot Q its

2002 2003

TV

Ke r

as h

e

M

th

Source: BPI 2004

The magazines who sell the most are those for teenage and pop music. The Top of the Pops magazine is the most successful a weekly publication and an average circulation of 230,493 per

To

p

Sm

of

M

28

issue in 2003. Others include I s o, monthly publication with 116,515 and Smash Hits with t H ta ’ 114,383. The main titles are generally published monthly. First comes Q with a circulation in 2003 of 161,634 per issue then come Uncut and Mojo with respectively 111,167 and 104,437. Considering specialized magazines, five different categories exist. Each genre has its magazines. For example, the principal magazines for Dance music are MixMag with a 50,182 sold monthly and then Ministry with 65,030 also monthly. Urban and Specialist music have less choice of magazines and lower circulation. However, Blues and Soul is one of the references. The same scenario is applicable to World Music. The two principals are Songlines and Frootsmag. Music Week is the weekly professional press publication, providing the industry with access to news, play lists and chart information, including airplay and specialist club charts. Music Week also produces comprehensive guides to the UK and international markets and has a very complete website where only subscribers have access. There are also on-line services such as: Five Eight which publishes a daily e-mail with Music Business Today service linking to music business stories from various sources, and a monthly music business magazine. Record of the Day. A Daily newsletter with links to news articles in the UK press, covers artist a db s es e s Ic d s e iw o a dsmpeo amui t c ta i leal te“e od n ui s n w .n l e rv n u e fn a l f s r k h t s i rl h rc r c a t y o ted y. f h a” CMU which daily publishes a daily e-newsletter on with music and business news. MusicAlly: Subscription only music business news service with bi-monthly reports, weekly updates news flash service. Radio

This sector can now be considered as very dynamic with a turnaround in the radio advertising market, the development of digital radio and the enactment of the 2003 Communications Bill providing some relaxation on radio ownership rules. With at least 260 stations, local commercial radio commands nearly 47% of the national weekly share of total listening, and only 4 groups –GWR/EMAP/Capital/Chrysalis –dominate this figure. Playlists are increasingly standardised. This situation makes it increasingly difficult to break new artists. This was identified as one of the reasons independents in the UK face growth problems2. Ultimately, this means that record companies have to deliver a very compelling plot before radio - or TV – will consider playlisting. Pirate radio can be quite influential in launching musical trends and new acts. UK professionals are currently lobbying in favor of more British music and more diversity on commercial and public radio.

2

National Music Council, Counting the Notes.

29

The table below sets out a snapshot of radio listening for the third quarter in 2003:

Summary of Radio Listening – Quarter 3, 2004 – National Stations UK
Reach 000 Quarter 3, 2004 32514 28643 10042 13060 9422 9928 31038 12752 6145 2910 2182 2598 25719 Share % Q 3, 2003 51,8 40,9 8,0 15,0 11,3 10,9 46,2 9,5 4,5 1,5 1,7 37,3 2,0 Share Q 3 %, 2004 54,4 43,5 8,6 16,1 11,3 10,9 43,7 9,6 4,2 2,0 1,7 1,5 34,1 1,9

All BBC All BBC Network Radio - Radio 1 - Radio 2 - Radio 4 BBC Local Regional All Commercial All National Commercial - Classic FM - Total Heart - Talksport - Virgin All Local Commercial Other Listening
Source: RAJAR/IPSOS-RSL

This shows that the BBC has increased its market share in Quarter 3, 2004, for radio listening with 54.4%, whereas commercial radio has had 43.7% (a decrease compared to Q3, 2003). Radio 1 has mutated into an edgier radio taking more risks because of its audience drop – 8.6% of the national market share. A Radio 1 playlisting is still hugely influential when other stations a dme i aesi c nieiga at B t a i 1s u p r ao ei n ln e ag aa tefr n da r tl o s r l d n n c. u R do ’ sp ot ln s o o g r u rne o a hit single. It is under constant criticism (including from media on behalf of the taxpayers) because of its declining audience, widely blamed on a playlist policy not accessible or representative enough of the tastes of the majority of the 15-24 demographic they aim to represent. As Radio 1 continues to position itself with a younger audience, the disenfranchised older listeners are increasingly moving over to the slowly evolving Radio 2, which has cleverly altered its playlist policy to include artists no longer deemed suitable for Radio 1, and are seen as more “ lu el g tp a ab m-sln ” y e cts, appealing to a 25 years plus audience. i Radio 2 has gradually becoming the dominant force in the market place by breaking the mould of the chart format and reaching more than 13 millions listeners weekly. At the end of 2003, it reached a 16.1% share of total weekly listening. Radio in the UK now offers also much more choice since digital and internet broadcasting. For example, with 6Music and 1Xtra – the BBC drew audiences of around 400,000 while five other digital radio stations from the commercial sector also reported listenership figures for the first time with a total of two million listeners. Even without a digital receiver many people can access these new stations via TV, or the Internet, with increasing numbers now listening to radio via their PCs. TV

With around 30 music channels available in the UK, music on television is increasingly developing and broadcasters are beginning to research their audience more thoroughly in order to fine-tune their programming.

30

In 2003 many shows attracted million of viewers, such as Robbie Williams Live at Knebworth (3.5m); Eurovision Song Contest (8.0m); Brit Awards (7.3m); P pIo’ (11.0m), etc. o dl s It is important to understand the profile of TV viewers. The table below compares music TV viewers to normal TV viewers according to different age groups.

Profile of TV viewers
30 25 20 15
16 23 21 17 20 17 28

23

10 5 0

14 10 8 3

Music TV Total TV

Under 16

16-24

25-34

35-44

45-54

55+

Source: BARB Multi-channel homes 2003

This indicates that younger generations are more attracted by music TV, with 23% of music TV viewers aged under 16 and 28% aged between 16 and 24. The success of emissions such as Pop Idol in 2003 has also changed the music industry. Programming these shows on a Friday has been a major fact in determining the success of the records associated with the series and the artists (because most records are purchased on Saturdays). The development of digital music TV channels offered greater perspectives for music television in 2003, as over 50% of the entire UK population has now access to digital network. In this vein, BSKyB launched three new music stations which targeted different segments of the music audience. EMAP and MTV also introduced channels in the same period.

31

-

Media advertising

In 2003, advertising spends of record companies saw an increase of 11% in the UK. TV accounted for 75.5% of advertising spend, press 12.1%, while radio, 9%, and outdoor, 5%.3 Only a small percentage of albums released are advertised on TV due to the high cost. Radio is also expensive when targeting a large audience and operates similarly to TV. TV, however, can have a greater advantage than radio because with cable and satellite channels, consumers can be targeted with more accuracy. For example, the compilation market has increased considerably in the past few years, also due to TV advertisement. Outdoor campaigns are generally used for big albums or to back up a TV or Radio ad.

Record company advertising expenditure 1999-2003 £ Thousands
1999 TV Press Radio Outdoor Cinema Direct Mail Total £58,458 £25,204 £14,388 £6,342 £464 £104,856 2001 £81,318 £17,348 £10,140 £5,542 £332 £353 £115,033 2002 £77,029 £15,488 £8,661 £7,660 £530 £753 £110,121 2003 £91,944 £14,779 £7,015 £7,536 £265 £306 £121,845 % Change 02/03 +19% -5% -19% -2% -50% -59% +11%

Source: BPI 2004

As mentioned previously, the TV sector attracts the most advertising expenditure with a 19% growth in 2003 while all the other sectors witnessed a general drop during the same year. The biggest decrease in advertising expenditure was for cinema (-50%) and direct mail (- 59%). Digital advertisement also constitutes a new effective and lower-cost way of advertisement, although the number of people reached might be smaller.

6. Live/touring/clubs
The UK has a strong live music culture for all musical tastes. There is also a large festival scene. Live music constitutes a significant business in the UK and also an important step for the promotion of a release in the UK. This is particularly the case in certain genres such as rock. Any touring/release strategy needs to be clearly coordinated with the label, distributor, agents, promoters etc.

3

BPI 2004

32

The UK has thousands of live music venues. These are usually supported by private enterprises although organisations such as the Arts Councils also participate in some venues. Bookings in the main venues are handled by around 30 major promoters. As in other territories, touring is one of the best ways of creating and extending a fan base and “ u rne ig ac r i lv l f ig s n ab mssls T i i p r c larly the case in the g aa ten ” et n e e o s l a d lu a ne ae. hs s at u i UK due to the strong live culture. As in any country, touring is a costly exercise. If a release or an artist is licensed to a UK label, tour support may be provided for the artist. Touring can also become successful (to the point of self-funding and profitable touring) with the financial rewards from the ticket sales and merchandising. In the UK, some labels now seek to negotiate apo ot no a at t rv n e f m tuiga doh r e e u s i ter r s rc rig rp r o f n r s’ e e u s r i i s o or n n te rv n e, n h i at t e odn i contracts. This is traditionally the domain of the artist (e.g. the Robbie Williams deal). The UK also has a strong club scene which again will be important to target, depending on the genre. Club and rave culture in the UK exploded in the 80s. The 90s was marked by with the arrival of super clubs and superstars DJs. However, the UK was also one of the first countries to bear the brunt of the crisis facing the whole club scene due to over saturation and changing tastes. Dance music remains very popular and radio stations such as Kiss, GLR, Radio 1, Capital – broadcast dance music at peak hours. In terms of clubs themselves, however, the scene is much reduced and many superclubs have been forced to close. Over the past few years, there has been a growth in DJ or designer bars which are essentially late-opening bars/cafes with DJs. These also offer opportunities for promoting artists and DJs.

7. Sales certifications and awards
Sales certifications Sales certifications are available in the UK to mark different levels of sales success. The figures are based on net shipments and are organised by the BPI. For the UK awards, no matter the origin of the repertoire, domestic or international, the following net shipments are required: Albums: 60,000 for silver, 100,000 for gold and 300,000 for platinum. (There is no diamond certification). Singles sales, 200,000 for silver, 400,000 for gold, and 600,000 for platinum. CERTIFICATION AWARDS ALBUMS Sales Level - Silver 60,000 - Gold 100,000 - Platinum 300,000 - Multi-Platinum SINGLES Sales Level - Silver 200,000 - Gold 400,000 - Platinum 600,000 - Multi-Platinum Source: IFPI 2004

2003 284 220 78 85 2003 15 6 4 0

2002 275 200 73 74 2002 47 17 5 3

In 2003, 284 albums went silver, which represents an increase compared to 2002 (275 albums). 220 went gold (only 200 in 2002). Platinum experienced the same trend with an increase from 73 in 2002 to 78 in 2003. Multi-platinum saw an increase from 74 in 2002 to 85 in 2003. For

33

singles, however, there was a general drop in certification awards with 15 silver (47 in 2002), 6 gold (17 in 2002), 4 singles went platinum (5 in 2002) and 0 multi-platinum (3 in 2002). Sales in the UK will also count, along with sales in other territories, to international certifications. These include the pan-European sales awards administered by IMPALA (IMPALA Silver, Gold, Platinum at 30,000, 250,000, and 500,000 respectively) and IFPI (IFPI Platinum at 1,000,000). Awards The UK has a strong awards culture. Nominations can offer quedos and are also a useful marketing tool, with nominees and award winners often experiencing increased sales. The main awards include (in alphabetical order): BRIT Awards: annual ceremony in London organized by the BPI www.brits.co.uk Classical Brits: annual ceremony for classical music: www.classicalbrits.co.uk Kerrang! Awards: annual awards ceremony for rock and metal bands: www.kerrangawards.com Mercury Music Prize: annual prize for albums selected by jury, carrying considerable quedos and media coverage: www.nationwidemercurys.com MIA Musical Instrument Awards: annual awards ceremony for instruments and associated products in the industry: www.mia.org.uk. MOBO: annual awards show for music of black origin: www.mobo.net Music Week Awards: annual awards for the music industry professionals: www.musicweekawards.com National Student Music Awards: annual event to showcase new student bands to the music industry around the UK: www.nsma.com NME Carling Awards: annual rock awards: www.nme.com Ivor Novello Awards: longest running annual award show (since 1955) to recognize songwriters and publishers (Ivors Dance Award was also launched in 1997): www.britishacademy.com/ivors Urban Music Awards: new awards ceremony for British based urban and underground dance music: www.urbanmusicawards.net

8. Trade Fairs
A range of music business trade fairs is available in the UK music sector, including the following national and international events (alphabetical order): The British Music Fair: UK trade fair for musical instruments and related products, attended by suppliers and distributors: www.britishmusicfairs.com In The City: annual forum (rather than traditional trade fair) for networking, examining c r n i u si te U mui sbusiness and discovering new talent through In The City ur t s e n h K e s s’ c Unsigned: www.inthecity.co.uk MusicWorks: annual cross-media music convention, event, held in Scotland: www.musicworksuk.com International Live Music Conference: - annual event based in London to assemble key figures in UK and international live music field: www.ilmc.com

9. Trade organisations and institutions
There are a large number of organisations, institutions and collecting societies active in the field of music in the UK. The main industry associations and collecting societies are summarised below in alphabetical order (full contact details of these and other associations and institutions are set out in the Practical Guide) – the most interesting are listed again at Chapter 7 Useful Websites of the Practical Guide:

34

AIM, Association of Independent Music: trade association representing the UK independent record sector. Active in internet licensing for members. Produces an excellent guide to the UK music business. www.musicindie.org APRS, Association of Professional Recording Services: represents recording studios, postproduction houses, mastering, replication, pressing and duplicating facilities. www.aprs.co.uk Arts Councils: development agencies for the arts administering significant funds. www.artscouncil.org.uk Association of British Jazz Musicians: database on the UK jazz scene. www.jazzservices.org.uk Association of Festival Organisers: trade association representing festival organisers. www.aoifeonline.com BARD, British Association of Record Dealers: trade association representing retailers and wholesalers in music, video, DVD etc. Joint owners of Official UK Charts Company (see below). www.bardltd.org BMR, British Music Rights: rp sns h U ’ c mp sr sn w i r a dmui p bi es n e ee t te Ks o oes o g r es n , t s u lh r a d c s organizations to the UK government, media and public. www.bmr.org BPI, British Phonographic Industry: trade association representing recording companies, including the majors. UK member of IFPI. Joint owners of the Official UK Charts Company (see below). Runs the annual BRIT Awards and also the Brit Trust (see below). Anti-piracy unit. www.bpi.co.uk Brit Trust: charitable arm of the BPI which also runs the Brit School, a music and creative arts school for young people in South London. www.brittrust.co.uk British Academy of Composers & Songwriters: association representing and advising composers and songwriters. www.britishacademy.com British Independent Record Dealer Directory: directory of independent record shops and record fairs. www.birdpages.co.uk BVA, British Video Association: trade association representing video home entertainment companies. www.bva.org.uk CatCo: part of PPL (see below). Provides an electronic means of registering new release data. www.catcouk.com CPA, Concert Promoters Association: trade association representing concert promoters. CRCA, Commercial Radio Companies Association: trade body for commercial radio companies in the UK. Database with detailed information on commercial radio stations. www.crca.co.uk DCMS, Department of Culture Media and Sport: government ministry in charge of cultural affairs. The official sponsor of the UK music industry. www.culture.gov.uk/about_dcms/default DTI, Department of Trade and the Industry: government ministry dealing with trade and industry, also responsible for the Patent Office which looks after intellectual property and copyright. www.dti.gov.uk E-centre UK: supplies bar codes and promotes the effective use of EAN.UCC standards in UK supply chains. www.e-centre.org.uk Equity, British Actors Equity: union representing actors, actresses, and also vocalists, negotiating agreements with music and broadcast sectors for vocalists. www.equity.org.uk FACT, Federation Against Copyright Theft: combats counterfeiting, piracy and undertakes private prosecutions on behalf of its members. www.fact-uk.org.uk FMO, French Music Office: office in the UK promoting French music. Published a guide to the UK market which, although designed for French companies, is in fact useful for any music company or artist. www.french-music.org IFPI, International Federation of Phonographic Industries: international trade association for record companies including the majors. Secretariats in London and Brussels. BPI is UK member. www.ifpi.org IMMF, International Music Managers Forum: represents national federations of music managers. www.immf.net IMPALA, The Independent Music Companies Association: international trade association for independent music companies. Secretariat in Brussels. AIM is UK member. www.impalasite.org

35

ISM, Incorporated Society of Musicians: association for professional musicians, providing advice and services to members. www.ism.org MCPS, Mechanical Copyright Society: collecting society licensing mechanical rights of c mp sr a dp bi es orc r c mp ne a doh r i ne s h rc r M P me es o oes n u lh r t e od o a is n te l e se w o e od C S mb r s c ’ copyright musical works. Runs an anti-piracy unit. www.mcps-prs-alliance.co.uk MIA, Music Industries Association: trade association representing UK businesses selling musical instruments and associated products. www.mia.org.uk MMF, Music Manager Forum: trade association representing managers in the UK. MPA Music Publishers Association: trade association for UK publishers. www.mpaonline.org.uk MPG, Music Producers Guild: represents individuals in the music production and recording professions. www.mpg.org.uk Musicians Union: Union for musicians in the UK, negotiating standard fee and use agreements with music and broadcast sectors. www.musiciansunion.org.uk NEMIS, New Music in Scotland: music network for Scottish artists, labels, music businesses, media, recording studios, venues, radio, creatives and professional services. www.nemis.co.uk NMC, National Music Council: consists of different music industry associations. Produced report on UK music business “ o nigteN ts in 2002. www.musiccouncil.org C u t h oe” n Nordoff-Robbins Music Therapy: music charity offering music therapy clinic and training, research and library facilities. www.silverclef.com PAMRA, Performing Artists Media Rights Association and AURA, Association of United Recording Artists: distribute royalties due to artists and performers from performance of recordings (e.g. radio and TV). www.pamra.org.uk PPL, Phonographic Performance Limited: collecting society licensing the public performance and broadcasting rights of the copyrights owned by record companies members. Collects and a mii es efr r’ h r o rv n e i c nu cinw t teP r r r F rm, d u d ns r p r mes sae f e e u s n o jn t t o o i h ef mes ou ma e p h o representatives of different performer bodies. Operates the Performers Registration Centre (P C ) www.ppluk.com “ R ”. Pic ’ T ut provides training, mentoring and financial assistance to help 14-30 year olds. r es rs: n (not limited to music). www.princes-trust.org.uk PRS, Performing Right Society: collecting society licensing the public performance and broadcasting rights of the composers, authors and publishers of musical works. www.prs.co.uk Radio Academy: professional body for people working in the radio industry. www.radioacademy.org T e A e t’A scain represents agencies handling performing artistes and bookings in h g ns so it : o music, television, film, radio, theatre, musicals, etc. www.agents-uk.com The Official UK Chart Company: responsible for commissioning, marketing, distributing and ma a igteU ’ of il s , ie a do -line charts (formerly known as CIN). Provides ng n h Ks f c mui v o n n ia c d information on the rules determining eligibility for the charts. www.theofficialcharts.com VPL, Video Performance Limited: collecting society licensing public performance and broadcast rights in music video for record companies. Negotiates and administers the id p n e t’ e l i M Vfr uo e www.vlpuk.com n e e d ns d a w t T o E rp . h Welsh Music Foundation: provides business support to music-b sd S Esi Wae frte ae M ’ n ls o h development of a commercially viable Welsh music industry. www.welshmusicfoundation.com

36

III)

MUSIC GENRES

This section gives more information on the UK music industry for the main genres. This chapter should be viewed as ap itr o“ h d e w a”i tetedf rn mang ne1 rather than one t w o o s h t n h h i ee t i e rs f an extensive or exhaustive account. For a breakdown of the popularity of the different music genres in the UK, please see the table in the music genre part of music market in Chapter 3 above.

POP
1) Situation of the music genre Pop returned to take the majority share (31,2%) in 2003. The top five best-selling albums of the year-including titles by Dido, Daniel Bedingfield and Justin Timberlake-were all classified by the BPI and OCC as Pop. Pop also took the majority share of sales in the singles sector. As in 2 0 ,P pac u tdfrsv no tey a’ tp1 b s sln ab ms T en mb ro e– 0 2 o co ne o e e f h e r o 0 et el g lu . h u e n s i Dd ’ Life for rent- sold over two million copies and the subsequent four best selling Pop titles ios sold over a million copies each. New releases from artists such as Robbie Williams and Sg b b s l h le i rv teg nes h r o sls 2 0 w s h y a w e U b nmui u a a e as ep d mpo e h e r’ sae f ae. 0 3 a te e r h n ra o s c made its presence felt in the singles market.

2) Majors       Arista Records Jive Records Mercury Records London Parlophone Polydor UK Sony music entertainment (UK)

3) Independent labels

1

As selected by the European Music Platform for all the territories, excluding Classical.

37

                                             

2M Recordings Ltd 3rd Kind Music Production 4 Liberty Records Ltd 4 Real Records (Syndale Ltd T/as) A J G Management Ltd Absolute Marketing & Distribution Ltd Acrobat Music and Media Ltd Adasam Ltd Afion Records Ltd Amazing Grace Records Andmoresound Ltd Angel Air Records Animal Noise Apex Entertainment Holding ARC Arcana Records Architecture Artful Records Ltd Artist Network ARTISTdirect RECORDS Assassination Music AVID Entertainment Beat Goes On Bella Union Big Help Music Ltd Blow Up Records Blue Ice Records Blueprint Recordings BMP Broken Music Publishing Ltd Boogiemedia Records Ltd Boom Chang Records Boss music Boh r R rte’ ecords Ltd s BRPM Records Bucks Music Group Ltd Caroline 2 Ltd Cent Records Chameleonics Ltd Champion Records Ltd Charly Aquisitions Limited Charly Records Chemikal Underground Ltd. Chips Records Chocolate Boy Recordings Ltd Circular Records Circus

 Classic Pictures Entertainment  Club Montepulciano  Colossus Records  Common Products  Concept Music  Concrete Recordings Ltd  Cooking vinyl  Cork Dog Records Ltd  Corruptive Records  Crambo Records Ltd  Crash Records / Starline Promotions  Creeping Bent Recordings Ltd  Cube Records Ltd  Curb Records Ltd  Dance Paradise  Deadeye Records  Deep Jeep  Delta music plc  Demon Music Group  Department of Sound  Destabilize Ltd  Dojo Studios  Dome Records Ltd  Double Dragon Music  Dramatico Entertainment Ltd  Dreamy  Eagle records  Eat Sleep Records Ltd  Echo Label Ltd  E e “ K R c rs t d l U ” e od Ld  Electric Records Ltd  Emerald Music(Ireland) Ltd  Ena Music  EPARK UK  Evensong Recordings Ltd  Face The Music Global Ltd  Fairplay Records  Faith and Hope Records Ltd  Fat Fox Records  Fat Northerner Records  FDM Records  Feargal Sharkey  FF Vinyl Ltd  Fidela  Firebird International  Floating World  Four Music Productions  Freedom

38

                                         

Fresh Entertainment Fresh Records Furious Futureproof Records Gentle Electric Global Talent Records Gorgeous Music Ltd Gotham Records Gronland Gut international Habana Productions Ltd Hail (Music From the Highlands & Islands of Scotland) Half Full Music Limited Harkit Entertainment Ltd Henry Hadaway Organisation Ltd Hot Records Inferno Records Innerspace Productions Instant Karma International Music Group Plc Invisible Hands Music Ltd Irish Intellectual Property Services Ltd Irish Intellectual Property Services Ltd Isobar Records Ltd Jalapeno Ltd Jeepster Recordings Ltd Jester Records Key Recordings Ltd Keystone Records K-Tel Entertainment (UK) Limited L K Records Ltd T/A Lizard King Records Lancaster Records Ltd Leaky Jo Records Lemon Groove Records Lifewater Station Z Lost Moment Records Ltd LoveDemonMusic Ltd. Loving Monkey M16 Music Company M19 Recordings (MS & M International ltd) Marathon Music International Market Square Music Ltd

 Media Records Ltd (also known as Nukleuz)  Megabop Records  M M M s (rc l ’ F ui C a ki c n Records)  Middlesbrough Music Collective Studio Ltd  Mighty Atom Records  Ministry of Sound  M ’ M s Ld os ui t c  Moksha Recordings Ltd  Molotov Records  Mondo Records Ltd  More Protein  Morpheus Records  Multiverse Ltd  Mumbo Jumbo  Music & Memories – Haysbridge UK Ltd  Music Factory Entertainment Group Limited  Music Mountain Music Ltd  My Audiotonic Ltd  Near Shore Records  Neita Original Records  Neon  Nesta Records  Nettwerk Productions UK  Network International  New Dawn Music  Newsound 2000 Ltd  North Star Music Publishing Ltd.  Northern Sky Music  Novamute  Off the Wharf Productions Limited  Offspring Records  One Little Indian Ltd  Original Mind Songs  Palm Pictures  Past Perfect Ltd  Paul Casey  Persevere Records  Pet Lamb Records Ltd  Pias recordings & genuine  Pickwick Group Limited  Pop Recordings Ltd  Poptones Ltd  President Records  Prestige Elite Records Limited

39

 Privileged Man Productions  Proper Music Distribution Ltd  Pure Silk Ltd  Pyrococcal Records  Quixotic Records  Q-Zone Ltd  R and M Records  Randan  Random Records  R a e’ Dg s A sc Ld e d r iet so . t s  Recognition Distribution Ltd  Red Flag Recording Company  REL Records Ltd  Relyte Records / Beaumont St Studios  RF Records  Right Recordings Ltd  Righteous Babe Records  Riot Club  Roadrunner Records  Rough Trade Records  RSK Entertainment Ltd  Sain (Recordiau) CYF  Sectioned Media Ltd (formerly Enced Media)  Seeca Music Ltd  Seriously Groovy Music Ltd  Serotonic Records  Sexy Music Ltd  Shake Records/Peet Music Ltd  Shoeshine Records  Silk Studios (Media Release Ltd T/As)  Silveroak Music Entertainment Ltd  Simply Vinyl Ltd  Skinny Dog Records Ltd  Skylark Records  Slowfoot Records  Smekkleysa/Badtaste SM Ltd  Soul 2 Soul Recordings (Premier Class Ltd t/as)

 Squeaky Records Ltd  Start Entertainment Limited  Sunday Best Recordings Ltd  Supertone Records  Survival records ltd  Tall Poppy Records  The Rajon Music Group UK Limited  The Sound Foundation  Think Tank Records  Time Music International Ltd  TKO Music Group  Total Quality UK  Townhill Records  Townsend Music Ltd T/A Townsend Records  Triple A Records Ltd  Turbulence Records Ltd  Turpin Music Ltd (Inc Inertia Records)  TWM Music Production  Two To Tango Records Ltd  Twopointnine Ltd / 2 point 9 Records  Union Square Music  Upbeat Recordings Ltd  Urbanite.co.uk  Vinyl Japan (UK) Ltd.  Virtual Music Enterprises Ltd  Vision Records  Voiceprint Group Wienerworld Limited  Volume Records Ltd  Walking Oliver Records  XL recordings  Xlantic Music Group  Yoshiko Records  Yup Records  Zenith Cafe  Zestzone  ZTT Records Ltd  ZYX Music

40

4) Publishers  4AD Music Ltd  A7 Music  Ar ’rs ui f cA t M s i c Connections Label UK  Anglia Music Company  Anglo Plugging Music  Angus Publications  Artemis Music Ltd  Asterisk Music  Audio Network Plc  BaBa Productions  Barbera Music Ltd  Barry Collings Entertainment  Basement Music Ltd  Bella Casa Music Ltd  Belsize Music Ltd  Big World Publishing  BMG Music Publishing Ltd  Bocu Music Ltd  Broughton Park Music  Bucks Music Ltd  Bug Music Ltd  Bullseye Music Ltd  Carlin Music Corporation  Catalyst Music Publishing Ltd  Champion Management and Music Ltd  Christabel Music Ltd  Chrysalis Music Ltd  CLM  Columbia Publishing Wales Ltd  Constant in Opal Music Ltd  Cornerways Music  Cyhoeddiadau Sain  Dejamus Ltd  Digger Music  Dinsdale Music  Eaton Music Ltd  EMI Music Publishing Ltd  Essex Music Group  Faber Music Ltd  Fairwood Music Ltd  Fat Fox Music Ltd  Focus Music Ltd  Habana Music Publishing Ltd  Hilltop Publishing Ltd  Home City Records Publishing  Hornall Brothers Music Ltd  Hyde Park Music Ltd  Independent Music Group  J Albert and Son Ltd  Joustwise Ltd  Kassner Associated Publishers Ltd  Kobalt Music Publishing Ltd  Late Callows Music  Lojo Music Ltd  Lorna Kirtland Music Ltd  Maxwood Music Ltd  Mcasso Music Production Ltd  MCS Music Ltd  Mediatracks Music Library  Memory Lane Music Ltd  Menace Music Ltd  Merseysound Ltd  Minaret Music Ltd  Moggie Music Ltd  Moncur Street Music Ltd  MoonRock Music  MPL Communications Ltd  Multiplay Music Ltd  Music by Design Ltd  Music Sales Ltd  The Music Trading Company  The Music Trunk Publishing Co Ltd  Musicalities  Mute Song Ltd  NorthStar Music Publishing Ltd  Obelisk Music  Odyssey Music Ltd  Orange Songs Ltd  Orestes Music Publishing Ltd  Paragon Preston Stevens Music Co Ltd  Parrot Productions Ltd  Paternoster Music Ltd  Paul Balance Music Ltd  Paul Rodriguez Music Ltd  Peermusic Ltd

41

 Pink Floyd Music Publishers Ltd  Playwrite Music Ltd  Primo Music Ltd  Primrose Music Publishing Ltd  Proper Music Publishing Ltd  PXM Publishing  RAK Publishing Ltd  The Really Useful Group Ltd  Reverb Music Ltd  Rita Ltd  Rive Droite Music Ltd  Rock Music Company Ltd  Rockstone Music Ltd  RSM Music Publishing  Sanctuary Music Publishing  SATV Publishing Ltd  Silva Screen Music Ltd  Songstream Music Ltd

 Sony/ATV Music Publishing UK Ltd  St Annes Music Ltd  Stage Three Music Ltd  Star Street Music Ltd  Stop Drop & Roll Music Ltd  S e tn Su Sn s t w e ‘’ o r o g Ld  Tairona Songs Ltd  TKO Publishing Ltd  Unforgettable Songs Ltd  Universal Music Publishing International  V2 Music Publishing Ltd  Valentine Music Group  Valley Music Ltd  Vitamin V Ltd  Voiceprint Publishing  Warner/Chappell Music Ltd  West One Music Ltd  Westbury Music Ltd  Windswept Music Ltd  Woza Music

5) Distributors            Arabesque Distribution BMG Discovery Records Ltd EMI North West Music Nova Sales and Distribution UK Ltd Pinnacle Entertainment Pinnacle Imports Sony Music Entertainment (UK) Universal Thames Distributors Ltd

6) Retailers          Action Records Asda Britania Disque Fopp HMV Music Zone MVC Popscene          Sainsbury Safeway Sanity S on f h ’uf ---Beat Wokn z ri’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

42

7) Clubs  Paradise Bar  12 Bar  Infinity Club

8) Festivals  Duckfest  Reading Festival  The Big Chill 9) Managers  19 Management  AJG Management Ltd  Albert Samuel Management  Bandana Management Ltd  Basement Music Ltd  Big Cat UK Records Ltd  Cara Music Ltd  Compass Global Music  Creation Management Ltd  Deluxe Management  Divine Management Gailforce Management  Doug Smith Associates  First Move Management Ltd  Hall or Nothing Management  J Management  Jon Sexton Management (JSM)  Middle 8 Management  Montana Artist Management  Musiclore Limited  Outburst Productions  Outside Management  Patrick Jacobs International Management  Red Boots Management  RPL Management  Safe Management  Silentway Management Ltd. (Manchester)  Shalit Global Management and Entertainment  Sharpe Management  Sounds Like a Hit Limited  Stutunes  Subversive Music Management Ltd  TFORCE  Triibal Markings Entertainment  Watercolour Music

10) Bookers/Promoters  13 Artists  Cantaloupe Group  Clear Channel Entertainment UK Music  Impro Agency      Leyline Promotions Marshall Arts Ltd The Hub Riverman Management XL Talent Partnership

43

11) Specialized media (press, radio, TV)             2CR FM 2-TEN FM 95.8 Capital FM 96.3 Radio Aire 96.4 FM BRMB Argyll FM BBC I BBC Radio 2 BBC World Service Music Beat 106 Bullit Magazine Dotmusic .com             Five Eight Les Inrockuptibles Ministry Of Sound Radio Mixmag NME MTV UK & Ireland Music Week Q Magazine Radio Borders Resonance FM Smash Hits Virgin Radio

44

Rock

1)Situation of the music genre Rock fell from being the leading genre within the UK album market in 2002 to be second behind pop. Rock took 29,2% of all album sales in 2003, down 1,8% on 2002. Although there were breaktrough successes from artists such as The Darkness and Evanescence alongside strong sales of established artists like Coldplay and Red Hot Chili Peppers accounted for 22 of the 40 best-selling albums last year. Contemporary Rock albums fared slightly less well year on year although there were big selling debut stes from the Thrills and Kings of Leon among others. AOR al ls saeo 2 0 d si teB als Let It Be reissue and new releases from Sheryl s ot h r n 0 2 ept h e t ’ o e e Crow and Bon Jovi. In the single market, Rock also improved its share, with the top three Christmas week singles (from Michael Andrews ft Gary Jules, Kelly and Ozzy Osbourne and the Darkness) all classified as such. Red Hot Chili Peppers titles appeared in the top 10,000 albums of the year and their cumulative sales ensured they were the biggest Rock act of 2003.

2) Majors     The Echo Label Innocent / Virgin Records Jive Records Mercury Records London

3) Independent labels                  1 Records Worldwide Ltd 2M Recordings Ltd 3rd Kind Music Production A J G Management Ltd Absolute Marketing & Distribution Ltd Acrobat Music and Media Ltd Adasam Ltd Afion Records Ltd Airwave Records Ltd Alchemy Entertainment Ltd Almafame Amazing Grace Records Andmoresound Ltd Angel Air Records Animal Noise Anticulture Records Ltd Apex Entertainment Holding                  ARC Arcana Records Architecture Artful Records Ltd Artist Direct Records Artist Network Assassination Music AVID Entertainment Beat Goes On Beggars Banquet Records Bella Union Big Help Music Ltd Blow Up Records Blue Cat Records Blue Ice Records Boss music Boss Tuneage (Mr A Stephens t/as)  BRPM Records  Buzz Records

45

                                             

Cacophonous Records Camino Records Candy Productions Ltd Captain OI! Records Cargo Records UK Ltd Caroline 2 Ltd Chameleonics Ltd Charly Aquisitions Limited Chemikal Underground Ltd. Chips Records Circular Records Circus Classic Pictures Entertainment Cold Town Music ltd Colossus Records Common Products Concept Music Concrete Recordings Ltd Cooking vinyl Copasetik Recordings UK Ltd Cork Dog Records Ltd Corruptive Records Crambo Records Ltd Crash Records / Starline Promotions Creeping Bent Recordings Ltd Creole Records Ltd Crimson Productions db Records Deadeye Records Deep Jeep Delta Music Plc Demon Music Group Department of Sound Destabilize Ltd Dicelines Records Digital Hardcore Recordings Discipline Global Mobile Dome Records Ltd Dorado Records Double Dragon Music Double Snazzy Dreamy Dreamy Records Dry Run Recordings ltd E.G. Records Eagle records

 Eagle Rock Entertainment Plc  Earache Records  Eat Sleep Records Ltd  Echo Label Ltd  E e “ K R c rs t d l U ” e od Ld  Electric Records Ltd  Emerald Music(Ireland) Ltd  Epitaph Europe  Evensong Recordings Ltd  Faith and Hope Records Ltd  Fat Boy Music ltd  Fat Cat Records  Fat Fox Records  Fat Northerner Records  Feargal Sharkey  FF Vinyl Ltd  Fidela  Floating World  Flying Mountain Productions  Force Majeure  Freedom  Furious  GD Worldwide Ltd  Gentle Electric  Global Talent Records  Global Warming Records  Gorgeous Music Ltd  Gotham Records  Gronland  Gun Pure Records  Habana Productions Ltd  Hail (Music From the Highlands & Islands of Scotland)  Half Full Music Limited  Harmsonic  Henry Hadaway Organisation Ltd  Hi-Note Ltd  Hiptonic Records  Homegrown Productions  Hot Records/Beyond The Sea Ltd  Hug Records  Ignition Records Ltd  Independiente Ltd  Infinity Records  Innerspace Productions  Intact / Marillion

46

 International Music Group Plc  Invisible Hands Music Ltd  Irish Intellectual Property Services Ltd  Jam Inc Ltd  Jeepster Recordings Ltd  Jungle Records  Karma Music Group Ltd  Key Recordings Ltd  Keystone Records  KFM Records  Kitchenware Records Ltd.  Krypton Records  L K Records Ltd T/A Lizard King Records  Lakota  Lancaster Records Ltd  Lipstick Head Records  Lonely Hunter Records  Lost Moment Records Ltd  Loving Monkey  M16 Music Company  M21  Manic Records Ltd  Marillion  Market Square Music Ltd  Matrix Music Marketing  Megabop Records  Mercury Records London  M M M s (rc l ’ F ui C a ki c n Records)  Mi5 Recordings  Middlesbrough Music Collective Studio Ltd  Mighty Atom Records  M ’ M s Ld os ui t c  Mohican Records Ltd  Moksha Recordings Ltd  Molotov Records  More Protein  Morpheus Records  Mudhut Records Ltd  Music Mountain Music Ltd  Music of Life  My Audiotonic Ltd  Narcosis Recordings  Near Shore Records  Neita Original Records  Nervous Records  Nesta Records  Nettwerk Productions UK  Network International

                                           

New Dawn Music Newsound 2000 Ltd Northern Ambition Northern Sky Music Novamute Occasion Recordings & Publications Ltd Off the Wharf Productions Limited Offspring Records One Little Indian Ltd Orgy Records Ltd Original Mind Songs P3 Music Ltd Palm Pictures Parlophone Path Records Paul Casey Pavilion Records Ltd Persevere Records Pet Lamb Records Ltd PIAS Recordings UK Ltd Pickwick Group Limited Plastic Head Records Pleasuredome Polydor uk Pop Recordings Ltd Poptones Ltd Predator Music Ltd President Records Probe Plus Proper Music Distribution Ltd Pure Mint Recordings Ltd Pyrococcal Records Quixotic Records R and M Records R a e’ Dg s A sc Ld e d r iet so . t s Recognition Distribution Ltd Recovery Records Red Flag Recording Company Redstar Entertainment LLC Relyte Records / Beaumont St Studios Republic 37 Records/Saturn Return Records RF Records Right Recordings Ltd Riot Club

47

                                

Riverman Records Limited Riverside Records Ltd Roadrunner Records Rough Trade Records RSK Entertainment Ltd Rykodisc Ltd Sain (Recordiau) CYF Salt Records Ltd Sandman Records Sectioned Media Ltd (formerly Enced Media) Seeca Music Ltd Seriously Groovy Serotonic Records Shade Factor Productions Shake Records/Peet Music Ltd Shoeshine Records Silveroak Music Entertainment Ltd Simply Vinyl Ltd Skinny Dog Records Ltd Skylark Records SL Records Slowfoot Records Smekkleysa/Badtaste SM Ltd Snapper Music Sonic Nation Spank Records Spittoons Squeaky Records Ltd Starshaped Records Start Entertainments Ltd Stretchy Records Limited Sugar Daddy Records Limited Sugartown Records

 Sunday Best Recordings Ltd  Supertone Records  Tall Poppy Records  Taste Media Ltd  The Rajon Music Group UK Limited  Think Tank Records  Tommy Boy Music Limited  Total Quality UK  Townhill Records  Townsend Music Ltd T/A Townsend Records  Transcopic  Triple A Records Ltd  Turpin Music Ltd (Inc Inertia Records)  Union Square Music  Vinyl Japan (UK) Ltd  Virgin Records  Visible Noise  Vision Records  Voiceprint Group of companies  Wagram Music UK ltd  Walking Oliver Records  Warp Records  Wasp Factory  Weird Eye Records  West Nile Records  Wienerworld Limited  XL Recordings  Yoshiko Records  Z Records  Zenith Cafe  ZTT Records Ltd

4) Publishers           A7 Music Anglo Plugging Music Asterisk Music Audio Network Plc BaBa Productions Barbera Music Ltd Basement Music Ltd Big World Publishing Ltd BMG Music Publishing Ltd Bocu Music Ltd      Bucks Music Ltd Bug Music Ltd Bullseye Music Carlin Music Corporation Catalyst Music Publishing Ltd  Christabel Music Ltd  Chrysalis Music Ltd  Columbia Publishing Wales Ltd

48

                               

Constant in Opal Music Ltd Dejamus Ltd Digger Music Dinsdale Music Ltd E G Music Ltd Eaton Music Ltd EMI Music Publishing Ltd Essex Music Group Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing Ltd Hilltop Publishing Ltd Home City Records Publishing Hornall Brothers Music Ltd Hyde Park Music Ltd Independent Music Group J Albert and Son Ltd Kassner Associated Publishers Ltd Kobalt Music Publishing Ltd Late Callows Music Lojo Music Ltd Lorna Kirtland Music Ltd Maxwood Music Ltd MCS Music Ltd Menace Music Ltd Merseysound Ltd Moggie Music Ltd Moncur Street Music Ltd MoonRock Music Multiplay Music Ltd Music Sales Ltd

 The Music Trading Company  Mute Song Ltd  Orange Songs Ltd  Orestes Music Publishing Ltd  Paul Balance Music Ltd  Peermusic Ltd  Pink Floyd Music Publishers Ltd  Playwrite Music Ltd  Primrose Music Publishing Ltd  Proper Music Publishing Ltd  Reverb Music Ltd  Rive Droite Music Ltd  Rock Music Company Ltd  RSM Music Publishing  Sanctuary Music Publishing  Songstream Music  Sony/ATV Music Publishing UK Ltd  Stage Three Music Ltd  Star Street Music Ltd  Unforgettable Songs Ltd  Universal Music Publishing International Ltd  V2 Music Publishing Ltd  Vitamin V Ltd  Voiceprint Publishing  Warner/Chappell Music Ltd  West One Music Ltd  Windswept Music Ltd

5) Distributors       Arabesque Distribution Backs Records Ltd BMG Discovery Records Ltd EMI Nova Sales and Distribution UK Ltd  Pinnacle Entertainment  Pinnacle Imports  Prime Distribution  Revolver Music Ltd  Silva Screen Records  Sony Music Entertainment (UK)  Southern Record Distribution (SRD)  Tko Music Group  Universal

49

6) Retailers         Asda Disque Fopp HMV Music Zone MVC Rock Box Sainsbury         Safeway Sanity S on f e t Wokn h ’uf ---B az ri’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs         42nd Street Nightclub Bar Academy Bartok Barfly Glasgow Barfly Cardiff Barfly Camden The Cavern Club The Cavern Club        Glee Club Kartouche 100 Club 12 Bar Gossips Infinity Club The Borderline

8) Festivals

 Creamfields festival      Duckfest Glastonbury Festival Guildford Festival Greenbelt Festival Reading festival

9) Managers            AJG Management Ltd Basement Music Ltd Big Cat UK Records Ltd Big Life Management Cara Music Ltd Compass Global Music Creation Management Ltd Deluxe Management Divine Management DJT Management Empire Artist Management  Express Entertainment Ltd  Furtive Mass Transit Systems LLP  GR Management 974  Hall or Nothing Management  Ignition Management  J Management  Jam X Management  JPR Management  Jukes Productions Ltd

50

       

Kitchenware management Marsupial Management Ltd Middle 8 Management Montana Artist Management Outburst Productions Patrick Jacobs International Management Red Boots Management RPL Management

 Shalit Global Management and Entertainment  Sharpe Management  Supervision Management  Subversive Music Management Ltd  Triibal Markings Entertainment  Trinifold Management  Watercolour Music  Wildlife Entertainment

10) Bookers/Promoters     Clear Channel Entertainment UK Music Impro Agency Marshall Arts Ltd The Hub

11) Specialized media (press, radio, TV)                           The Arrow BBC I BBC Radio 2 BBC Radio 3 - Mixing It BBC World Service Music Bullit Magazine Fen Radio 107.5 Five Eight Kerrang ! Les Inrockuptibles Ministry Of Sound Radio Nme Mtv UK & Ireland MTV 2 Music Week Ozone Radio Planet Rock Q Magazine Resonance FM The Fly The Hub The Storm Time Out Virgin Radio What's On In London XFM

51

Electronic-Dance
1) Situation of the music genre In 2003, Dance music was outstripped by R&B, dropping 2 points in the market shares compared to 2002. Close to representing 10% of the market share in, 2002, it is now a little more than 7%. The two major artists in 2003 sharing equal parts of the market were Morcheeba and Massive Attack. Dance slipped slightly in the singles ranking despite several number ones in 2003 and was also unable to make an improvement in albums.

2) Majors         679 Recordings Blue Note (Parlophone / EMI) Credence Mercury Records London Polydor UK Positiva Records Universal Music Dance Virgin Records

3) Independent labels                                          Amato Amazing Grace Records AMG Records Animal Noise Apartment 22 Appetite Productions Arcana Records Architecture Assassination Music Audiobulb Records AVEX INC A-Wave.com Ltd T/A AWave Records Bandwagon Bella Union Benbecula Big Fish Records Ltd Big Help Music Ltd Blueprint Recordings BMP Broken Music Publishing Ltd Boogiemedia Records Ltd Bowmans Capsule

1 Records Worldwide Ltd 2M Recordings Ltd 3rd Kind Music Production 4 Da World Entertainment 4 Liberty Records Ltd 4 Real Records (Syndale Ltd T/as) A J G Management Ltd A&G Productions Ability Records Ltd Absolute Marketing & Distribution Ltd Accidental Records AD Music Adasam Ltd Afion Records Ltd Akara Solutions Ltd/Akara Music All Around the World Alola Alphamagic Ltd

UK Export Handbook - 2004

52

                                              

Breastfed Music Bronze Records Boh r R c rs t rte’ e od Ld s Bucks Music Group Ltd Bugged Out! Recordings B z i’ l R c rs t u zn Fy e od Ld Cacophonous Records Cargo Records UK Ltd Caroline 2 Ltd Chameleonics Ltd Champion Records Ltd Chemikal Underground Ltd Chips Records Chocolate Boy Recordings Ltd Chocolate Fireguard Music Ltd Circus Classic Pictures Entertainment Cleveland City Records Climax Recordings Club Montepulciano Club Parasite Ltd Collective Music Concept Music Concrete Recordings Ltd Conspiracy Cooking Vinyl Copasetik Recordings UK Ltd Cork Dog Records Ltd Corruptive Records Creeping Bent Recordings Ltd Cube Records Ltd Curlique Records Ltd Cyberphonic Records Ltd Dance Paradise Darkjazz Defected Records Ltd Delirious Records Delta Music Plc Demon Music Group Deviant Sound Production Ltd Diaspora Communications Discovery Records Ltd Dojo Studios Dome Records Ltd Dorado Records Dr of Dance Dry Run Recordings ltd

 DTension Limited  Duffnote Ltd  Eagle Rock Entertainment Plc  Eastside Records  Echo Label Ltd  E e “ K R c rs t d l U ” e od Ld  Emerald Music(Ireland) Ltd  Emotion Records Ltd  End Recordings  EPARK UK  Ether Music Ltd  Eve Records  Exceptional Rec.  Fabric  Face The Music Global Ltd  Fairplay Records  Faith and Hope Records Ltd  Fat Cat Records  Fat Fox Records  Fat Northerner Records  Fellowship Productions Ltd (t/a Defunked)  Fidela  Fire Recordings  Firebird International  Flying Mountain Productions  Force Majeure  Four Music Productions  Fresh Entertainment  Fresh Records  Full Cycle Records  Fusetrax  Gentle Electric  Glasgow Underground Ltd  Good Looking Records Ltd  Gorgeous Music Ltd  Gotham Records  Grand Central Records  Greentrax Recordings Ltd  Gronland  GrooveX  Habana Productions Ltd  Hail (Music From the Highlands & Islands of Scotland)  Half Full Music Limited  Hard Hands Recording Artistes Limited  Henry Hadaway Organisation Ltd

UK Export Handbook - 2004

53

                                             

Higher State Hiptonic Records Hitherto Records Hole In The Middle Records Hombre Recordings Honey Beat Recordings Ltd Hope Recordings Hospital Records (formerly Tongue & Groove) Hot Records Hydrogen Dukebox Ibiza Republic Records T/A New Breed Talent Ltd Ico Ico Creative Ltd Illustrious Records In House Productions Incentive Music Ltd Independiente Ltd Inferno Records Infinity Records Inspirit Music Ltd Invisible Hands Music Ltd Involved Productions aka Anjuna Beats Irish Intellectual Property Services Ltd Isobar Records Ltd Jalapeno Ltd Jazz FM Records Jazz FM/Hed Kandi Jumblefunk Records Jungle Records Karma Music Group Ltd Kartel Ltd KFM Records Kickin Music Ltd Krypton Records Lancaster Records Ltd Leaf Label Leaky Jo Records Lemon Groove Records Lifewater Station Z Loaded Records Lonely Hunter Records LoveDemonMusic Ltd. Lunastate (UK) Ltd T/AS Above The Sky Records M16 Music Company M21 Mantis Music Ltd T/A Mantis Recordings Maple Record Ltd

 Marathon Music International  Marine Parade Ltd.  Matrix Music Marketing  Matsuri Productions  McGregor Acoustics  Media Records Ltd (also known as Nukleuz)  Megabop Records  Melodic Ltd  Mesmobeat  Mettle Music  Ministry Of Sound  M ’ M s Ld os ui t c  ohican Records Ltd  Moksha Recordings Ltd  Molotov Records  Mondo Records Ltd  More Protein  Most Records  Movementinsound  MoWax  Mr Bongo / Disorient  Mudhut Records Ltd  Multiverse Ltd  Mumbo Jumbo  Music Engine, The  Music Factory Entertainment Group Limited  Music Mountain Music Ltd  Music of Life  Mute Records Ltd  My Audiotonic Ltd  Nachural Records  Name Music  Narcosis Recordings  Needlework Records  Neita Original Records  Nettwerk Productions UK Ltd  Network International  New Dawn Music  New State Entertainment Ltd  Newsound 2000 Ltd  Ninja Tune  North Star Music Publishing Ltd.  Novamute  Off the Wharf Productions Limited  Offspring Records

UK Export Handbook - 2004

54

                                             

One Little Indian Ltd One Step Music Ltd Opus Asia Records Orgy Records Ltd Outer Recordings Pacha Recordings Ltd Pagan Palm Pictures Paper Recordings & Repap Recs. Passion Music Ltd Past Perfect Ltd Peacefrog Records Phase Records Ltd Pias Recordings & Genuine PIAS Recordings UK Ltd Pickwick Group Limited Plastic Raygun Ltd Player Records Pleasuredome Poptones Ltd President Records Pressure Sounds Prestige Elite Records Limited Primitive Productions Privileged Man Productions Pure Mint Recordings Ltd Pure Silk Ltd Pyrococcal Records Quixotic Records Random Records React Music Ltd R a e’ Dg s A sc Ld e d r iet so . t s Recognition Distribution Ltd Recoup Records Red Records Reign of Sound Ltd Relyte Records / Beaumont St Studios Republic 37 Records/Saturn Return Records Resist Music Ltd RF Records Right Recordings Ltd Riverman Records Limited Roadrunner Records Rocstar Recordings Ltd Rolled Gold Records (RGR) RSK Entertainment Ltd

                                         

Ruf Beats Run Ltd Salt Records Ltd Sargasso SBS Records Science Seamless Recordings Limited Sectioned Media Ltd (formerly Enced Media) Seeca Music Ltd Seriously Groovy Music Ltd Serotonic Records Shaboom Records Shake Records/Peet Music Ltd Silk Studios (Media Release Ltd T/As) Silva Screen Records Ltd Silveroak Music Entertainment Ltd Simply Vinyl Ltd Skint Records (Loaded Records Limited t/a) Skylark Records Solaria Records Solemusic Industries Ltd SOMA Soma Recordings Ltd Sonic Nation Soul 2 Soul Recordings (Premier Class Ltd t/as) Splank Records Stage One Starshaped Records Stretchy Records Limited Stylin Productions Ltd. Sub Tub Music Ltd Sunday Best Recordings Ltd Supa Dupa Records Supercharged Music Limited Supertone Records Tanty Records The Rajon Music Group UK Limited Third Ear (Earwerk Ltd) Tic Toc Music Tidy Trax TKO Music Group Tommy Boy Music Limited

UK Export Handbook - 2004

55

 Townsend Music Ltd T/A Townsend Records  Track It Down Ltd  Triple A Records Ltd  Trust The DJ  Tru-Thoughts Ltd  Turbulence Records Ltd  Turpin Music Ltd (Inc Inertia Records)  TWM Music Production  Two To Tango Records Ltd  Twopointnine Ltd / 2 point 9 Records  Union Square Music  Universal Egg  Virtual Music Enterprises Ltd  Vision Records

 Voiceprint Group of companies  Volume Records Ltd  Wagram Music UK ltd  WARP  Warp Records  Wasp Factory  West 5 Records Ltd  Wot the Funk Records Ltd  XL Recordings  Xlantic Music Group  Yakima Records  Yummi Records Ltd  Yup Records  Zenith Cafe  ZTT Records Ltd  ZYX Records

4) Publishers                          Anglo Plugging Music Artemis Music Ltd Audio Network plc Basement Music Ltd Big World Publishing Ltd BMG Music Publishing Ltd Boosey & Hawkes Music Publishers Ltd Bucks Music Ltd Bug Music Ltd Bullseye Music Carlin Music Corporation Catalyst Music Publishing Ltd Chrysalis Music Ltd CLM Columbia Publishing Wales Ltd Constant in Opal Music Ltd Dejamus Ltd Digger Music EMI Music Publishing Ltd Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing Ltd Hilltop Publishing Ltd Home City Records Publishing                         Hyde Park Music Ltd Independent Music Group J Albert & Son Ltd Joustwise Ltd Kassner Associated Publishers Ltd Kobalt Music Publishing Ltd Late Callows Music MCS Music Ltd Mediatracks Music Library Memory Lane Music Ltd Menace Music Ltd Merseysound Ltd Minaret Music Ltd MoonRock Music Multiplay Music Ltd Musicalities Mute Song Ltd NorthStar Music Publishing Ltd Odyssey Music Ltd Orestes Music Publishing Ltd Paul Balance Music Ltd Paul Rodriguez Music Ltd Pink Floyd Music Publishers Ltd Primrose Music Publishing Ltd

UK Export Handbook - 2004

56

        

PXM Publishing RAK Publishing Ltd Reverb Music Ltd Rive Droite Music Ltd Rock Music Company Ltd RSM Music Publishing Silva Screen Music Ltd Songstream Music Sony/ATV Music Publishing UK Ltd  Stage Three Music Ltd  Star Street Music Ltd  Stop Drosp & Roll Music Ltd 5) Distributors  Alphamagic Ltd  Amato Distribution  AMD (Alternative Music Distribution)  Arabesque Distribution  BMG  EMI  Kudos 6) Retailers            23rd Precinct 2Funky A&A Music Action Records Asda City Sounds Dance 2 Records Disque Fopp HMV Music Zone

 Tairona Songs Ltd  Universal Music Publishing International Ltd  University of York Music Press Ltd  Vitamin V Ltd  Voiceprint Publishing  Warner/Chappell Music Ltd  West One Music Ltd  Westbury Music Ltd  Windswept Music Ltd  Wipe Out Music Ltd  Woza Music

 Nova Sales and Distribution UK Ltd  Pinnacle Entertainment  Pinnacle Imports  Prime Distribution  The CDCard Company  Timewarp Distribution  Universal

         

MVC Sainsbury Safeway Sanity Smallfish Records Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs        Cafe de paris Fabric Gossips Herbal Infinity club Kemia bar Madame jojo's        Ministry Of Sound Neighbourhood Scala london Spitz The Borderline The Vibe Bar Turnmills

UK Export Handbook - 2004

57

8) Festivals     Cinefeel Creamfields Reading Festival The Big Chills

9) Managers               A J G Management Ltd Bandana Management Ltd Basement Music Ltd Big Cat UK Records Ltd Compass Global Music Creation Management Ltd Deluxe Management Deutsch-Engliesche Freundschaft Elite Squad Management First Move Management Ltd Graham Peacock Management Heavenly Management Heavyweight Management International Management Division Ltd  JFD Management  Montana Artist Management  Nachural Records  Patrick Jacobs International Management  Red Boots Management  Riverman Management  RPL Management  Sahara Sound  Shalit Global Management and Entertainment  Sharpe Management  Sounds Like a Hit Limited  Triibal Markings Entertainment  Xlantic Music Group

10) Bookers/Promoters  Cantaloupe Group  Clear Channel Entertainment UK Music  Coda Agency  Impro Agency  Jovanovic Lubi  Leyline Promotions     Red Alert Productions Serious Ltd The Hub Tru Thoughts // Zebra Traffic  Value Added Talent

11) Specialized media (press, radio, TV)      BBC 1 BBC World Service Music Beat 106 Bullit Magazine Choice 107.1 FM      Cinefel CN Soho Live DJ Mag Dotmusic.com Fire 107.6 FM

UK Export Handbook - 2004

58

                

Five Eight Galaxy 102 Heat Jockey Slut Kiss 100 FM Les Inrockuptibles Ministry of Sound Radio Mixmag MTV UK & Irland MTV Dance Resonance FM SPTV Urbanation The Hub TTR Magazine Tunes Ltd Wh t o i L n o a’ n n o d n s XFM Radio

UK Export Handbook - 2004

59

Hip-Hop and R&B

1) Situation of the music genre After a relative lack of big selling titles in 2002, R&B asserted itself in both the singles and albums markets in 2003. High profile releases from stars such as Beyoncé and R Kelly saw the genre take an improved share of 8,4% in albums (up 1%) and 15,9% in singles, an increase of over 8%. R Kell o eto sg t o B y n es ae ta k t hs i t lu rlae i 1 9 . y v r k l hl n e o c ’ sls h n s o if s ab m ee sd n 9 2 o i y r 11 years on, his hit single Ignition (Remix) and ensuring sales of his album catalogue saw him b c metebget el gR Bat t f 0 3 HpH ps h r as i rv din both markets, eo h i s sln & r s o 2 0 . i o ’ sae l mpo e g i i o thanks principally to the outstanding year enjoyed by Black Eyed Peas (who had the biggest selling single of the year with Where is the love ?) and 50 Cent. After making a name for himself on the underground circuit, 50 Cent crossed over in 2003 with his international hit album Get Rich or Die Tryin.

2) Majors      Arista Records UK Def Jam/Mercury Records London Jive Records Polydor UK Xl Recordings

3) Independent labels        1 Records Worldwide Ltd 3rd Kind Music Production 4 Da World Entertainment 4 Liberty Records Ltd A Klass Entertainment Limited Absolute Marketing & Distribution Ltd Acrobat Music and Media Ltd Adasam Ltd Airwave Records Ltd                   Artist Network ARTISTdirect RECORDS Assassination Music Bandwagon Big Dada Blueprint Recordings BMP Broken Music Publishing Ltd Boogiemedia Records Ltd Box Out Records Brightchoice & Sir George Records Boh r R c rs t rte’ e od Ld s Buttercuts Ltd B z i’ l R c rs t u zn Fy e od Ld Cafe De Soul Caroline 2 Ltd Catskills Records Charly Aquisitions Limited Chocolate Boy Recordings Ltd

   AJG Management Ltd  Akara Solutions Ltd/Akara Music  Amato  Amazing Grace Records  Animal Noise  Apartment 22  ARC  Ariwa Sounds Ltd

UK Export Handbook - 2004

60

 Chocolate Fireguard Music Ltd  Circular Records  Circus  Classic Pictures Entertainment  Colossus Records  Common Products  Concept Music  Concrete Recordings Ltd  Copasetik Recordings UK Ltd  Cork Dog Records Ltd  Crash Records / Starline Promotions  Curlique Records Ltd  Cutz Recordingz  db Records  Delirious Records  Delta Music Plc  Demon Music Group  Diaspora Communications  Digital Hardcore Recordings  Discovery Records Ltd  Dojo Studios  Dome Records Ltd  Dorado Records  Duffnote Ltd  Eagle Rock Entertainment Plc  Eastside Records  Echo Label Ltd  E e “ K R c rs t d l U ” e od Ld  Emerald Music(Ireland) Ltd  EPARK UK  Fabric  Fairplay Records  Faith Records  FDM Records  Fidela  Flying Mountain Productions  Four Music Productions  Fresh Entertainment  Fresh Records  Full Cycle Records  Futureproof Records  Gentle Electric  Glasgow Underground Ltd  Gotham Records  Grand Central Records  Gronland

 Habana Productions Ltd  Hail (Music From the Highlands & Islands of Scotland)  Half Full Music Limited  Henry Hardaway Organisation Ltd  Hole In The Middle Records  Hombre Recordings  Honey Beat Recordings Ltd  Hospital Records (formerly Tongue & Groove)  Hot Records/Beyond The Sea Ltd  Hydrogen Dukebox  In House Productions  Independiente Ltd  Inferno Records  Invisible Hands Music Ltd  Irish Intellectual Property Services Ltd  Jalapeno Ltd  Jazz Fudge Recordings  Jester Records  Jumblefunk Records  Kartel Ltd  Keystone Records  KFM Records  Kitchenware Records Ltd.  Krypton Records  K-Tel Entertainment (UK) Limited  Lancaster Records Ltd  Leaf Label  Lemon Groove Records  Lifewater Station Z  M1 Music Ltd  M19 Recordings (MS & M International Ltd)  Mantis Music Ltd T/A Mantis Recordings  Maple Record Ltd  Marathon Music International  McGregor Acoustics  Media Records Ltd (also known as Nukleuz)  Megabop Records  Memnon Entertainment Limited  M M M s (rc l ’ F ui C a ki c n Records)

UK Export Handbook - 2004

61

                                              

Mighty Atom Records Ministry of Sound M ’ M s Ld os ui t c More Protein Morpheus Records MoWax Mr Bongo / Disorient Multiverse Ltd Mumbo Jumbo Music of Life My Audiotonic Ltd Naim Audio Ltd Needlework Records Neita Original Records Nettwerk Productions UK Newsound 2000 Ltd Ninja Tune Novamute Off the Wharf Productions Limited Offspring Records Oh Eye Records Opus Asia Records Orgy Records Ltd Outcaste Records P3 Music Ltd Palm Pictures Paul Casey Peacefrog Records PIAS Recordings UK Ltd Pickwick Group Limited Poptones Ltd Prestige Elite Records Limited Pure Mint Recordings Ltd Pure Silk Ltd Quixotic Records Random Records R a e’ Dg s A sc L e d r iet so . t s Recognition Distribution Ltd Red Records Reign of Sound Ltd Relyte Records / Beaumont St Studios Republic 37 Records/Saturn Return Records Resist Music Ltd RF Records Right Recordings Ltd Righteous Babe Records Roadrunner Records

                                         

Rocstar Recordings Ltd RSK Entertainment Ltd Ruf Beats Run Ltd Salt Records Ltd Serotonic Records Shake Records/Peet Music Ltd Silk Studios (Media Release Ltd T/As) Silveroak Music Entertainment Ltd Simply Vinyl Ltd Skylark Records Sledge Entertainment UK Slowfoot Records Smekkleysa/Badtaste SM Ltd Solemusic Industries Ltd Soul 2 Soul Recordings (Premier Class Ltd t/as) Spittoons Start Entertainments LTD Stylin Productions Ltd Sub Tub Music Ltd Supertone Records Tanty Records Terrapin Records The Rajon Music Group UK Limited The Sound Foundation TKO Music Group Tommy Boy Music Limited Townsend Music Ltd T/A Townsend Records Townsend Music Ltd T/A Townsend Records Triple A Records Ltd Tru-Thoughts Ltd Turpin Music Ltd (Inc Inertia Records) TWM Music Production Twopointnine Ltd / 2 point 9 Records Union Square Music Virtual Music Enterprises Ltd Vision Records Wagram Music UK ltd Walking Oliver Records Warp Records West 5 Records Ltd XKman.com Ltd

UK Export Handbook - 2004

62

 Xlantic Music Group  Yummi Records Ltd  Zestzone

 ZTT Records Ltd  ZYX RECORDS

4) Publishers                                   A7 Music Anglo Plugging Music Asterisk Music Audio Network Plc Barry Collings Entertainment Big World Publishing BMG Music Publishing Ltd Bocu Music Ltd Bucks Music Ltd Bug Music Ltd Bullseye Music Carlin Music Corporation Catalyst Music Publishing Ltd Chrysalis Music Ltd CLM Columbia Publishing Wales Ltd Constant in Opal Music Ltd Digger Music EMI Music Publishing Ltd Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing Ltd Hilltop Publishing Ltd Home City Records Publishing Hornall Brothers Music Ltd Hyde Park Music Ltd Independent Music Group J Albert and Son Ltd Kassner Associated Publishers Ltd Kobalt Music Publishing Ltd Lojo Music Ltd Lorna Kirtland Music Ltd MCS Music Ltd                                   Memory Lane Music Ltd Menace Music Ltd Merseysound Ltd Minaret Music Ltd MoonRock Music Multiplay Music Ltd The Music Trading Company Musicalities Paul Balance Music Ltd Peermusic Ltd Pink Floyd Music Publishers Ltd Primo Music Ltd Primrose Music Publishing Ltd Proper Music Publishing Ltd RAK Publishing Ltd Reverb Music Ltd Rive Droite Music Ltd Rock Music Company Ltd RSM Music Publishing Sanctuary Music Publishing SATV Publishing Ltd Songstream Music Sony/ATV Music Publishing UK Ltd Stage Three Music Ltd Star Street Music Ltd Stop Drop & Roll Music Ltd TKO Publishing Ltd Unforgettable Songs Ltd Universal Music Publishing International Ltd Vitamin V Ltd Warner/Chappell Music Ltd West One Music Ltd Westbury Music Ltd Windswept Music Ltd

UK Export Handbook - 2004

63

5) Distributors         Arabesque Distribution BMG Discovery Records Ltd EMI Nova Sales and Distribution UK Ltd Pinnacle Entertainment Revolver Music Ltd Universal

6) Retailers           A&A Music Action Records Asda Deckadance Disque Fopp HMV Music Zone MVC Rap & Soul Ltd          Sainsbury Safeway Sanity S on f e t Wokn h ’uf ---B az ri’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs       Bar Academy Bartok Gossips Madame jojo's Neighbourhood The Vibe Bar

8) Festivals  The Big Chills  The Hub

9) Managers  A J G Management Ltd  Albert Samuel Management  Basement Music Ltd     Big Cat UK Records Ltd Compass Global Music Deluxe Management Empire Artist Management

UK Export Handbook - 2004

64

    

Express Entertainment Ltd F&G Management Fruit IE Music Ltd Montana Artist Management  Musiclore Limited  New Vision Arts Management

 Patrick Jacobs International Management  RPL Management  Shalit Global Management and Entertainment  Steve Marriott Licensing Ltd  Watercolour Music  Worldmaster DJ Management Ltd

10) Bookers/Promoters     Cantaloupe Group Clear Channel Entertainment UK Music Jovanovic Lubi The Hub

11) Specialized media (press, radio, TV)            BBC Radio 2 BBC World Service Music Big Smoke Magazine Choice FM London Echoes Fire 107.6 FM Five Eight Galaxy 102 Heat Hip Hop Connection The Hub            Ministry Of Sound Radio Mtv uk & ireland MTV Base Music Week Resonance Fm Straight No Chaser The voice Time Out Vibe FM 105-108 Virgin Radio What's On In London

UK Export Handbook - 2004

65

Jazz

1) Situation of the music genre In 2003, Jazz improved on 2002 performance taking 2,6%. Norah Jones was and still is the main artist in the Jazz sector with her second album. But the emergence of new artists such as Jamie Cullum also boosted overall Jazz sales. It is the first time since 1995 in the Jazz sector ta teg nes re saeh sn rae . oa Jn ss h mao sl r i amot 0 o h t h e r’ mak t h r a ice sd N rh o e ite jr el w t l s 3 % f e h teg nessls Jmi C l m rpa e Da aKal stesc n sl rw t 1 ,% o te h e r’ ae. a e ul u e lc d in rla h e o d el i 16 f h e h shares thanks mainly to his second release (and first for Universal Classics and Jazz). 2) Majors     Blue Note (Parlophone / EMI) Mercury Records London Sony Music Entertainment (UK) Universal Classics and Jazz (UCJ)

3) Independent labels  33 Records  3rd Kind Music Production  A Klass Entertainment Limited  Ability Records Ltd  Absolute Marketing & Distribution Ltd  Ace Records  Acrobat Music and Media Ltd  Amazing Grace Records  APEX Entertainment Holding  AVE (London) Ltd  AVID Entertainment  Beat Goes On  Blow Up Records  Buzz Records  Cafe De Soul  Candid Productions Ltd  Caroline 2 Ltd  Charly Aquisitions Limited  Chocolate Fireguard Music Ltd  Circular Records  Classic Pictures Entertainment  Classical Communications Limited  Concrete Recordings Ltd  Curlique Records Ltd  Darkjazz  Delta Music Plc  Demon Music Group  Diaspora Communications  Discipline Global Mobile  Discovery Records Ltd  Dorado Records  Dramatico Entertainment Ltd  Dune Records  Eagle Records  Eastside Records  Emerald Music(Ireland) Ltd  EMI Classics & Jazz  Ena Music  Ether Music Ltd  FDM Records  Fellside Recordings  Fidela  Flying Mountain Productions  Habana Productions Ltd

UK Export Handbook - 2004

66

 Hail (Music From the Highlands & Islands of Scotland)  Half Full Music Limited  Harkit Entertainment Ltd  Head Kandi  Henry Hadaway Organisation Ltd  Hospital Records (formerly Tongue & Groove)  Hot Records/Beyond The Sea Ltd  Invisible Hands Music Ltd  Irish Intellectual Property Services Ltd  Jazz FM Records  Jazz FM/Hed Kandi  Jazz Fudge Recordings  Just Music  Kartel Ltd  K-Tel Entertainment (UK) Limited  Leaf Label  Lifewater Station Z  Linn Records  Lost Moment Records Ltd  M1 Music Ltd  Mantis Music Ltd T/A Mantis Recordings  Marathon Music International  Matrix Music Marketing  McGregor Acoustics  M M M s (rc l ’ F ui C a ki c n Records)  M ’ M s Ld os ui t c  Mr Bongo / Disorient  Multiverse Ltd  Music & Memories – Haysbridge UK Ltd  Naim Audio Ltd  Name Music  Neon  Nettwerk Productions UK  New Dawn Music  New Note Distribution Ltd  Newsound 2000 Ltd  Nimbus Records  Ninja Tune  North Star Music Publishing Ltd.  Northern Sky Music  Novamute

                                         

Offspring Records Outer Recordings P3 Music Ltd Passion Music Ltd Past Perfect Ltd Pavilion Records Ltd Pickwick Group Limited Prestige Elite Records Limited Proper Music Distribution Ltd Provocateur Records Ltd Pure Silk Ltd R a e’ Dg s A sc Ld e d r iet so . t s Recognition Distribution Ltd Relyte Records / Beaumont St Studios Retrospective Recordings Ltd RF Records Right Recordings Ltd Righteous Babe Records RSK Entertainment Ltd Sain (Recordiau) CYF Salt Records Ltd SBS Records Silva Screen Records Ltd Silveroak Music Entertainment Ltd Simply Vinyl Slowfoot Records Soul 2 Soul Recordings (Premier Class Ltd t/as) Spittoons Start Entertainments Ltd Survival Records Ltd Terrapin Records The Babel Label The Dune Music Company The Rajon Music Group UK Limited Time Music International Ltd TKO Music Group Total Quality UK Townsend Music Ltd T/A Townsend Records Tru-Thoughts Ltd Turpin Music Ltd (Inc Inertia Records) Union Square Music Upbeat Recordings Ltd

UK Export Handbook - 2004

67

 Virtual Music Enterprises Ltd  Voiceprint Group of companies  Warp Records

   

Whatmusic.com Zestzone ZTT Records Ltd ZYX Records

4) Publishers  Artemis Music Ltd  Ashley Mark Publishing  Associated Board of the Royal School of Music Ltd  Asterisk Music  Audio Network Plc  Basement Music Ltd  Big World Publishing Ltd  Bocu Music Ltd  Bucks Music Ltd  Bug Music Ltd  Carlin Music Corporation  Catalyst Music Publishing Ltd  Columbia Publishing Wales Ltd  De Haske Music Ltd  Digger Music  EMI Music Publishing Ltd  Essex Music Group  Faber Music Ltd  Fagus-Music.com  Fat Fox Music Ltd  Flashlight Music Publishers  The Full Pitcher Music Resources  Habana Music Publishing Ltd  Hornall Brothers Music Ltd  Hyde Park Music Ltd  Independent Music Group  John Stedman Music Publishing  Kassner Associated Publishers Ltd  Kobalt Music Publishing Ltd  Mark Rowles Music Ltd  Maxwood Music Ltd                                Merseysound Ltd MoonRock Music Multiplay Music Ltd The Music Trading Company Musicalities Mute Song Ltd NorthStar Music Publishing Ltd Obelisk Music Paragon Preston Stevens Music Ltd Parrot Productions Ltd Paul Rodriguez Music Ltd Phoenix Music Primo Music Ltd Primrose Music Publishing Ltd Proper Music Publishing Ltd Rive Droite Music Ltd Schott & Co Ltd Silva Screen Music Ltd Songstream Music Stage Three Music Ltd Stainer & Bell Ltd Studio Music Company TKO Publishing Ltd Universal Music Publishing International Ltd Valentine Music Group Voiceprint Publishing Warner/Chappell Music Ltd Warwick Music West One Music Ltd Westbury Music Ltd Winwood Music

UK Export Handbook - 2004

68

5) Distributors  AMD (Alternative Music Distribution)  AVID Entertainment  BMG  Discovery Records Ltd  EMI  Flute Worldwide  Harmonia Mundi UK Ltd  New note distribution  Nova Sales and Distribution UK Ltd  Pinnacle Entertainment  Revolver Music Ltd  Silva screen records  Sony Music Entertainment (UK)  Universal

6) Retailers             Acorn Music Action Records British Jazz Britania Calligraph Records Compact Music Courtyard Jam Disque Fopp HMV Jumbo Records Mole Jazz Ltd             Music Zone MVC R ys a za F ye a ’ J z t o ls Sainsbury Safeway Sanity S on f e t Wokn h ’uf ---B az ri’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs         Bartok Jazz Cafe 606 Club Kemia Bar Quecumbar Ronnie Scott's Spitz The Vibe Bar

8) Festivals      Bath Festival Trust Chard Festival of Women in Music Edinburgh Jazz and Blues Festival Fringe London Jazz Festival

UK Export Handbook - 2004

69

 South Hill Park / Blackwell Festival  The Big Chills

9) Managers          Basement Music Ltd Beat that Music Ltd Big Cat UK Records Ltd Boss record and management Brightchoice and Sir George Records Compass Global Music Deluxe Management Harrison Parrott Musiclore Limited  Patrick Jacobs International Management  RPL Management  Serious Ltd  Shalit Global Management and Entertainment  Triibal Markings Entertainment  Watercolour Music

10) Bookers/Promoters  Clear Channel Entertainment UK Music  Derby Jazz  Impro Agency  Leyline Promotions  Marshall Arts Ltd     Sasa Music Serious Ltd The Hub Sublime Management

11) Specialized media (press, radio, TV)          BBC I BBC Radio 2 BBC World Service Music BBC Radio 3 BBC 3 Mixing it Echoes Five Eight Jazz FM Lira         Ministry Of Sound Radio Music Week Resonance FM Straight No Chaser The Hub Time Out Tunes Ltd Wh t O I L n o a’ n n o d n s

UK Export Handbook - 2004

70

Reggae

1) Situation of the music genre In 2003, Reggae sales grew in both markets, albums and singles, reaching a new high of 1,5% in albums thanks to artists such as Sean Paul and several compilations. He represents on his own almost 30% of the sales in the reggae market - UB40 came second and its market share ac u tdfr af f e nP u’ co ne o h lo Sa a l . s

2) Majors  Mercury Records London  Polydor UK

3) Independent labels  3rd Kind Music Production  Ability Records Ltd  Absolute Marketing & Distribution Ltd  Acrobat Music and Media Ltd  Airwave Records Ltd  Alchemy Entertainment Ltd  Almafame  Amazing Grace Records  Ariwa Sounds Ltd  Artist Network  Assassination Music  AVE (London) Ltd  AVID Entertainment  Bandwagon  Blood and Fire  BMP Broken Music Publishing Ltd  Brightchoice & Sir George Records  Boh r R c rs t rte’ e od Ld s  Bus Brains Connection Records  Buttercuts Ltd.  Caroline 2 Ltd  Charly Aquisitions Limited  Colossus Records  Concrete Recordings Ltd  Copasetik Recordings UK Ltd  Cork Dog Records Ltd  Creole Records Ltd  Crimson productions  Darkjazz  Delta music plc  Demon Music Group  Eagle Rock Entertainment Plc  Emerald Music(Ireland) Ltd  EPARK UK  FDM Records  Fidela  Gotham Records  Greensleeves Records  Habana Productions Ltd  Hail (Music From the Highlands & Islands of Scotland)  Half Full Music Limited  Henry Hardaway Organisation Ltd  Hot Records/Beyond The Sea Ltd  In House Productions  Irish Intellectual Property Services Ltd

UK Export Handbook - 2004

71

 Jet Star Phonographics  Kartel Ltd  K-Tel Entertainment (UK) Limited  Lancaster Records Ltd  LKJ Records  M1 Music Ltd  M19 Recordings (MS & M International ltd)  Marathon Music International  Megabop Records  M M M s (rc l ’ F ui C a ki c n Records)  Mi5 Recordings  M ’ M s Ld os ui t c  M ’ M s M c ie os ui a hn c  Mohican Records Ltd  Morpheus Records  Multiverse Ltd  My Audiotonic Ltd  Naim Audio Ltd  Neita Original Records  Nettwerk Productions UK  Newsound 2000 Ltd  Novamute  Offspring Records  One Step Music Ltd  Opus Asia Records  Pickwick Group Limited  Pleasuredome  Poptones Ltd  President Records  Pressure Sounds  Prestige Elite Records Limited

                         

Probe Plus Pure Mint Recordings Ltd R a e’ Dg s A sc Ld e d r iet so . t s Recognition Distribution Ltd Relyte Records / Beaumont St Studios RF Records RSK Entertainment Ltd Run Ltd Silveroak Music Entertainment Ltd Simply Vinyl Ltd Soul 2 Soul Recordings (Premier Class Ltd t/as) Spittoons Tanty Records The Rajon Music Group UK Limited Time Music International Ltd TKO Music Group Townsend Music Ltd T/A Townsend Records Triple A Records Ltd Union Square Music Universal Egg Virtual Music Enterprises Ltd Wienerworld Limited Xl recordings Yummi Records Ltd Zestzone ZTT Records Ltd

4) Publishers  Ar ’rs ui f cA t M s i c Connections Label UK  Asterisk Music  Audio Network Plc  Basement Music Ltd  Big World Publishing  BMG Music Publishing Ltd  Bucks Music Ltd  Bug Music Ltd  Carlin Music Corporation  Catalyst Music Publishing Ltd       Digger Music EMI Music Publishing Ltd Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing Ltd  Home City Records Publishing  Independent Music Group  Kassner Associated Publishers Ltd

UK Export Handbook - 2004

72

 Kobalt Music Publishing Ltd  Maxwood Music Ltd  MCS Music Ltd  Menace Music Ltd  Merseysound Ltd  MoonRock Music  Multiplay Music Ltd  Music Sales Ltd  New Town Sound Ltd  Paul Balance Music Ltd  Paul Rodriguez Music Ltd  Peermusic Ltd  Pink Floyd Music Publishers Ltd

 Primrose Music Publishing Ltd  Proper Music Publishing Ltd  Reverb Music Ltd  Jet Star Phonographics  Rive Droite Music Ltd  Rock Music Company Ltd  RSM Music Publishing  Songstream Music  Stage Three Music Ltd  Vitamin V Ltd  Warner/Chappell Music Ltd  West One Music Ltd  Westbury Music Ltd

5) Distributors       BMG EMI Jet Star Phonographics Nova Sales and Distribution UK Ltd Revolver Music Ltd Universal

6) Retailers         Asda Britania Disque Fopp HMV Music Zone MVC Sainsbury         Safeway Sanity S on f e t Wokn h ’uf ---B az ri’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs  Neighbourhood

8) Festivals  The Hub

UK Export Handbook - 2004

73

 Spitz

9) Managers      Basement Music Ltd Big Cat UK Records Ltd Compass Global Music Deluxe Management Face the music global limited  Gotham Records  New Vision Arts Management  Patrick Jacobs International Management  RPL Management  Shalit Global Management and Entertainment  Sharpe Management

10) Bookers/Promoters       Cantaloupe group Clear channel entertainment uk music Impro agency Jet Star Phonographics Marko Polo The Hub

11) Specialized media (press, radio, TV)          BBC I BBC Radio 2 BBC World Service Music BBC Radio 3 BBC 3 Mixing it Echoes Five Eight Jazz FM Lira         Ministry Of Sound Radio Music Week Resonance FM Straight No Chaser The Hub Time Out Tunes Ltd Wh t O I L n o a’ n n o d n s

UK Export Handbook - 2004

74

Metal

1) Situation of the music genre Metal, traditionally an album-driven sector also had an excellent year in 2003, increasing its share to 7,7% helped by breakthrough releases from the Darkness representing 9,7% of the music genre sales and Evanescence 7,3% along with successful albums from Linkin Park, Good Charlotte and Muse.

2) Majors  Mercury Records London  Warner Music UK  Sony music entertainment (UK)

3) Independent labels  1 Records Worldwide Ltd  3rd Kind Music Production  Absolute Marketing & Distribution Ltd  Acrobat Music and Media Ltd  Adasam Ltd  Alchemy Entertainment Ltd  Almafame  Angel Air Records  Animal Noise  Anticulture Records Ltd  ARTISTdirect RECORDS  Boss Tuneage (Mr A Stephens t/as)  Cacophonous Records  Candy Productions Ltd  Captain Oi Records  Cargo Records UK Ltd  Caroline 2 Ltd  Chips Records  Common Products  Concrete Recordings Ltd  Cork Dog Records Ltd  Corruptive Records  Crash Records / Starline Promotions  Demon Music Group  Digital Hardcore Recordings  Dry Run Recordings ltd  Eagle Rock Entertainment Plc  Earache Records  Eat Sleep Records Ltd  Echo Label Ltd  Edgy Records Ltd  Emerald Music(Ireland) Ltd  Epitaph Europe  FF Vinyl Ltd  Gentle Electric  Gronland  Gun Pure Records  Habana Productions Ltd  Hail (Music From the Highlands & Islands of Scotland)  Half Full Music Limited  Henry Hardaway Organisation Ltd  Hiptonic Records  Hot Records/Beyond The Sea Ltd  Invisible Hands Music Ltd  Jungle Records

UK Export Handbook - 2004

75

 L K Records Ltd T/A Lizard King Records  Lancaster Records Ltd  Lipstick Head Records  Lost Moment Records Ltd  Mighty Atom Records  M ’ M s Ld os ui t c  Mohican Records Ltd  My Audiotonic Ltd  Newsound 2000 Ltd  Novamute  Occasion Recordings & Publications Ltd  Pickwick Group Limited  Plastic Head Records.  Poptones Ltd  Probe Plus  Proper Music Distribution Ltd  Pyrococcal Records  Relyte Records / Beaumont St Studios  RF Records  Right Recordings Ltd  Righteous Babe Records  Riverside Records Ltd  Roadrunner Records 4) Publishers          BMG Music Publishing Ltd Carlin Music Corporation EMI Music Publishing Ltd Focus Music Ltd J Albert and Son Ltd Kobalt Music Publishing Ltd Late Callows Music Songstream Music V2 Music Publishing Ltd

                     

Rough Trade Records RSK Entertainment Ltd Sandman Records Scrotum Records Seriously Groovy Music Ltd Silveroak Music Entertainment Ltd Simply Vinyl Ltd Skinny Dog Records Ltd Spank Records Spittoons The Rajon Music Group UK Limited The Sound Foundation Time Music International Ltd Townhill Records Townsend Music Ltd T/A Townsend Records Transcopic Union Square Music Vinyl Japan (UK) Ltd. Visible Noise Wienerworld Limited Z Records ZTT Records Ltd

5) Distributors        BMG EMI Nova sales and distribution uk ltd Plastic Head Revolver music ltd Southern record distribution (SRD) Universal

UK Export Handbook - 2004

76

6) Retailers         Asda Britania Disque Fopp HMV Music Zone MVC Sainsbury        Safeway Sanity Tesco Virgin Megastores Virgin Express WH Smith Woolworths

7) Clubs  The Cavern Club  Kartouche

8) Festivals     Big Cat UK Records Ltd Ozzfest Reading festival The Hub

9) Managers           Big Life Management Compass Global Music Creation Management Ltd Deluxe Management Fluent Music INS-YNC Interceptor Enterprises Middle 8 Management Out there Management Patrick Jacobs International Management  Red Boots Management  RPL Management  Sanctuary Music Management Ltd  Shalit Global Management and Entertainment  Sharpe Management  Subversive Music Management Ltd

 The Hub 10) Bookers/Promoters  Clear Channel Entertainment UK Music

UK Export Handbook - 2004

77

11) Specialized media (press, radio, TV)                  BBC I BBC World Service Music Bullit magazine Five eight MTV Uk & Ireland Music week The Hub Virgin Radio BBC Radio 2 BBC World Service Music Five Eight Ministry Of Sound Radio Mtv UK & Ireland Resonance FM The Hub The Voice Tunes Ltd

UK Export Handbook - 2004

78

Folk/Celtic/Blues/Country

1) Situation of the music genre Folk music dropped 0,2% compared to 2002, representing 1,2% of the market shares. Celtic music is not one of the major genres in the music market. However, Celtic music fans are very active in the festival field. In 2003, Blues music represents 0,3% but has lost some market share since 1995 when it represented 0,7%. Country music increased its share representing 1,8% of the music market shares due to artists like Shania Twain and Johnny Cash. It also underscores C u t mui s efr n ei tes ge mak t i 07 . h naTwain is the biggest artist o nr y s ’ p r ma c n h i ls re w t ,% Sa i c o n h with more than 15% of the country music share just for her album. Johnny Cash comes second but far behind with only 8,5% of the shares. More than one third of this market is monopolized by two big artists in the UK.

2) Majors  679 Recordings  Mercury Records London  Sony Music Entertainment (UK)

3) Independent labels

 3rd Kind Music Production  Ability Records Ltd  Absolute Marketing & Distribution Ltd  Acrobat Music and Media Ltd  Adasam Ltd  Alchemy Entertainment Ltd  Almafame  Andmoresound Ltd  Apex Entertainment Holding  Architecture  Artist Network  ARTISTdirect RECORDS  AVE (London) Ltd  AVID Entertainment  Bandwagon  Beat Goes On

                

Boom Chang Records Buzz Records Caroline 2 Ltd Charly Aquisitions Limited Circular Records Classic Pictures Entertainment Cold Town Music ltd Concrete Recordings Ltd Cork Dog Records Ltd Crimson Productions Curb Records Ltd Cyberphonic Records Ltd Delta Music Plc Demon Music Group Dramatico Entertainment Ltd Dreamy Eagle Rock Entertainment Plc

UK Export Handbook - 2004

79

                                        

Electric Records Ltd Emerald Music(Ireland) Ltd Epitaph Europe Face The Music Global Ltd Fat Fox Records FDM Records Firebird International Floating World Flying Mountain Productions Foot Stompin Records Ltd Gotham Records Greentrax Recordings Ltd Habana Productions Ltd Hail (Music From the Highlands & Islands of Scotland) Half Full Music Limited Henry Hardaway Organisation Ltd Hot Records/Beyond The Sea Ltd Instant Karma International Music Group Plc Invisible Hands Music Ltd Irish Intellectual Property Services Ltd K-Tel Entertainment (UK) Limited Lifewater Station Z Linn Records Lock Stock and Barrel Records LP Music MacMeanma Marathon Music International Matrix Music Marketing M M M s (rc l ’ F ui C a ki c n Records) Mi5 Recordings M ’ M s Ld os ui t c Mohican Records Ltd Moksha Recordings Ltd Music & Memories – Haysbridge UK Ltd My Audiotonic Ltd Nachural Records Naim Audio Ltd Navras Records Neita Original Records Neon

                                             

Nesta Records New Dawn Music New Note Distribution Ltd Newsound 2000 Ltd Northern Sky Music Novamute Offspring Records One Step Music Ltd Opus Asia Records Original Mind Songs P3 Music Ltd Park Records Past Perfect Ltd Pavilion Records Ltd Pickwick Group Limited Prestige Elite Records Limited Probe Plus Proper Music Distribution Ltd Quixotic Records R a e’ Dg s A sc Ld e d r iet so . t s Recognition Distribution Ltd Red Lightning Relyte Records / Beaumont St Studios Reverential Records RF Records Right Recordings Ltd Riverside Records Ltd RSK Entertainment Ltd Rykodisc Ltd Sain (Recordiau) CYF Salt Records Ltd Saregama Plc Seeca Music Ltd Shake Records/Peet Music Ltd Sharpe Music Shoeshine Records Silva Screen Records Ltd Silveroak Music Entertainment Ltd Simply Vinyl Snapper Music Sonic Nation Start Entertainments Ltd Stylin Productions Ltd. Survival Records Ltd Tall Poppy Records The Rajon Music Group UK Limited

UK Export Handbook - 2004

80

 Time Music International Ltd  Topic Records  Townsend Music Ltd T/A Townsend Records  Transcopic  Tru-Thoughts Ltd  Twopointnine Ltd / 2 point 9 Records  Union Square Music 1) Publishers                                  Angus Publications Asterisk Music Audio Network Plc Basement Music Ltd Big World Publishing BMG Music Publishing Ltd Boosey & Hawkes Music Publishers Ltd Bucks Music Ltd Bug Music Ltd Bulk Music Ltd Bullseye Music Carlin Music Corporation Catalyst Music Publishing Ltd Columbia Publishing Wales Ltd Constant in Opal Music Ltd Curiad Cyhoeddiadau Sain De Haske Music Ltd Digger Music EMI Music Publishing Ltd Essex Music Group Faber Music Ltd Fagus-Music Ltd Fat Fox Music Ltd Focus Music Ltd Friendly Overtures Ltd Goodmusic Habana Music Publishing Ltd Hornall Brothers Music Ltd Hyde Park Music Ltd Independent Music Group John Stedman Music Publishing Kassner Associated Publishers Ltd

       

Wagram Music UK ltd Weird Eye Records XL Recordings Xlantic Music Group Zenith Cafe Zestzone ZTT Records Ltd ZYX Records

 Kobalt Music Publishing Ltd  Lindsay Music  Lojo Music Ltd  Mark Rowles Music Ltd  Maxwood Music Ltd  MCS Music Ltd  Mere Folk  Merseysound Ltd  Moggie Music Ltd  Moncur Street Music Ltd  MoonRock Music  Multiplay Music Ltd  The Music Trading Company  Musicalities  Mute Song Ltd  New Town Sound Ltd  NorthStar Music Publishing Ltd  Obelisk Music  Ocarina Workshop  Orange Songs Ltd  Paragon Preston Stevens Music Co Ltd  Parrot Productions Ltd  Paternoster Music Ltd  Paul Rodriguez Music Ltd  Peermusic Ltd  Phoenix Music  Primo Music Ltd  Primrose Music Publishing Ltd  Proper Music Publishing Ltd  PXM Publishing  Rita Ltd  Rive Droite Music Ltd  Rock Music Company Ltd

UK Export Handbook - 2004

81

          

RSM Music Publishing Schott & Co Ltd Silva Screen Music Ltd Songstream Music Ltd Sony/ATV Music Publishing UK Ltd Stage Three Music Ltd Stainer & Bell Ltd Star Street Music Ltd Studio Music Company Thames Music Ltd TKO Publishing Ltd

 Universal Music Publishing International Ltd  Valentine Music Group  Voiceprint Publishing  Warner/Chappell Music Ltd  Warwick Music  West One Music  Westbury Music Ltd  Windswept Music Ltd  Winwood Music  Woza Music

4) Distributors         BMG Cube Roots EMI Nova Sales and Distribution UK Ltd Pinnacle Entertainment Sony Music Entertainment (UK) TKO Music Group Universal

5) Retailers          Action Records Asda Britania Disque Fopp HMV Music Zone MVC Sainsbury         Safeway Sanity S on f e t Wokn h ’uf ---B az ri’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

6) Clubs         Bartok 100 Club Paradise Bar 12 bar Gossips Spitz The borderline Quecumbar

UK Export Handbook - 2004

82

7) Festivals  The Hub  Alcester & Arden Folk Festival  Bishops Castle Folk Weekend  The Border Gaitherin, Coldstream.  Brampton Live Festival  Bromyard Folk Festival           Burntwood Folk Festival Cambridge Folk Festival Chippenham Folk Festival Cleckheaton Folk Festival Crawley Folk Festival Edinburgh Jazz and Blues Festival Folk Beat Derby Folkworks Girvan Folk Festival Holmfirth Folk Festival  Middlewich Folk & Boat Festival  Nantwich Folk and Roots Festival  The National Folk Festival Scotland  Otley Folk Festival  Oxford Folk Festival  Poynton Folk Festival  Reedham Ferry Folk Festival  St Neots Folk Festival, Cambridgeshire  Southsea Folk and Roots Festival  Stainsby Folk Festival  Stonehaven Folk Festival  Teignmouth Folk Festival  Wigan's Annual Day of Folk, Seven Stars, Wallgate

8) Managers            AIR Basement Music Ltd Big Cat UK Records Ltd Cara Music Ltd Compass Global Music Deluxe Management Harrison Parrott Independent Music Group MacMeanma Marko Polo Nachural Records  Patrick Jacobs International Management  Red Boots Management  RPL Management  Serious Ltd  Shalit Global Management and Entertainment  Sounds Like a Hit Limited  Triibal Markings Entertainment  Watercolour Music

10) Bookers/Promoters      Adastra Clear Channel Entertainment UK Music Marko Polo The Hub Sublime Management

UK Export Handbook - 2004

83

11) Specialized media (press, radio, TV)               BBC I BBC Radio 2 BBC Radio 3 BBC World Service Music Blues and Soul Echoes Five Eight Les inrockuptibles The Hub Ministry of sound radio Music week Resonance fm Time Out Virgin radio

UK Export Handbook - 2004

84

World

1) Situation of the music genre In 2003, world music album sales accounted for 0.5% in the total music market shares. This compares to 0.4% in the four previous years. The genre does not register sufficient market saeo s ge t b ltdi teB I be k o no s g s y e r. h r n i ls o e i e n h P’ ra d w f i l b g ne n s s ne

2) Majors  Mercury Records London  Sony Music Entertainment (UK)  Virgin Records

3) Independent labels

 3rd Kind Music Production  Acrobat Music and Media Ltd  Adasam Ltd  Afion Records Ltd  Alchemy Entertainment Ltd  Apartment 22  APEX Entertainment Holding  ARC Music Productions  Ariwa Sounds Ltd  AVE (London) Ltd  AVID Entertainment  A-Wave.com Ltd T/A AWave Records  Bandwagon  Big Help Music Ltd  Brightchoice & Sir Georges Records  Caroline 2 Ltd  Charly Aquisitions Limited  Chocolate Fireguard Music Ltd  Circular Records  Classic Pictures Entertainment

 Classical Communications Limited  Concrete Recordings Ltd  Cork Dog Records Ltd  Cyberphonic Records Ltd  DB Records  Delta Music PLC  Demon Music Group  Discipline Global Mobile  Discovery Records Ltd  Eagle Records  Ekostar Entertainment  Emerald Music(Ireland) Ltd  Ether Music Ltd  Face The Music Global Ltd  FDM Records  Firebird International  Floating World  Flying Mountain Productions  Fresh Entertainment  Greentrax Recordings Ltd  Gronland  GUT International  Habana Productions Ltd  Hail (Music From the Highlands & Islands of Scotland)

UK Export Handbook - 2004

85

 Half Full Music Limited  Henry Hardaway Organisation Ltd  Hiptonic Records  Hot Records/Beyond The Sea Ltd  Independent Records Ltd  International Music Group Plc  Irish Intellectual Property Services Ltd  Just Music  Kaleidoscope Music Group Ltd  Kartel Ltd  Lifewater Station Z  LKJ Records  M21  Marathon Music International  Matrix Music Marketing  McGregor Acoustics  M M M s (rc l ’ F ui C a ki c n Records)  Mi5 Recordings  M ’ M s Ld os ui t c  Mohican Records Ltd  Moksha Recordings Ltd  Most Records  Multiverse Ltd  Music Factory Entertainment Group Limited  Music Mountain Music Ltd  My Audiotonic Ltd  Nachural Records  Naim Audio Ltd  Nation Records Ltd  Navras Records  Nettwerk Productions UK  New Note Distribution Ltd  New World Music  Newsound 2000 Ltd  Nimbus Records  North Star Music Publishing Ltd.  Novamute  Occasion Recordings & Publications Ltd  Offspring Records  One Step Music Ltd  Opus Asia Records  Oriental Star Agencies

                                        

Original Mind Songs Outcaste Records P3 Music Ltd Palm Pictures Park Records Pickwick Group Limited Prestige Elite Records Limited Proper Music Distribution Ltd Putumayo UK Quixotic Records R and M Records R a e’ Dg s A sc Ld e d r iet so . t s Real World Records Recognition Distribution Ltd Relyte Records / Beaumont St Studios Retrospective Recordings Ltd Riverrun Records RSK Entertainment Ltd Rykodisc Ltd Salt Records Ltd Saregama Plc Sectioned Media Ltd (formerly Enced Media) Sharpe Music Silva Screen Records Ltd Silveroak Music Entertainment Ltd Simply Vinyl Slowfoot Records Stylin Productions Ltd. Survival Records Ltd Swaraj Records Tanty Records The Babel Label The Rajon Music Group UK Limited Time Music International Ltd TKO Music Group Townsend Music Ltd T/A Townsend Records Tru-Thoughts Ltd Tumi Music Ltd Twopointnine Ltd / 2 point 9 Records Union Square Music Virtual Music Enterprises Ltd

UK Export Handbook - 2004

86

     

Wagram Music UK ltd Whatmusic.com World circuit World music network Wrasse records Xl recordings

    

Xlantic Music Group Yup Records Zestzone ZTT Records Ltd ZYX records

4) Publishers  4AD Music Ltd  A7 Music  Ar ’rs ui f cA t M s i c Connections Label UK  Alfred Publishing Co Ltd  Audio Network Plc  Basement Music Ltd  Big World Publishing Ltd  BMG Music Publishing Ltd  Bossey & Hawkes Music Publishers Ltd  Bucks Music Ltd  Bug Music Ltd  Constant in Opal Music Ltd  Cyhoeddiadau Sain  EG Music Ltd  EMI Music Publishing Ltd  Fairwood Music Ltd  Friendly Overtures Ltd  The Full Pitcher Music Resources  Habana Music Publishing Ltd  Hatton & Rose Publishers  Independent Music Group  J Albert and Son Ltd  Kassner Associated Publishers Ltd  Kobalt Music Publishing Ltd  Lindsay Music 5) Distributors  AMD (Alternative Music Distribution)  ARC Music Productions  BMG  Cube Roots  Discovery Records Ltd  EMI  Harmonia Mundi UK Ltd  New Note Distribution  Nova Sales and Distribution UK Ltd  Pickwick Group  Pinnacle Entertainment  Proper Music Distribution                         MCS Music Ltd Merseysound Ltd Moncur Street Music Ltd MoonRock Music Music Sales Ltd The Music Trading Company Musicalities NorthStar Music Publishing Ltd Obelisk Music Parrot Productions Ltd Paul Rodriguez Music Ltd Primrose Music Publishing Ltd Promethean Editions Ltd Proper Music Publishing Ltd PXM Publishing Rive Droite Music Ltd SATV Publishing Ltd Silva Screen Music Ltd Stage Three Music Ltd Unforgettable Songs Ltd Universal Music Publishing International Ltd Warner/Chappell Music Ltd West One Music Ltd Woza Music

UK Export Handbook - 2004

87

 Silva Screen Records  Sony Music Entertainment (UK)  Sterns Music  Terra Firma Music Ltd 6) Retailers           Asda Britania Disque Fopp HMV Music Zone MVC New Note Distribution LTD Reggae Revive Sainsbury

 Universal

        

Safeway Sanity S on f e t Wokn h ’uf ---B az ri’ Sterns Music Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs        Bar Cuba Ltd Bar Rumba Kemia Bar Quecumbar Spitz The Vibe Bar

8) Festivals          Bath Festival Trust Croydon Summer Festival Duckfest Larmer Tree Festival Salsa UK South Hill Park / Bracknell Festival Sri Lanka Festival of Music, Dance & Speech The Hub Womad

9) Managers      Basement Music Ltd Big Cat UK Records Ltd Compass Global Music Deluxe Management Nachural Records  Patrick Jacobs International Management  RPL Management  Shalit Global Management and Entertainment  Sublime Management

UK Export Handbook - 2004

88

 Triibal Markings Entertainment

 Watercolour Music

10) Bookers/Promoters  Adastra  African & Caribbean Music Circuit Ltd  African Music Agency  Cantaloupe Group  Clear Channel Entertainment UK Music  Coda Agency  Como No  Croydon Clocktower  Far Side Music Ltd  Impro Agency  Jovanovic Lubi             Joyful Noise Latin Massive Marko Polo Marshall arts ltd Musicians Incorporated Sasa Music Serious Ltd Soundsfine Ltd The Hub The Shrine Whitby Musicport Yad Arts

11) Specialized media (press, radio, TV)                           Afrolatina.com BBC I BBC Radio 2 BBC World Service Music BBC London Live BBC Radio 3 BBC Radio 3 – Mixing It Bullit Magazine Caribbean Times Echoes Far Side Music Ltd Five Eight Froots Magazine Les Inrockuptibles MBC News Department Ministry Of Sound Radio New Nation Resonance FM Songlines Ltd Straight No Chaser Talking Africa The Hub The Voice The Weekly Gleaner Tunes ltd Virgin Radio  Wh t O I L n o a’ n n o d n s

UK Export Handbook - 2004

89

90

91

Sign up to vote on this title
UsefulNot useful

Master Your Semester with Scribd & The New York Times

Special offer: Get 4 months of Scribd and The New York Times for just $1.87 per week!

Master Your Semester with a Special Offer from Scribd & The New York Times