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ONErpm Launches ONE Publishing – Billboard

In a course of three years, ONErpm has developed the technology to register, identify and manage compositions in compliance with international standards, launching its new division, ONE Publishing, Billboard can announce today (Aug. 5).

Allowing composers and publishers to manage their catalogs and collect publishing royalties in an easy and transparent way, ONE Publishing has partnered with Collective Management Organisation (CMO) and streaming platforms including BMI, ASCAP, SESAC, HFA, MLC, MusicReports; as well as with regional partners in Brazil (UBC), Mexico (SACM), Colombia (SAYCO), Latin America (LatinAuthor), and Europe (Unison).

Additionally, signing direct contracts with YouTube, Spotify, Apple, Deezer, Lyricfind, and MusixMatch.

“I am honored to develop this new publishing initiative,” said Diego Maldonado, head of ONE Publishing, in a statement. “We truly believe in creating better solutions for musicians and with this powerful product we are raising the bar and closing an important gap for songwriters and artists around the world.”

Maldonado, who was formerly country manager in Colombia for seven years and led the company to grow to a market share of over 10%, will continue reporting to ONErpm’s founder and CEO, Emmanuel Zunz, in his new role

Of the new initiative, Zunz added: “The launch of ONE Publishing marks a milestone for our company as we solidify our position as a leading independent and truly global music company. The service is in line with our mission to be a full-service, modern music company that works tirelessly to create more value for creators.”

ONE Publishing will be available across all of ONErpm’s territories in 33 cities and 29 countries, as well as ONErpm premium distributed artists and labels, and DIY accounts that meet certain criteria.




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Scarface Explains Why He’s ‘Disgusted’ With The Music Industry




Scarface Explains Why He’s ‘Disgusted’ With The Music Industry | HipHopDX


























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‘Four Kings and a Queen’ take over NPAT

Five of the country’s legendary performers are joining forces for a night of music and nostalgia in “Four Kings and a Queen” this August 26 and 27 at the Newport Performing Arts Theater.

“Ballad King” Nonoy Zuñiga, “King of Hearts aka Kilabot ng Kolehiyala” Hajji Alejandro, “Hitmaker King” Rey Valera and “King Crooner aka Crush ng Bayan” Marco Sison will be joined by the Concert Queen Pops Frenandez as their special guest, all performing live onstage for a winning live entertainment phenomenon.

These OPM royalties continued to prove timelessness on their recent sold-out concerts in the US. Now the show will finally be brought to the Philippines with a two-night performance to enthrall local audiences.

Under the musical direction of Gerry Matias, the Four Kings and a Queen concert will carry a repertoire of OPM classics from the quartet of certified Hitmakers, plus a good dose of captivating performances from the undisputed Concert Queen Pops Fernandez with her renditions of top favorites and modern pop hits.

Newport World Resorts and Full House Theater Company in partnership with DSL Events and Production together with Dreamwings Production will be presenting this live entertainment affair. Tickets are available at TicketWorld and SM Tickets.

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IVE’s ‘I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

One of IVE’s “I’VE SUMMER” comeback teaser photos garnered attention as it reminded people of a disbanded K-pop girl group. Curious? Continue reading to know what made them think of the previous artist.

IVE’s “I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

Since early this month, IVE has been releasing teaser pictures and clips for their second comeback with another single album titled “After Like.” The album is a follow-up to their smash hit “LOVE DIVE,” released in March.

IVE SUMMER

(Photo : Facebook: IVE)
IVE’s ‘I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

On Aug. 4, the “I’VE SUMMER” comeback teaser photos featuring the entire group were revealed after a series of individual pictures of the members.

ALSO READ: IVE Wonyoung Being a Chinese Descent Becomes Hot Topic Again- Here’s Why

In the three images, the six IVE members are seen wearing all-white outfits and giving different poses to the camera while on a cargo bed and the green grass.

IVE SUMMER

(Photo : Facebook: IVE)
IVE’s ‘I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

In particular, one of the images shows the new girl group lying prone on a white sheet spread on the green grass. This certain photo was shared on the online community Nate Pann by a netizen who asserted it reminded them of a disbanded K-pop girl group.

Titled “Seeing IVE Reminded me of GFRIEND,” the post talks about how one of IVE’s “I’VE SUMMER” comeback photo made the netizen remember GFRIEND, who unfortunately ended their group activities in May of last year.

IVE SUMMER

(Photo : Facebook: IVE)
IVE’s ‘I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

READ MORE: IVE Liz Garners Attention for Weight Gain

The Nate Pann user wrote, “It gives me the GFRIEND vibes. It reminds me of ‘Me Gustas Tu’s album cover, so I like it.”

The album cover the netizen was referring to is the picture below. It is for GFRIEND’s second extended play, “Flower Bud,” which features the title track “Me Gustas Tu.”

GFRIEND Flower Bud

(Photo : Twitter: @GFRDofficial)
IVE’s ‘I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

In the image, the GFRIEND members can be seen lying on their bellies on a colorful sheet and showing bright smiles. Other notable things are the colorful sheet being spread on the green grass as well, and GFRIEND consisted of six members like IVE.

YOU MIGHT ALSO LIKE: Ahn Yujin Confesses She Didn’t Enjoy IVE’s First Music Show Win – Here’s Why

GFRIEND Flower Bud

(Photo : Twitter: @GFRDofficial)
IVE’s ‘I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

Under the Nate Pann post, some netizens commented that the IVE’s “IVE SUMMER” comeback teaser looks the same as GFRIEND’s “Flower Bud” album cover. Below are a few of the comments:

“It looks the same. They must’ve looked at GFRIEND and plagiarized them.

“Oh, what the? It’s the same.”

“IVE’s teaser does give off a GFRIEND vibe.”

“It gives me nostalgic feelings.”

“I’m a Buddy, and I like it since they remind me of GFRIEND’s debut days.”

However, the Nate Pann post has since been deleted.

Do you agree that IVE’s “I’VE SUMMER” comeback teaser photo exudes a GFRIEND vibe during their “Me Gustas Tu” era? Let us know what you think in the comment box below!

IVE’s “LOVE DIVE” Enters All Circle Charts

In other news, IVE’s “LOVE DIVE” consistently demonstrates its popularity in South Korea as it secures another spot on different Circle charts.

IVE LOVE DIVE

(Photo : Twitter: @IVEstarship)
IVE’s ‘I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

For the week of July 24 to 30, “LOVE DIVE” ranked No. 23 on the Circle Album Chart with 6,082 copies sold and claimed No. 22 on the Retail Album Chart with 4,078 copies sold.

Moreover, the album’s title song (also called “LOVE DIVE”) held onto its position at No. 2 on the Global K-pop Chart and stayed strong at No. 3 on both the Digital Chart (with over 24 million digital points) and the Streaming Chart.

IVE LOVE DIVE

(Photo : Twitter: @IVEstarship)
IVE’s ‘I’VE SUMMER” Comeback Teaser Reminds People of THIS Disbanded Girl Group

On the Download Chart, “LOVE DIVE” maintained its position at No. 24, while the track reached a new peak on both the BGM Chart and the Bell Chart at No. 55 and No 18, respectively. On the contrary, it dropped to No. 11 on the Singing Room Chart and climbed down to No. 88 on the Ring Chart.

Finally, IVE climbed to No. 13 on the latest Social Chart.

For more K-Pop news and updates, keep your tabs open here at KpopStarz.

KpopStarz owns this article

Written by Maria Scott




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‘A publicly accessible platform on which anyone can make undeletable, tamper-proof assertions about their ownership of or contribution to music sounds like the foundations of anarchy’

The following MBW op/ed comes from Mark Douglas, Chief Information Officer at PPL, the UK’s music licensing company for over 130,000 performers and recording rightsholders. He argues that, behind the buzz, blockchain is a technology that doesn’t address, let alone solve, the industry’s main data issue…


As a solution to all ills in the music industry, blockchain first raised its head back in 2016.

There wasn’t a week that went by without another seminar, blog post or industry journal heralding this new transformative technology and how it was going to reinvent the music ecosystem.

By 2019 this fervour was starting to ebb, and all went quiet for a few years. Many of the start-ups that were going to lead this transformation shut up shop and moved on to something new. The rest of us got on with our day jobs.

Then, in 2021, NFTs broke through into the mainstream and re-awoke the blockchain fan base. The noise levels around how blockchains are going to transform our industry are now rapidly rising to their 2017 levels.

Even the Worldwide International Property Organisation (WIPO) have joined in, releasing a white paper titled ‘Blockchain Technologies and IP Ecosystems’, which sets out the many and varied ways in which blockchains will solve a broad range of problems in the Intellectual Property domain.

Depressingly, the 189 pages read like an advertorial for blockchains. Perhaps that should come as no surprise. WIPO set out in their introduction that the contents of the paper have been created through desk-based research, a survey of companies playing a role in the blockchain industry, and interviews with ‘relevant’ actors in the IP and blockchain industries.

As with many commentators on blockchains, the whole premise of the white paper seems to me to be back to front. The questions it seeks to answer are framed in terms of: I have a blockchain, what can I do with it? The proverbial hammer looking for a nail to hit.

In all my years of designing and delivering technology systems, I have found the best approach to be to first get to the bottom of what the problems are, and then design the solution to best address those problems. Picking a solution first and then seeing how it can be manipulated to try and address the problem usually leads to failed projects.

It is at this juncture that it is worth understanding the mechanics of a blockchain. By examining how they function, we can better understand what benefits they may provide, and then determine their relevance to solving the data challenges we have in the music industry.

Imagine I want to create a public database of all sound recordings, the party that owned the original copyright in each of those recordings, along with the recordings’ release date. Let’s take Welcome To Hell by Black Midi as a recently released example.

The original copyright in that recording is owned by Black Midi, and it was released on 9 May 2022. Following database best practices this data should be expressed using appropriate identifiers. For the recording, that would be its ISRC (International Standard Recording Code), and for the copyright owner, let’s use their ISNI (International Standard Name Identifier). For my Welcome To Hell example, that gives us an ISRC of GBCVZ2200020, an ISNI for Black Midi of 0000 0004 7629 4420, and a release date of 09052022.

I now have the data that I want to store on my public database. If I choose to use a blockchain for this, I now must create what is called a hash. It is the hash that makes the data tamper-proof. A hash is no more than a mathematical function that takes any string of characters as its input and then generates a fixed-length character string as an output.

Hashing is used in many situations. The last digit of your credit or debit card number is a hash, calculated by putting the first 15 digits through a hashing function. In many blockchains, the hashing function used is SHA-256. This function can take any number of characters as its input and will always generate a 64-character value as its output.

The combination of the data I am trying to store, along with this hash, forms the ‘block’ bit of a blockchain. The hash is critical to blockchains as it makes the contents of the data tamper-proof. If you change just one character in the data, a very different hash value gets generated.

These ‘blocks’ are then made into ‘chains’ by linking this new block to the previously written block. This is achieved by including the hash value from the previous block into the new data that is being hashed. In this way, any attempt to alter the content of a block or to alter the sequence of blocks is immediately discoverable by recomputing and verifying the hash. This is the cryptographic bit of blockchains that renders them tamper-proof.

“Our problem has never been not having a tamper-proof place to store that data, it has been one of data management.”

So, you might rightly be asking yourself, how is any of this distributed, tamper-proof data storage technology in the least bit relevant to solving the data challenges in the music industry.

A big part of the answer to this lies in the fact that blockchain is just a specific name for the more general concept of Distributed Ledger Technology. The accountants amongst you will know that Ledgers are ordinarily used to record accounting information and comprise both debits and credits, two sides of the same coin that all net out in a balance sheet.

And indeed, in a business situation where you can get both sides of a transaction to agree to its nature and value (borrower and lender, punter and bookmaker, buyer and seller), then the data they agree on can indeed be written to a blockchain, and the tamper-proof nature of this indeed makes it a trustworthy record of what happened.

Importantly for many in the blockchain movement, it is this very removal of the need for a middleman that underpins their passion.

But this key attribute of blockchains doesn’t address the challenges we face in music data. Our problem is that the necessary data is not being captured in the first place. Our problem has never been not having a tamper-proof place to store that data, it has been one of data management. For several decades, we have been able to store data in relatively inexpensive technology that prevents amendment without an audit trail and that makes the data available 24/7, anywhere in the world.

Some will argue that a publicly open, distributed database is the very thing we need to allow the data to be captured at the right point in time. This totally misses the point on a couple of levels. Firstly, it is a fundamental shift in behaviours we need. We need artists, and those around them, to understand the importance of data management and to then follow good processes to make sure that it is captured and passed on.

“the cryptographic bit of blockchain doesn’t tell you anything about the veracity of the data; it just tells you it hasn’t been messed with since it was added.”

It is tools like Session, SoundCredit, VEVASound and Creative Passport that enable this. It is integration with studio tools that enable this. It is data standards such as the DDEX RIN that allow this. It is services such as RDx that enable this. Blockchains are, at best, a distraction.

Secondly, the absence of a counterparty to verify the data that is being added to a blockchain is a problem. So much so that the primary strength of a blockchain becomes its massive Achilles’ heel. You may have noticed that the cryptographic bit of blockchain doesn’t tell you anything about the veracity of the data; it just tells you it hasn’t been messed with since it was added.

With that in mind, a publicly accessible platform on which anyone can make undeletable, tamper-proof assertions about their ownership of music or their contribution to a composition or recording starts to sound like the foundations of anarchy.

The typical response to this is that it wouldn’t be a public blockchain, it would be a ‘permissioned’ blockchain. That’s fancy talk for there being a middleman that controls the blockchain, and who determines who can and cannot add things – a bit like the Collective Management Organisations we have today! The CMOs that request evidence to be provided before they amend data that will cause money to flow. The CMOs that are fundamentally data management organisations, cleansing and augmenting the data from the past seven decades of popular music, and verifying and resolving the new data that is delivered to them.

You see, when someone advocates for permissioned blockchains, they aren’t really advocating for a public, non-centralised solution for the greater good. They’re advocating that you shift to a very inefficient technology platform that they control, and that will generate a return for their backers. So when I read articles claiming that Elon Musk is heading our way with a blockchain to solve all of our data problems I grab a very large pinch of salt and start asking myself hard questions about the motives behind such an assertion.Music Business Worldwide


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Legal Battle Over Prince’s $156 Million Estate Concludes After Six Years

The extensive legal battle over the Prince’s estate has finally ended after six years. The estate will be split among the talent management company and independent music publisher Primary Wave and the three oldest heirs or their families.

When Prince died in 2016, he had no will in place; and in the time since his death, the estate’s administrator Comerica Bank & Trust and the IRS agreed his estate–including real estate holdings and catalog of unreleased recordings–held a value of $156 million. A Minnesota judge signed off on the agreement during a hearing on Friday, July 29.

The value of the estate was agreed upon by the lawyers of six of Prince’s heirs, two of whom have died over the six years since Prince’s death. The look into the value of Prince’s estate came six months after three of Prince’s heirs made deals with Primary Wave to sell their stakes in their brother’s estate, including royalties from masters, writer’s share, name and likeness and Paisley Park property. However, Prince’s three oldest heirs decided not to sell their shares to Primary Wave, leaving them with the single largest share but not a majority stake with 42 percent.

“Prince was an iconic superstar and this transfer out of the court’s jurisdiction puts in place professional, skilled management,” Primary Wave said Friday, according to Billboard. “When we announced our acquisition of the additional expectancy interests in the estate last year bringing our ownership interest to 50%, our goal was to protect and grow Prince’s incomparable legacy. With the distribution of estate assets, we look forward to a strong and productive working relationship.”

As soon as February 2023, the estate will be split among Primary Wave and the three oldest heirs or their families. At Friday’s hearing, Prince’s lawyer L. Londell McMillan, who now represents the three oldest heirs, said, “It has been a long six years.”




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Geoff Taylor to step down as CEO of UK record label trade body BPI

Geoff Taylor is stepping down from his role as Chief Executive Officer of the BPI, the trade body representing major and independent labels in the UK.

In a press release announcing the news, the BPI says that Taylor intends to move elsewhere “to a more directly commercial role”, after 25 years working for label associations, including more than 15 years leading the BPI.

London-based Taylor says he has agreed to stay on until early 2023 while the organization recruits for a successor. 

He was appointed CEO of the BPI in February 2007 and also serves as the CEO of the annual BRIT Awards show (The BPI oversees both the BRIT Awards and the Mercury Prize).

Prior to joining the BPI, between 2005 and 2007, Taylor was General Counsel and Executive Vice-President at IFPI, the organization that represents the recorded music industry worldwide.

Between 2003 and 2005, Taylor worked as General Counsel at the BPI during an earlier stint at the organization. Prior to that, between 1997 and 2003, Taylor worked as a senior legal advisor at IFPI.

Between 1995 and 1997, Taylor practised law as an Associate at law firm WilmerHale in Belgium.

Taylor’s legal career started at the University of Sussex, where he studied between 1987 and 1991 and graduated with a BA Hons in Law with French/European Studies. He also has a Postgraduate Diploma in European Law, which he studied for between 1992 and 1993 at the College of Europe in Bruges.

According to the BPI, as a former General Counsel at global trade body IFPI, Taylor “helped secure industry and UK government support for the extension of copyright term and led the BPI’s strategy to reduce online music piracy”.

This included, according to the BPI, “blocking access to illegal P2P and stream-ripping sites, negotiating changes to global policies with Google, Facebook and online advertising networks to demote illegal sites”.

Taylor also oversaw the BRIT Awards’ move to the O2 in London, according to the BPI, as well as the event’s “long-term strategy to extend digital engagement, global reach and revenues”.

He is also credited with steering the acquisition by the BPI in 2015 of the Mercury Prize, and, according to the BPI, championing the creation, by the British government, of the Music Exports Growth Scheme (MEGS), run by the BPI, which has awarded more than £4 million in grants to UK independent labels and artists.

Taylor is also credited, by the BPI, with playing a key role since 2007 in “overseeing the industry’s relationship with government” in the UK, including recently, with the DCMS on the economics of music streaming investigation and the related Competition & Markets Authority market study.

“It has been a great privilege to lead the BPI during such a transformational period for British music.”

Geoff Taylor, BPI

Geoff Taylor, CEO of BPI, said: “It has been a great privilege to lead the BPI during such a transformational period for British music.

“With a new Chair appointed and our 50th anniversary next year, it feels like BPI is opening a new chapter. After much reflection, I have decided that running the BPI for 15 years is enough for any moderately sane individual and that now is the time to use my experience more directly in a commercial environment. I have agreed to stay on until early 2023 to help our new Chair YolanDa Brown find an appropriate successor. 

“I want to thank the brilliant team at the BPI, former Chair Ged Doherty, and our independent and major members for their wisdom, good humour and steadfast support. I wish YolanDa and all the members continuing success.”

“Geoff’s insightful and forward-thinking leadership benefited the industry as it navigated huge challenges over the last 15 years.”

Tony Harlow, Warner Music UK

Tony Harlow, CEO of Warner Music UK, added:  “Geoff’s insightful and forward-thinking leadership benefited the industry as it navigated huge challenges over the last 15 years.

“His argument that copyright must be respected online helped secure a sustainable and growing music industry in our country, one that has created global success for artists such as Ed Sheeran, Coldplay and Dua Lipa. 

Continued Harlow: “He was the driving force behind the BPI’s successful strategies to reduce music piracy and policies to support British music such as the Music Export Growth Scheme. 

“Geoff expertly steered The BRIT Awards, keeping the show modern and relevant, while raising vital funds for The BRIT School and Nordoff Robbins.  Warner Music is very grateful to Geoff for his unwavering commitment to ensuring music remains one of this country’s greatest success stories.”

“It takes real tenacity to lead an organisation for so long through rapid digital disruption – we wish Geoff the very best and thank him for his tireless advocacy for British music.” 

Jason Iley, Sony Music UK

Jason Iley MBE, Chairman and CEO of Sony Music UK, said: “The music industry has gone through enormous change in the past 15 years and in that time Geoff has led the BPI with a tight grip on the big issues.

“The whole industry has benefitted from the BPI’s work combatting piracy, campaigning for export funding, running the BRIT and Mercury prizes to showcase artists and supporting music education.

“It takes real tenacity to lead an organisation for so long through rapid digital disruption – we wish Geoff the very best and thank him for his tireless advocacy for British music.” 

“Geoff has been a powerful advocate for our sector and has always made sure the interests of independents are promoted at the BPI.”

Jamie Oborne, Dirty Hit

Jamie Oborne, founder and MD at Dirty Hit, said: “Geoff has been a powerful advocate for our sector and has always made sure the interests of independents are promoted at the BPI.

“We’ve seen the benefits at Dirty Hit, with our artists winning MEGS export funding and gaining significant profile through the Mercury Prize and The BRITs.

“The BPI’s free training and international support for indies have also expanded massively. We’re very sad to see him leave but know he‘ll continue to make a big contribution to the business.”

“He has made a significant contribution to our industry, for which we are hugely grateful, and we wish him all the very best for when he sets off in his new direction next year.”

David Joseph CBE, Universal Music UK

David Joseph CBE, Chairman and CEO of Universal Music UK, said: “Geoff’s calm leadership, insight and dedicated work in support of labels right across the country as well as the BRIT Trust have been constants in a period of enormous change for the music business.

“He has made a significant contribution to our industry, for which we are hugely grateful, and we wish him all the very best for when he sets off in his new direction next year.”

“Geoff will forever be part of the BPI family. He will leave a tremendous legacy with many exceptional achievements and a strong team in place.”

YolanDa Brown, BPI

YolanDa Brown, new Chair of BPI, said: “Geoff will forever be part of the BPI family. He will leave a tremendous legacy with many exceptional achievements and a strong team in place.

“I am grateful that he is staying with us to ensure a smooth transition and wish him all the best on his onward journey. I know we will enjoy our time working to ensure the future success of the BPI.”Music Business Worldwide


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Johnny Prill Releases Tropically Themed Album – “Hawaiian Shirts & Hula Skirts” – Music Industry Today


Johnny Prill Releases Tropically Themed Album – “Hawaiian Shirts & Hula Skirts” – Music Industry Today – EIN Presswire

























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Fireboy DML is bringing the heat with his new album ‘PlayBoy’ » YNaija

The eagerly awaited album ‘Playboy’ by Adedamola Adefolahan, popularly known as Fireboy DML, has finally been released.

Since Olamide first introduced Fireboy DML to the music business in 2019, he has had phenomenal success and has become a force to be reckoned with.

Early on Friday morning, the 14-track album was made available to the public for streaming and downloading.

Fireboy collaborated with artists like Asake, Euro, Chris Brown, Shensea, Rema, and Ed Sheeran on his third studio album.

Change, Bandana, Ashawo, Playboy, Adore, Sofri, Diana, and Compromise are among the songs on the album.

Fireboy has made a name for himself in Nigeria’s music industry. Additionally, he has received numerous accolades for his work.

Recently, he made history by becoming the first African musician to perform on the main stage at the 2022 BET Awards.

‘Playboy’ follows Fireboy’s 2019 debut album, ‘Laughter, Tears, and Goosebumps,’ and his 2020 album, ‘Apollo’.

At the 14th Headies, “Apollo” took home the album of the year award. Additionally, he left the ceremony with four awards in all.

Fireboy is not here to play at all. He is taking everything he can without leaving anything behind.

Fans are definitely loving Fireboy’s new project. Here are some of the reactions on Twitter.

Click HERE to download Playboy by Fireboy DML




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‘Close Encounters of the Third Kind’ 45th Anniversary Edition Coming Aug. 9th (Straight Reissue of 2017 Release)

On August 9, La-La Land Records will release a straight reissue of the 2017 40th Anniversary 2-CD set of Close Encounters of the Third Kind, with a modified booklet and new catalog number.

More details of this release will be available on Monday, August 8th.

CLOSE ENCOUNTERS OF THE THIRD KIND: 45th ANNIVERSARY REMASTERED EDITION
(2-CD SET)
Music by John Williams
Limited Edition of 5000 Units

Available to purchase Tuesday, August 9th, 2022, at 12:00PM PST from La-La Land Records.

TRACK LISTING:

DISC 1 – EXPANDED SOUNDTRACK PRESENTATION

01. Main Title and The Vision •• 1:29
02. Navy Planes 2:15
03. Lost Squadron 2:34
04. Trucking 2:09
05. Into the Tunnel and Chasing UFOs 3:56
06. Crescendo Summit 1:25
07. False Alarm and The Helicopter 4:20
08. Barry’s Kidnapping 6:22
09. Forming the Mountain 1:58
10. TV Reveals / Across Country 2:53
11. The Mountain 3:36
12. The Cover-up and Base Camp 3:56
13. The Escape 2:20
14. Climbing the Mountain 2:36
15. Outstretched Hands 2:50
16. The Light Show 3:47
17. Barnstorming 4:31
18. The Mothership 4:35
19. The Dialogue 4:28
20. The Returnees 3:58
21. The Appearance of the Visitors + 4:56
22. Contact 3:22
23. End Titles + 4:27
Disc 1 Time: 78:42

DISC 2 – ALTERNATES AND ADDITIONAL MUSIC

01. Main Title •• 1:18
02. Roy’s First Encounter 2:44
03. Encounter at Crescendo Summit 1:25
04. Chasing UFOs 1:22
05. Watching the Skies • 1:20
06. Vision Takes Shape • :42
07. Another Vision • :42
08. False Alarm 1:45
09. The Abduction of Barry 4:36
10. The Cover-up 2:31
11. TV Reveals 1:52
12. Roy and Jillian on the Road 1:20
13. I Can’t Believe It’s Real 3:25
14. Across the Fields 1:20
15. Stars and Trucks :49
16. Who Are You People? 1:38
17. The Escape (Alternate) 2:41
18. Climbing Devils Tower 2:11
19. Dark Side of the Moon • 1:34
20. The Approach • 4:32
21. Night Siege 6:27
22. The Conversation 2:23
23. Inside •+ 2:34
24. Contact (Alternate) • 2:51
25. Eleventh Commandment • 2:00
26. TV Western • 1:06
27. Lava Flow • 1:47
28. The Five Tones • 2:25
29. Advance Scout Greeting • 2:58
30. The Dialogue (Early Version) • 3:12
31. Resolution and End Title 6:55
Disc 2 Time: 74:26

Total 2-CD Time: 2:33:08

• Previously unreleased

•• Contains previously unreleased material

+ Contains “When You Wish Upon a Star”
(interpolated), written by Ned Washington and
Leigh Harline, published by Bourne Co. (ASCAP).
Used with permission. All Rights Reserved.

See also:

› Close Encounters of the Third Kind – Complete and Chronological Playlists


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