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UPFRONT4 WARNER RESETS FOR 21st 37

CENTURY Major is latest to lookbeyond traditional label/publishing divide to manage 39rights in an increasingly 40digital business. 42

8 Latin9 With The Brand10 On The Road11 Digital Domain

MUSICIN BLOOM Alt -rock legendSoundgarden returns with firstalbum in 16 years.6 Questions: RZAReviewsHappening Now

IN EVERY ISSUE44 Marketplace45 Over The Counter45 Market Watch46 Charts61 Backbeat

'LOTUS' REVIEWWith the release ofChristina Aguilera's Lotuson Nov.13, Billboard.comhas a track -by -track review,plus the 10 career momentsthat made Aguilera a star,a gallery chronicling herfashion evolution andmuch more.

FEATURES12 LADIES AND

GENTLEMEN,THE ROLLINGSTONES When theband takes the stage thisfall, it'll show how thegroup has invented orperfected each and everyaspect of the moderntouring business.

COVER STORY

22 KID ROCK Long aholdout from iTunes, KidRock is finally taking abite of the Apple with hisnew album, Rebel Soul.The story of how theCowboy went digital, andwhat else he has in store.

26 TOOLING UPFOR THEFUTURE Futurists,venture capitalists andmusic insiders will cometogether at Billboard'sFutureSound conferenceto figure out what liesahead for the business.

SPECIAL FEATURE

29 HOW BRAZILBOOMS An influentialmusic market also setsthe pace in growth.

ON THE COVER. Kid Rockphotograph by Eric Ogden

CI] LTJ 1 4 A tIO]

AMA MOMENTSVisit Billboard.com for aspecial look back at themost memorable momentsfrom the American MusicAwards' long history. Theshow airs Nov.18 on ABC.

FUTUR ESOUNDBillboard's FutureSoundevent, in association withLoeb & Loeb, takes placeNov.15-16 in San Francisco.To register, go to futuresoundconference.com.

Billkard ,,T000 s8:subscribe.i87i

(U.S.)to Boirl I b8oz.,c1.6b711/05 u0b, s(corui bt orde call

NOVEMBER 17, 2012 www.billboard.biz 3

AFTER THE STORM HANDICAPPING IN GOOD SPIRITS ROAD TO RECOVERY ANOTHER OPTIONIndies left to rebuild in Picking winners for the Jameson sponsorship MAC's Allen lends hand Microsoft rolls out

Sandy's wake Latin Grammy Awards bolsters Petty Fest in Sandy aftermath Xbox Music platform

III=1 BY ED CHRISTMAN

Warner Resets For 21st CenturyMajor is latest to look beyond traditional label/publishing divide to manage rights in an increasingly digital business

The decision by WarnerMusic Group (WMG) torealign its business with

anemphasisonmanagingartists'overall rights has drawn somecomparison to EMI's restruc-turing two years ago, but closeranalysis shows this is yet anotheriteration by a major to refocus for

a 21st -century music industry.The company has been struc-

tured so that the high risk/highreward businesses like front-linelabels are in one group, whilethe more predictable steadyincome stream producers likemusic publishing and catalogare in another group, and thelabel services and tertiary busi-nesses are in a third group.

This would be more akin tothe perspective of an outsideinvestor-not too dissimilarfrom owner Len Blavatnik's Ac-cess Industries viewpoint of themusic business.

"This realignment is aboutcreating an environment ofgreater collaboration, helpingall of us work better togetherand improving the way we do

business," Warner Music CEOStephen Cooper told employeesin a staff memo.

As part of Warner's restruc-turing it has given Warner/Chappell CEO Cameron Strangadditional responsibilities,which include the Rhino En-tertainment label with RhinoCEO Kevin Gore reporting tohim. That move gives Strangthe most new responsibilities,which means he gains the mostpower in the move that comes inthe wake of the surprise exit ofLyor Cohen in September.

"Among the numerous ben-efits in aligning Rhino andWarner/Chappell will be en-riched collaboration in the U.S.among our recorded -music andmusic publishing teams withrespect to catalog exploitation,synch efforts and rights acquisi-tion," Cooper said in the memo.

EMI and more recentlyBMG Rights Management areamong those that have led themove to adapt their larger -sizedmusic businesses to an industrywhere being able to manage an

artists' rights with a 360 -degreeperspective is seen as increas-ingly important as artists andsong rights' revenue streamsbecome more diversified in adigital world. Several smallerand younger influential musiccompanies already operate thisway, as much out of necessity asreality given their lack of scale.

When EMI Music Publish-ing chairman/CEO RogerFaxon was named CEO of all ofEMI, he declared the company aglobal rights management firm,not a major with a record labeland publishing, But his vision ofwhat that meant was never fullyarticulated or realized, becausewithin a year after he took overleadership of the company, EMIwas up for sale. This year EMI's

labels ended up being sold toUniversal Music Group and itspublishing sold to Sony/ATV.

Faxon began executing his vi-sion by combining the synch andlicensing staffs ofthe publishingand label operations under oneroof, which enabled the companyto offer its entire catalog of music

Warner/Chappell's CAMERONSTRANG, Universal's LUCIANGRAINGE and Warner's STEPHENCOOPER and MATT SIGNOR(clockwise from top left)

The Universal ApproachWhile Universal Music Group has the oppor-tunity to eliminate the most overhead withits acquisition of EMI's U.S. label assets, it'schoosing not to focus on cost-cutting beyondthe £100 million ($165.6 million) in synergies itsaid it would trim when the deal was originallybrokered. Besides having the typically sharedservices for distribution and information tech-nology systems, it has let its major labels con-tinue to be more autonomous than not. For in-stance, while Island Def Jam Music Group andRepublic Music Group may have one overall

leader under chairman/CEO Barry Weiss andsome shared services for sales, productionand finance, each label has its own president,marketing, promotion and A&R team. Withinthat the company creates other A&R centers,which will leverage the shared services andthe other marketing functions of one of thelabel groups.

In the West, Interscope also has a numberof A&R centers leverage off a central structurewithin the label group, but again UMG so far isresisting the temptation to create centralized

services of sales, finance and production withthe newly acquired Capitol Records Group.

UMG could eliminate an estimated $400million in annual overhead by dismantlingthe Capitol structure and assigning its front-line artists to one of its three label groups. In-stead, according to sources, Lucian Graingewill hire Steve Barnett to come in and head upthe group, which initially will also include BlueNote. Again, that's another place where UMGcould achieve savings by combining Blue Notewith Verve but, initially at least, it's resistingthe temptation to do so.

Arguably, it could create two companiesand allow them to retain autonomy, and put

the deep jazz catalogs of both labels under one

umbrella, with the adult contemporary genresthat both are mining into a separate company.Instead, Grainge, who prefers to have as manyA&R centers as possible, appears to like theidea of having David Foster head up Vervewhile Don Was steers Blue Note.

At Sony Music, Doug Morris, who is also avocal proponent of creating many A&R cen-ters, has shied away from trying to achievesavings just by making drastic cuts. He haskept a three -label structure after losing Weiss,instead of dividing the Jive/Arista/RCA assetsamong Columbia and Epic as many thoughthe would. -EC

4 BILLBOARD NOVEMBER 17, 2012

from a single source to clientsin advertising, film, TV, vid-eogames and other licensingsectors.

That said, despite its well -

covered struggles, one of theattractions of EMI's structurewas its improved profit mar-gins, but that is now widelyseen as the result of the sac-rifices made by not reinvest-ing significantly in new art-ists after cutbacks on A&Rspending and marketing.

EMI also broke down thewalls among its three labels sothat each one was an A&R silowith a small dedicated staffthat drew upon central mar-keting, promotion and salesteams, which eliminated a lotof overhead.

In contrast, Warner saysit's not realigning to cut em-ployees and in fact each of itsfront-line labels, which willreport to Cooper, will retainits own sales, marketing andpromotion teams. In addi-tion to the three label heads,WMG executive VP of digitalstrategy and business devel-opment Stephen Bryan willnow report to Cooper.

"[This creates] a separatedivision where many of theservices that WEA, [the Al-ternative Distribution Al-liance (ADA)], 360 -degreeoperations and [direct -to -

consumer] provide to our la-bels can now be accessed bythe entire organization," Coo-per said in a staff memo.

Warner has also createdwhat it is calling a sharedservices division, led by MattSignore, who has been namedGM/CFO. The newly createddivision consists of sharedservices and tertiary compa-nies that more or less typicallyalways report to corporate,regardless of which major isconcerned. Other majors tendto have these types of compa-nies under the corporate um-brella, even if they don't callit a shared services division.

With the new setup Si-gnore oversees the compa-nies that comprise the divi-sion, which include WEA andADA, 360 operations and thedirect -to -consumer teams,with WEA president MikeJbara and WMG senior VPof artist services Dave Mar-cus, who heads up the 360operations reporting to him.The latter group includescorporate share services andtertiary WMG companies likeCamus Productions, F&PGroup, Get In, Newsicon,Vivo and New Producion...

MEM BY ALEX PHAM

Rhapsody AdoptsMusic App StrategyStreaming veteran hopes to fend off Spotify and win subscriberswith music apps to boost service

Rhapsody, a pioneer ofon -demand streamingmusic services, is rein-

venting itself in its perpetualquest to find a key to unlockconsumer wallets. Moving for-ward, Rhapsody will drop songdownload sales and advertisingto fully focus on getting morepeople to buy into its core sub-scription business.

The Seattle company is re-leasing more than a dozenstand-alone mobile apps, eachoffering a music -related featurelike song identification, concertlocation or social sharing. Theidea is to get people engagedwith the free apps, then try toupsell them to the premiumall -you -can -listen service.

Rhapsody, which launched in1999 as Listen.com, is the lon-gest -running digital music ser-vice, but now finds itself losingmind share to newer players,in particular Spotify, which ina little more than a year amassed1 million paying subscribers.Rhapsody said at the end of 2011that it had slightly more than 1million users.

Part of Spotify's appeal hasbeen its "freemium" model,which gives easy access to alarge library of on -demandmusic for a limited amountof time without ads in a bidto convert new users to pay-ing a monthly fee. Rhapsody,which also has a large libraryof on -demand music, alsohopes to convert trials intosubscriptions.

Rhapsody's new strategy isled by Paul J. Springer, who

was hired in May as seniorVP of product. Springer, whohad worked on Amazon's Kin-dle and digital products busi-nesses, brought a more ruth-less focus to the table.

"We're a music company.Our customers are listeners,"Springer says. "But we had ban-ner ads on our website. We hadsponsored playlists and otherad -supported playback options.But I have yet to hear people tellme that what they really wantis another ad. We're not goingto give them another ad. We'regoing to focus on giving themwhat they want."

Rhapsody is also phasing outits download business in thenext few months.

"It's not core to our model,"Springer says. "And it wasn'twhat our customers were ask-ing for."

Rhapsody president JonIrwin declines to say howmuch money ads, sponsorshipsand download sales have gen-erated for the company, so it'sunclear whether Rhapsody isgiving up significant revenueto pursue its new strategy togrow its subscriber base. Thecompany's customers pay be-tween $9.99 and $14.99 permonth for access to a catalogof 16 million tracks.

It's not just Rhapsody that'sstruggling with the challengeof getting listeners to pony upmoney for subscriptions-themarket is still striving to gofully mainstream. But execu-tives at the digital music firmsand at major music companies

Rhapsody International Inc.

Rhapsody's JONIRWIN says theservice's biggestbarrier is gettingpeople to try it.

s"II

X's

see subscription services play- Irwin and Springer believeing a bigger role in music con- the biggest barrier is in get-sumption in the near future. ting people to try the service.

"About 20% of the Inter- Once they take a sip, the think -

net population have heard of ing goes, they won't hesitate toRhapsody," NPD analyst Russ pay for the bottle.Crupnick says, citing a sur- By spooling out multiplevey that his market research mobile apps in the next fewfirm conducted this year. "The months, Rhapsody will attemptchallenge is that only 2% of the to hook in new users who maypeople who are aware of the download the apps for otherservice are actually using it. reasons-find local concerts,Getting people to plunk down identify a song or see a musicmoney is a challenge that all "heat map" of what tracks or

of these services continue to artists are hot in various parts

struggle with." of the country.Viacom Networks and Real "We will demonstrate value

Networks each own 47% of well in advance of asking themRhapsody. The remaining mi- to pay for Rhapsody," Irwinnority stake is split by a variety says. "We'll let you hear theof investors including major la- whole song, try the free trialbels, which also have minority service and reduce the frictionstakes in Spotify. to get them onboard."

bizMOBILE: For 24/7 news and analysis on your cellphone ormobile device go to: mobile.billboard.blz.

1999:Listen.com.as

2002: Company addsmajor -label catalog tothe service.

2007: Rhapsodybecomes a joint venturewith Viacom's MTV

'

Networks.

f ,

1949 2331

2011: AcquiresNapster. Announcesit hasl million paying

subscribers.

2002 2003 2007 2008 2009

2001: Listen.comcreates the firstversion of theRhapsody musicservice.

2003:RealNetworksacquiresRhapsody.

2010

2010: RealNetworksspins off Rhapsody asa separate company.

200 2012

2012: Rebootsservice by adding anapps strategy whilestepping away frompaid downloads and

advertising.

THEivNEWS )117

FROMAm

>>>PANDORASUES ASCAP FORLOWER RATESInternet radio com-pany Pandora has suedASCAP in a federal courtin New York in an effortto get lower rates for theperformance of ASCAP'ssongwriters' and com-posers' works. Pandora,which is also activelylobbying congress tolower royalty rates,claims ASCAP gave alower fee to the RadioMusic Licensing Com-mittee, which includescompetitor iHeartRadio,the Internet radio ser-vice of Clear Channel.That deal covers bothterrestrial and digitalrights.

>>>HOW THEELECTIONSAFFECT THE MUSICBUSINESSThe music business lostone of its biggest sup-porters and a longtimefriend in the Nov. 6 elec-tions. Howard Berman,a dogged fighter onbehalf of content ownerswho co -sponsored theCopyright Royalty andDistribution Reform Actand SOPA, lost his seatin the House after 30years in office. Congress-woman Mary Bono Mack,widow of the late SonnyBono and co-chairmanof the Recording Artsand Sciences Congres-sional Caucus, also losther seat.

>>>SONYNETWORKENTERTAINMENTPREZ SCHAAFF TOSTEP DOWNSony Corp. announcedthat Tim Schaaff, presi-dent of Sony NetworkEntertainment Interna-tional, will retire fromthe company effectiveDec. 31. Schaaff, whowas hired away fromApple in 2005, wastasked with unifyingSony's entertainmentexperience across thecompany's platforms andalso oversaw the launchof Sony's Music Unlim-ited streaming service.Andrew House, groupexecutive of Sony Corp.,will assume responsibili-ties for SNEI during thetransition.

Reporting by AndyGensler and GlennPeoples.

NOVEMBER 17, 2012 www.billboard.biz I 5

_ WEAINOINGNSTORM

After Sandy: MusicBiz Comes TogetherSome of the industry's smaller players were among theworst hit, but the business has rallied around them

By Ed Christman

n the aftermath of Hurricane Sandy, manyNortheast U.S. musicindustrycompanies wereinconvenienced by employee transportation

issues or a loss of power that displaced operationsfora few days. But there were several players in themusic biz that were directly affected by the hur-ricane, and the hit has been devastating.

Three of the hardest -hit businesses are garagerock label Norton Records and classical music labelNew Amsterdam Records, both with facilities inBrooklyn's Red Hook neighborhood; and Drew'sEntertainment, which operates as Drew's PartyMusic and Turn Up the Music, a cover -song com-pilation company based in Edison, N.J.

Beyond those labels, Translator Audio/SouthSound, a recording studio located near the Gowa-nus Canal in Brooklyn, and venues like AEG'sStarland Ballroom in Sayreville, N.J., and the Gala-pagos Art Space in Brooklyn also sustained severedamage. A number of November shows at Starlandand the Capitol Theatre in Port Chester, N.Y., wereforced to schedule at a later date due to flooding.

But the bigger music companies were moreprepared and fortunately weren't as badly affected.A week after the hurricane most employees hadreturned to work. Norton, a label and curated one -

stop specializing in new and old garage rock, soul,R&B, blues, surf rock and some punk, had 80% ofits inventory under water in its 2,000 -square -footwarehouse. The only product that was salvagedwas the top shelf, which is six feet up, and justabove the water line created in the warehouse fromthe East River surging into the neighborhood.

"This warehouse is a historic dry-dock buildingwith huge cast-iron doors that if you had 300 mentrying to barge through the doors and knock themdown, you couldn't do it," says Miriam Linna, whoco -owns Norton with her husband and fellow A -Bones band member Billy Miller. "Yet, the stormburst through and bent these cast-iron doors."

She says that when they first got to the ware-house and saw the extent of the damage, "we wereready to pass out."

Not only did it inflict water damage on mostof the inventory, when the tide went out it shiftedeverything from the back of the warehouse spaceto the front, Linna adds.

The bad news is that most of the company'sCDs and its paperback -book inventory-Nortonpublishes books about music, poetry and out -therefiction from authors and musicians like HarlanEllison, Andre Williams and Sun Ra, as well asselling vintage paperback and magazines-wasdestroyed. Also caught up in the carnage was thecompany's archives, posters, artists' files and mas-ter tapes. "The master tapes are wet but can becleaned," Linna adds. Most of the masters weredestroyed except those for upcoming projects.

Linna says that even though Norton doesn't

have insurance to cover its loss, the companywill be able to withstand the hit it has taken fromSandy because it has long been cost-consciousin the way it operates and thus profitable; andbecause of help from other labels, business part-ners, friends and family.

Linna says that reissue label Sundazed Recordsin Coxsackie, N.Y. (near Albany) sent two employ.ees with a van to help Norton move things, whileBrooklyn Phono, its record manufacturing plant,is also lending a helping hand.

"Brooklyn Phono has been over -the -top wonder-

ful," Miller says. "We've been able to take thousands

ofwet records there for refurbishing. Tom and Fern,the owners, are among the most wonderful peoplearound. We can't thank them enough:'

In addition, Linna says 40 friends and fanshave volunteered to help with the washing anddrying of records, induding Sony Music Legacypresident Adam Block and VP of A&R Rob San-tos, who bmught a record -cleaning machine withhim as a loaner; American Assn. of IndependentMusic operations manager Sheryl Cohen; mem-bers of bands like Black Lips, Yo La Tengo, Reign-ing Sound and Dirtbomb; as well as others whocame by to deliver food.

In Edison, N.J., things were even worse atDrew's Entertainment, whose inventory and officeequipment in its 100.000 -square -foot warehousewere demolished when the water overflowed fromthe Raritan River more than a mile away.

"We had five feet of water throughout the build-ing," Drew Entertainment principal Drew Matil-sky says. "I fished the front lawn."

Adding to the dismay, an oil tanker truckparked outside the warehouse was flipped overby the flood, spilling its contents into the waterthat entered the warehouse.

Drew's has 150,000 masters of cover songs thatare used for synch opportunities on TV. in moviesand commercials, and for toys, greeting cards orgames that use music when obtaining the mas-ter synch rights prove too expensive. But most ofthe company's revenue comes from selling digitaldownloads on iTunes and CDs at chains like PartyCity and Toys R Us.

While the storm also destroyed every paperfile in the building, "we were backed up for ev-erything on our computers but for one week." Itkeeps its servers at a building acquired recently tohouse its office, which it moved into two monthsago, and keeps its masters in multiple locations,Matilsky says.

The silver lining is that Drew's has insurance,which is helping with handling the disaster.

The other good news is that Drew's had justcompleted shipments for Christmas, and Hallow-een had just passed-the two holidays responsiblefor the company's biggest business, so now it has

until January to get back up and running."Even with the insurance, we have still lost mil-

lions of dollars," Matilsky says. "But I am happythat I could still pay all my employees, even thoughwe were shut down for a week."

Back in Red Hook, New Amsterdam Recordswas flooded with four feet of seawater, sewageand gasoline in a newly constructed space.

In addition to water, there was plenty of paintstill in the building; cans were upended and theircontents wound up within the sludge floatingaround the structure.

"We had about 3,000 feet in this dilapidatedwarehouse that we were converting into a placewhere we could operate our business but also serveas a rehearsal space for musicians and a com-munity headquarters," says William Brittelle, oneof three co -directors who run New AmsterdamRecords, which is owned by nonprofit New Am-sterdam Presents.

New Amsterdam Records also lost a large stock

of musical equipment and amplifiers, and all ofits financial records were destroyed.

The label, which is run by composers, has aunique business model in that its artists financethe records with the help of a grant arranged byNew Amsterdam, and then pays them 80% ofthe sales revenue derived from their records untilthey recoup, and then switches to a 50/50 split.In addition, iTunes has stepped up in a big way,giving New Amsterdam the "featured label" spoton its classical -music home page and offering 32of its titles at $8.99.

In turn for all the help the company is receiv-ing, Brittelle says the label's directors hope thatNew Amsterdam can stage benefits to help theRed Hook Initiative, an organization that seeks toempower youth, and the Red Hook neighborhoodin general in the wake of the hurricane.

"There is a lot of good stuff coming from thisnasty storm," Brittelle says. "So Sandy won't winin the end." ,

6 BILLBOARD NOVEMBER 17, 2012NORTON RECORDS, TR IWSLATOR

"D"' ANDTHE

"ITUZITrOrAVST ZATADAANOWS.I.

1. Norton Records' warehouse in RedHook on Nov. 3.2. Norton's BILLY MILLER and MIRIAMLINNA (center) with volunteershelping to salvage and clean vinyl onNov. 2.

3. Drew's Entertainment in Edison, N.J.,after Sandy.4. Labels weren't the only onesaffected by the storm: Brooklyn'sGalapagos Art Space was flooded.5. Recording studios TranslatorAudio and the South Sound, nearBrooklyn's Gowanus Canal, sustaineddamage. The devastation throughoutTranslator-as well as the other twostudios and 13 practice spaces in theSouth Sound, all located in the samebuilding-was massive.6. Translator Audio and South Soundowners JEREMY SCOTT, ANDREWSCHNEIDER, ANDREW GERHAN andJOHN LAMACCHIA (from left) duringthe clean-up.7.Hcising:l c?in awnn

attemptTranslator's

salvageein

equipment it.8. & 9. New Amsterdam Records' RedHook offices.

Charity BeginsAt HomeThe music industry iswell-known for helpingthose in need, and theaftermath of Sandy wasno differentNBC's "Hurricane Sandy: Coming To-gether" telethon, which featured BruceSpringsteen, Bon Jovi, Billy Joel, MaryJ. Blige and Christina Aguilera, raised$23 million for the Red Cross, includinga $500,000 donation from State Farmthat was made prior to the telecast.

Donations can be made to the RedCross at redcross.org/h urricane -sandy. Individual artists have also do-nated funds, including Lady Gaga, whogave $1 million to the Red Cross. Sheposted on her Little Monsters website,"If it wasn't for NYC: the Lower East -

side, Harlem, the Bronx and Brooklyn,I would not be the woman or artist thatI am today."

MusiCares set up a fund to supportmembers of the music community af-fected by Hurricane Sandy. Its assis-tance includes basic living expenses,transportation and medical expenses(see story, page 61).

New Amsterdam Records, one of theworst -hit music companies from thestorm, thinks it will be able to over-come its losses thanks to the gener-osity of friends, colleagues and fans,who are contributing donations atnewamsterdampresents.com.

Norton Records says a lot of bandswant to stage benefit shows andpeople all around the world want todonate to get its stock back in print."We will do this only if we can give apercentage to our fellow victims,"co-owner Billy Miller says. "We will besetting up information on our website,nortonrecords.com."

-Billboard staff

NOVEMBER 17, 2012 www.billboard.biz 7

UPFRON7 TIN

Latin Grammys: Our PicksThe fast -evolving awards feature plenty of perennials and some new facesAs is our tradition, here areour predictions for the LatinGrammy Awards, handed outNov. 15, in key categories. Thisyear presents a challenge, asfor the first time there are10 contenders in each of themain categories(which we thinkis akin to giv-ing 10th -placemedals, butthat's anotherstory), but we'lltry to make ourguesses as edu-cated as ever. Asalways, predic-tions aren't based on personaltaste but on past voting behav-ior and observation of the mar-ket and trends.

has been nominated 10 times,but won a Latin Grammy onlyonce before (for best male popvocal album in 2006). He's waypast due. He may, however,get shoved aside by perennialfavorite Juanes or-in a year in

which CaetanoVeloso is beinghonored asPerson of theYear-by Es-pecial Ivete, GileZ Caetano, analbum by Veloso with IveteSangalo andGilberto Gil.

LatinNotasLEILACOBO

3t

Album of the year: Our pickis Ricardo Arjona's Independi-ente for a plethora of -reasons: acollection of great songs; it wasindependently produced, mar-keted and distributed, and stillreached everyone; and Arjona

Song of the year: With 10slots to fill we wonder whythere are only a couple of realhits here. (We don't buy theargument that all the big hitsof the year underwhelmed.)Our vote goes to Jesse &Joy's "Corre," a genuine,natural hit-fresh, heartfeltand sincere-that was a last-ing and region -wide presence

on the charts and on TV.

Record of the year: This is anaward for recording quality. Itshould go to Alejandro Sanz'sexquisitely crafted "No MeCompares," produced by San.with Julio Reyes-Copello. Ithelps that the track was aregion -wide hit.

Best new artist: DJcollective 3BallMTYand DJ Juan Magdnare the bestknown here butwe doubt votersare going to givethis award to aDJ. Ana Vic-toria, thedaughter of twovencrablestars-Amanda Migueland Diego Verda-

JUANES, upfor album ofthe year, isa perennialfavorite.

guer-has clout and pedigree,not to mention vocal skill andsongwriting chops.

Producer of the year: Thislist of nominees needs fresh-ening up. The same nameskeep appearingin the technical

categories again and again.Although I'm going withanother perennial,he's never been up forthis award: Juan Luis

Guerra, for his widelytouted work on

Juanes' MTVUnplugged.Never has aproducer re-ceived somuch press.

Best urbansong: This is themost exciting cat-egory here, andshould be a tightcontest betweentwo big hits thathappen to be two

Puente's Legend Lives OnLatin jazz great is revisited in Sonyboxed setThe late Tito Puente hadmany titles throughout hiscareer, from "King of LatinMusic" to "King of the Tim-bales." But for Joe Conzo, theLatin jazz and salsa musicianhad only one title that meantthe most to him.

"He was my best friend,"Conzo says. "Since his deathin 2000 not a day has

gone by that I don't think ofTito."

Conzo, the publisher of"Mambo Diablo: My JourneyWith Tito Puente," is con-sidered the authority on Pu-ente and was instrumentalin co -producing the releaseof Puente's Quatro: The De-finitive Collection.

TITO PUENTE H QUATRO

The Sony Music U.S. Latinproject is available in a lim-ited -edition boxed set of fouralbums that were digitally re -mastered. Additionally, a fifthCD includes Puente's hit sin-gle "Ran Kan Kan" and bonustracks. The set, also availableon vinyl, contains Cuban Car-nival, Night Beat,Dance Maniaand Revolving Bandstand.

"These albums really defineTito Puente," says Conzo, a so-cial worker, curator and histo-rian who met Puente in 1959."His legacy is that he tookthis type of music all over theworld. He was the first."

Puente's genius was in theway he found creative ways ofdoing things differently, likeperforming with a symphonyorchestra. "He never playedthe same tune the same way,"Conzo says. "He was alwaysexperimenting."

Conzo says the album thatstands out for him is CubanCarnival, which representsthe many facets of the mu -

The TITO PUENTEboxed set Quatrocontains four of hisclassic albums.

sician who could play every-thing from jazz to mambo andmastered the single -headeddrums known as the timbales.

For Anthony Gonzalez, theset's producer, creating thecompilation was about goingbeyond a "greatest hits" con-cept and instead assemblinga collection with a throw-back vibe with extensive linernotes, finely packaged CDsand a classic black -and -whitecover photo of Puente.

Gonzalez says Quatro marksthe first time Sony's Latin divi-sion has issued a collectionwith the kinds of elementsfeatured in the set. The label isalso considering creating othersimilar types of collections, es-pecially since feedback fromconsumers has been positive.

Even though the collec-tion-of which 5,000 copieswere made-is getting pro-motional support from radiostations across the country,the marketing campaign hasmore of a grass -roots ap-proach that has benefited

great songs: Daddy Yankee's"Lovumba" versus Don Omar's"Hasta Que Salta el Sol" (thelatter written with Ramon En-rique Casillas Rios).

Best urban album: Anotherinteresting category. DonOmar's MTO2: New Genera-tion is one of the best curatedalbums in recent memory, withevery single track a radio hit.But our alternative -leaninggroup of voters may well swaytoward Ana Tijoux's La Bala.

Best tropical fusion album:The category that so well fitsmany U.S. Latin formats alsofeatures one of the year's topalbums, Prince Royce's Phase

inexplicably absent from anyother category. Royce would bethe clear winner were he notcontending with Fonseca, aLatin Grammy fave who boaststhe beautiful Ilusion.

For 24/7 Latin newsand analysis, seebillboard.blz/latin.

from word-of-mouth.A presentation of the col-

lection featuring Gonzalez,Conzo and Latin jazz artistBobby Sarabia in late Octoberat New York's J&R Music waspostponed due to HurricaneSandy. The event has been re-scheduled for Nov.15, but thatshowcase may change as wellas the city continues to recover.

Conzo, who lectures on Pu-ente's music and owns morethan 2,000 live recordingsof his friend, says that somewho write about Puente gettheir information from thirdparties. As a result, they don'talways get the facts right.

"I was there for a lot of hiscareer so I know what reallyhappened," he says. "Some-one, for example, wrote thathe played the clarinet. In theyears that I knew him he neveronce even held a clarinet. Titowas an arranger, composer,conductor and played manyinstruments, but not the clari-net. Please get that right."

-Justin° Aquila

bizENESPANOL: All the great Latin music coverage

you've come to expect from Billboard-in Spanish.Go to billboardenespanol.com.

BALBOA FOUNDERVELASCO DIESValentin Velasco, founder ofregional Mexican indie labelBalboa Records, died of natu-ral causes on Nov. 4 in his LosAngeles home. He was 80.

Velasco created Balboa in1984 as the U.S. distributionarm of Discos Musart, the in-fluential Mexican independentlabel that was home to acts likeJoan Sebastian and Paquita ladel Barrio. Although Balboaoperated under Musart's ar-tistic direction, it soon becamea full-fledged label known foraggressive marketing andpromotion. At its height, Bal-boa was home to a roster ofacts that included Sebastian,Pepe Aguilar and Banda Cuisil-los, among many others, withVelasco aiming to increaseBalboa's market share.

In an article from 2005, Bill-board reported how the labelattained a Latin market shareof 4.9% for year-end 2004,a remarkable number for asmall, independently distrib-uted company. Part of thatsuccess stemmed from Bal-boa's Za Za Za, Mesa Que MasAplauda, by Mexico's GrupoClimax, which was the top -sell-ing Latin album of the year, ac-cording to Nielsen SoundScan.

In 2006, alarmed by declin-ing sales of Latin music as a re-sult of piracy, Velasco startedmarketing three -pack CD setsthat retailed for $9.98, cheaperthan pirates could sell them.The sets were a huge success,and Balboa released more than130 combos within a year.

But Velasco always notedthat his label's success randeeper than pricing. "First it'shaving the Discos Musart cata-log," he said. "Then acquiringnew artists, handling and car-ing for that catalog and havinga steady roster of executives."

Velasco stepped down fromhis post as president of Balboain 2007 due to health reasons.He's survived by his wife, MaraVelasco; their daughters teland Marital; and grandchil-dren Christian, Daniel, Brianand Sara. -Leila Cobo

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Petty Fest ExpandsNew sponsor Jameson helps Tom Pettyfrom its humble beginnings

Best Fest has come a long way from its early days as a trib-ute to Bob Dylan at Manhattan dive bar Manitoba's in theEast Village. Now in its llth year, the all-star concert series

founded by Rolling Stone contributing editor Austin Scaggs andformer Epic Records promotion VP Alex Levy is expanding in abig way this year courtesy of a new title sponsor, Jameson.

Petty Fest, a popular concert that has honored Tom Petty fornearly a decade, was not only able to enhance its VIP and artistexperiences at its annual New York show, held Oct. 24 at WebsterHall, but it's also expanding for the first time to Los

Angeles for two shows at the El Rey Theatre (Nov.14-15), with a San Francisco engagement set for 2013.Other events like Dylan Fest and Stones Fest are alsoexpected to expand to other markets as part of thelong-term agreement with Jameson.

The sponsorship deal came together shortly afterJameson executives induding brand manager PaulDl Vito attended this year's Dylan Fest at New York'sIrving Plaza in May, where members ofSteely Dan,Dawes, Longwave, Pop ETC and Scaggs' father,Box Scaggs, mingled with cast members from "Saturday NightLive" for a three-hour jam session dubbed "a night to get drunkand celebrate Dylan's 71st birthday." It was a night where a bottleof Jameson already happened to have played a key onstage role inproviding community shots to all performers.

"We saw that it was Austin and Alex just inviting their friends

tribute event grow

onstage and this genuine camaraderie was happening," Di Vito re-calls, "and we stepped back as a team and said, 'Is this happeningright now? This is the embodiment of our brand.'"

Di Vito had recently hired branding agency Fear to fmd oppor-tunities to keep the Jameson brand grounded and integrated incities and venues where its whiskey is already heavily consumed.(Brooklyn, for example, is one of the brand's top five designatedmarket areas nationwide, which led to its sponsorship of Williams-burg music festival Northside this summer.) Best Fest quickly fell

in line with that goal."It's not really about finding new customers-it's

about investing in loyalty," Di Vito says. It's a strategythat differs slightly from other whiskey brands likeJack Daniel's, Jim Beam and even Bushmills, all ofwhich have relied on artist endorsements from ZacBrown Band, Kid Rock andBon aver, respectively,

for brand awareness and product launches. "We don'thave any formal relationships with artists-that'sthe kind of thing we wouldn't do," Di Vito adds. "Weactually feel this is the first time the brand can push

this advocacy forward and bring these Jameson experiences to life."At New York's Petty Fest in October, Jameson's on -site branding

was fairly limited-though an upstairs VIP balcony kept the drinksflowing with Jameson -based shots and cocktails. With customeracquisition less of a priority, Jameson can help Scaggs and Levy withoperational costs to ensure that 100% of all ticket sales and proceeds

WithThe Brand

ANDREWHAMPP

3 :RO NTJOSHUATILLMAN (akaFather JohnMisty) at BestFest; inset: posterfor Petty Fest'sLos Angelesstand.

go to the Sweet Relief Musicians Fund and the Musicians CancerFund. Jameson will also provide help with travel and green -roomassistance for participating artists-all of whom perform for free.

Petty Fest New York included performances from members ofKings of Leon, Delta Spirit and Yeah Yeah Yeahs as well asNicole Atkins, Har Mar Superstar, Andrew W.K. and specialguests including Cyndi Lauper and "SNL" star Fred Armisen-spanning hits like "Free Faille' and the Traveling Wilburys'"Handle With Care" to such fan favorites as "The Waiting" and"Walls." Several of those performers are expected to return for theL.A. shows, along with the Black Keys' Patrick Carney. theStrokes' Nick Valensi, Harper Simon, Jenny 0.. Bijou Phillipsand members of Guns N' Roses and Eagles of Death Metal.And although Petty himself is familiar with the shows, Scaggshopes that hosting a Petty Fest in the namesake's backyard willlure him out for the first time. "There might be a Heartbreakeror two at the show," Scaggs says. "We'll see."

WtaieOhniamusic.mailchimp.com

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FREDDIEAND THE CHIMPTUNES

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NOVEMBER 17, 2012 www.billboard.biz 9

U 13 FRO NTGROSS/ ARTIST(S)

Post -Sandy, Live BizCreates SolutionsConcert industry turns some of its skills and plenty of itsheart to hurricane victims

The crane hoveringover the AgencyGroup offices on

West 57th Street in Man-hattan has been securedand, as of Nov. 5, agents and

staff returned to the busi-ness of bringing music tothe people. Not that theyever quit working. But thesuspended crane was sym-bolic of an industry that was

basically working without anet fora week that was any-thing but business as usual

Routing a tour is a me-ticulous, strategic, dom-inos -like business in thebest of times, and agents get paid to do it well.Once. A single postponed date topples a few dom-inos. Several lost shows means blowing up theplan, knocking over the dominos and rerouting,digging out building and artist avails, coordinat-ing on -sales and forgoing shows that might havebeen booked elsewhere on the rescheduled dates.

Agents and managers don't get a double com-mission for doing the work twice, even thoughit's a much more challenging process the sec-ond time, particularly with so many unknownsas Hurricane Sandy created. Still, the AgencyGroup, as an example, shifted its New York office operations to Los Angeles andLondon, issued contracts, bookeddates and kept the machine run-ning, creating "solutions, not problems," as TAG managing directorNeil Warnock puts it.

This sort of thing happenedacross the industry in the wake ofSandy, and not just with agents.The coordination, cooperation, re-siliency and can -do attitude of this

'IIIMPIPAC Presents',MARCIE

4 ALLEN (left)with RockawayBeach residentCATHERINEMOORE

44,

Jessica Beutler and friends started by deliveringpizzas, water and other supplies on Nov. 4. Shezeroed in on a lady named Catherine Moore,90, who lives on Beach 119th Street in a housewhere she's resided for 50 years, a house withoutpower since Sandy hit and still without it at presstime. Moore hit the jackpot with Allen.

"When I asked her what she needed, she said,`Please pick up my medicine-she is diabetic-and, 'Will you please bring me a loaf of breadand some hot tear Allen recalls. "She calls meher 'angel."

Allen is a networking machine, and with just acouple ofdays and Facebook posts,her music industry friends raisedmore than $10,000 for the folksin Rockaway. "I would love tocreate 'angels' for all the familieson Beach 119th Street," she says.'The music industry can help onearea of Rockaway that is not re-ceiving the same attention StatenIsland, New Jersey and Long Is-land are receiving. Anyone inter-

IMF On TheRoad

RAYWADDELL

business is unfailing remarkable, but it's no lessthan one the gritty average folks, first responders,Red Cross and transportation and power providershave done and will continue to do until things areback to normal. The speed of the still -unfoldingrecovery never ceases to amaze, as witnessed fol-lowing catastrophic events throughout recent his-tory. After survival necessities are met, bringingback entertainment is paramount because of thestatus live events hold in our culture. People needcommunity, diversion, entertainment and music.

But beyond getting their own businesses upand running, artists and music professionals havelong proved their commitment to helping in anycatastrophe. Take, for example, Marcie Allen,president of entertainment marketing/sponsor-ships firm MAC Presents, a native Nashvillian(hammered by its own flood in 2010) turned NewYorker. Allen shifted her attention from creatingsynergistic, multifaceted branding deals to helpingthose in need, and she was laser -focused on 119thStreet in Queens' Rockaway Beach neighborhood.

Rockaway, she felt, was a neglected pocket in abroad area of need, and Allen and her co-worker

ested in adopting a family on Beach 119th Streetand becoming a music industry `angel' shouldemail me at marcie@macpresents.com."

Of course, Allen isn't alone. The live businessis as tough as it gets-competitive, grinding, attimes even ruthless. Time and time again I've seenthe concert industry and touring artists rise upand be first in line with money, manpower, pre-cious time and talent. The acts in particular con-tinually come through, and we're already hearingof major help coming from artists, including thealways dependable Dave Matthews Band, whichis planning a robust gift of art and aid that's notquite ready to be announced yet. Acts in all genresdo what they do, financially and artistically, andit's rewarding to see this happen time and again.

So the industry is not only functioning-and really, it never stopped-but also playing apositive role, as it always does. There are angelsamong us, on Beach 119th Street and across theglobe, and they're bigger than Sandy.

0111For 24/7 touring news and analysis,See billbOard.biE/tOuring.

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MUMFORD & SONS, WILLY MASON, MAGNETIC ZEROSRod Laver Arena, Melbourne,Australia, Oct. 25

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PETER GABRIEL, JENNIE ABRAHAMSON & LINNEA OLSSONigtIvIllori, San Jose, Calif., 6,964

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JASON ALDEAN, LUKE BRYAN, RACHEL FARLEY, DEEJAY SILVERGexa Energy Pavilion, Dallas,Oct. 27

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TEDESCHI TRUCKS BAND

10 BILLBOARD NOVEMBER 17, 2012 JON HELLER

Beacon Theatre, New York, Sept. 0,091 Metropolitan Talent Presents20-22

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Xbox Music: NotA Sure WinnerMicrosoft music offering is comprehensive but Spotify, iTunesand Pandora can rest easy for nowMicrosoft is making a big moveback into digital music. Xbox Music,launched Oct. 23 on the Xbox platformand Oct. 26 on the new Windows 8operating system, gives Microsoft an-other chance to connect with musicfans. But while the platforms and dis-tribution have changed, the end resultfeels very much the same.

Xbox Music starts with good oddsof success. With its inclusion in Win-dows 8, Xbox Music will get in frontof hundreds of millions of poten-tial listeners through new computershipments and updated operatingsystems. Startups with limited mar-keting budgets could only dream ofreaching so many people.

A hybrid of ad -supported service,subscription service, download storeand cloud -based music locker, XboxMusic replaces the Zune Music Pass streaming service anddownload store that launched in 2006. Zune was Microsoft'sunified attempt to challenge Apple's two -headed monster, iPodand iTunes. But neither the Zune media player nor Zune MusicPass was able to gain traction. The Zune MP3 player was dis-continued in 2011.

Considering that the entertainment world has changed sincethe Zune launched in 2006, Microsoft also needs to competewith Internet radio and the "freemium" on -de-mand subscription service, not to mention simi-lar all -in -one services like Samsung's Music Hub.Scott Porter, the principal program manager,says the company wants to "unblock music dis-covery." What this means is Xbox Music needsan option to compete with the likes of Pandoraand Spotify and let people listen without paying.

As a result, Xbox Music has both paid and ad.supported listening options. The ad -supportedoption will be available only on the Web -basedversion of the service (listening will be limited to 10 hoursper month after six months). Xbox console and mobile usewill be free of advertisements. Subscriptions to Xbox MusicPass, the unlimited music service that costs $9.99 per monthor $99.99 per year, can be purchased with the same creditcard information stored in a user's Xbox Live account. Pre-mium users will get access on the Windows Phone 8, Win-dows RT Tablet and Xbox 360. Porter says iOS and Androidapps will arrive in 2013.

The biggest change in Xbox Music is where it sits in the or-ganization. Gone are Robbie Bach, president of Microsoft'sentertainment and devices division during the Zune era, and J

Allard, the executive who oversaw Microsoft Xbox before takingover Zune development. Xbox Music is now part of Microsoft'sinteractive entertainment business unit and overseen by YusufMehdl, corporate VP of marketing and strategy for IEB, andXbox Music GM Jerry Johnson. IEB oversees development ofthe Xbox 360, Xbox Live, Kinect for Xbox 360, music and videoservices, and PC and mobile entertainment.

But even though the team is different, the product is eerilyfamiliar. Microsoft has a knack for delivering merely adequatemusic services. Xbox Music Pass simply doesn't do anythingextraordinarily well. (I have tested the service on an Xbox 360,not the PC or mobile service.) It doesn't even make a good firstimpression. The layout has so much open space it makes XboxMusic seem blasé and cold. !Tunes and Spotify strike the visi-tor as alive and welcoming in comparison.

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Xbox Music's radio prod-uct is another problem. Com-pared with Web radio stan-dard-bearer Pandora, as wellas other services, Smart DJ often falls short. Worst of all, theservice lacks the ability to learn from its mistakes. For instance,an out -of -place song can only be skipped but never banned.Giving a listener the ability to like or dislike a song is standard

in today's radio services, but it's missing here.The mediocrity of Xbox Music Pass puts more

pressure on other features -the download store,the music locker -and distribution throughWindows 8. Integration with the world's mostpopular operating system may not be enough.Microsoft famously used its Windows OS to gainan advantage in the browser wars in the '90s.The lead has been lost, however. Internet Ex-plorer's global market share stood at 32.7% inSeptember, according to StatCounter. Switch-

ing costs are low -as they are with free music services -soconsumers have moved to alternative browsers like Firefoxand Google Chrome.

The key could be the living room. Xbox Music's integrationwith the Xbox 360 provides 40 million Xbox Live registeredaccounts and an inability to switch to any other music service.With its smart design, Xbox Music really delivers its value ona big flat -screen TV.

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Xbox Music's integrationwith the Xbox 360 providesaccess to 40 million XboxLive accounts.

FOR THE RECORD In the Nov. 3 issue, for item No. 66 in Billboard'sMaximum Exposure list, SiriusXM Radio's SiriusXM Hits1 channel was misidentified as Pop2K.NI In the Nov.10 issue, in the album reviews, Dave Bottriilshould have been listed as producer for Stone Sour'sHouse of Gold & Bones, Part 1.

IN In the Nov.10 issue, a story on Alicia Keys should havenoted that Jamie xx is among the producers on Keys'new album. And in tandem with RCA's Theola Borden,Keys' publicity is handled by Kelly Bush, Allison Elbi andRhett Usry of ID.IN in the Nov.10 issue, a story on Lindi Ortega misstatedthe name of Fever to Burn, the fictional band withwhom she'll perform her song "The Day You Die" onABC's "Nashville" on Nov.14.

the Clio AwardsNOVEMBER 17, 2012 www.billboard.biz 11

KEITH RICHARDSperforming in 1982.

RDNOVEMBER 17, 2012

LADIES di,GENTLEMEN,THEROLLINGSTONESWhen they take the stage in London for the first

time in five years, THE ROLLING STONESwill be celebrating their 50th anniversary. Andthey'll also be showing how they invented orperfected each and every aspect of the moderntouring business. Here's how they did it.

Tastes being what they are, the designation "world's great-est rock'n'roll band" is up for debate.

But one designation that cannot be argued with is theRolling Stones' status as the "world's greatest rock'n'roll

business," particularly as it relates to touring.Put simply, if it has to do with touring, the Rolling Stones either

invented it, improved it greatly or changed it forever. The innovation,creativity and business acumen of this band, along with the consider-

able contributions of the chosen few whohave worked with it through the years, ex-

tend into virtually every area of the business: production, sponsorships,branding, ticketing, merchandising, global routing, concert promotionand overall touring economics.

"They've either had an impact on or pioneered every single aspect oftouring," says Bill Zysblat, who with Joe Rascoff are partners in RZOProductions. Zysblat began working with the Stones as a tour accoun-tant in 1975-when the band announced its Tour of the Americas byplaying "Brown Sugar" on a flatbed truck in front of New York's WaldorfAstoria hotel-and has, with RZO, continued working with the groupin some capacity ever since, most notably as tour producer on some ofthe biggest mega -tours in the history of mega -tours.

"There's one thing that sets the Stones apart, and that is they are notafraid to consider any option in any area of touring," Zysblat says. "Theylook at something that's never been done before and their first reactionisn't, let someone else try it.' Their first reaction is, 'Let's look at it andsee if it makes sense.' If it makes sense, they're prepared to go forward."

The melding of art and commerce is never more complete, morepervasive or more downright lucrative than with this band, which firstplayed live on U.S. shores in 1964. "The Rolling Stones have always been,and continue to be, the leaders in all things touring," says Australianpromoter Paul Dainty, who, with Virgin Music, snagged the rights todo the handful of announced shows around the Stones' 50th anniver-sary this year. "Artistically, they set the benchmark for everyone else."

When a band not only owns one of the most beloved catalogs in ex-

BY RAY WADDELL

istence, but also plays these songs exceedingly well over the course ofdecades, the stage is set to do remarkable things surrounding live per-formance. Billboard Boxscore numbers are incomplete, but to say thatthe band has grossed more than $2 billion in ticket sales since 1989'sSteel Wheels tour is reasonable. All the other pieces that has long beenpart of the pie-merch, sponsorships, VIP ticketing, DVD sales, pay -per -view, live albums-could easily add another Si billion to that take.

Michael Cohl, who steered the bend's tours through a period that ba-sically blew up the touring business model, cites one factor that makesall things possible with the Rolling Stones: "They knock 'em dead. Whenyou're just sitting around with them, it's great fun, and something hap-pens when they walk up those stairs. Suddenly, they're 20 feet tall."

The business concept is simple: Take what you have and efficientlybring it to the most people possible in the most aesthetically pleasingway imaginable, then kick those people's asses in such a way that theynot only want to memorialize said ass -kicking with a too -cool -for -the -room T-shirt (or leather jacket, or iPad cover), they want to see the bandagain as many times as possible. Blue chip sponsors can happily swimin the tour's wake, and fans and brands eagerly anticipate the next time.

And, so far, there has always been a next time. While quick to capi-talize on the branding opportunities of various milestones, the Stoneshave never said any given tour would be their last. Artists who cash inon a "farewell tour" bonanza only to come back again in a few yearsfrustrate fans and damage credibility. The Stones leave retirement talkto the fans and keep on rolling. To see the Stones is to see rock'n'rollhistory, and while jokes about geezer rock abound, the fact is their on-stage powers seem completely undiminished.

The nucleus of the Stones since '94-Mick Jagger (vocals), KeithRichards (guitar), Ronnie Wood (guitar) and Charlie Watts (drums)-is a synergistic beast that is more powerful than the sum of its parts.And the founding core plays a role in the show beyond musicianship.Watts takes an interest in the merchandising, for example, but it's Jag-ger who, here and throughout the band's business affairs, takes theleading role. "There is no one else like [Jagger] in the music business,someone who has fully understood the value of his brand and puts therequired amount of work in," says Tom Bennett, CEO of merchandisingcompany Bravado. "He doesn't just talk the talk, he walks the walk."

With production elements, "they each had roles, but in a nutshell,Mick cared more about how it looked and Keith cared how it sounded.So the two of them came up with something that looked good and fuck-ing sounded good," says production guru Jake Berry, who first workedwith the band on the Voodoo Lounge tour, which moved a staggering6.4 million tickets in 1994-95, according to Boxscore. "In my mind itwas always a great marriage."

NOVEMBER 17, 2012 www.billboard.bi7 13

THE BIRTH OF THE MEGA -TOURAs did most of the British Invasion bands of theera, the Stones toured haphazardly in the earlyto mid -'60s, generally aligned with singles, al-bums or opportunity. In time, they built a rep-utation for outdoing their counterparts, if notin musicianship, then certainly in excitementand a sense of "anything can happen" abandon.

But the efficiency, mega -productions andinimitable style of maximizing their touringopportunities rarely came to bear in the firstchapters of their touring narrative. In the '70s,as the Stones sold out shows and built theirreputation for top-flight production and per-formances, all too often the headlines weremore about drug busts or mythic tales of de-bauchery than stellar show, as with Richards'1977 arrest at the Harbour Hotel in Torontothat, ironically, solidified the band's relation-ship with the man who later took the Stonesto new heights in touring.

Before Canadian impresario Michael Cohlchanged the touring business forever with SteelWheels in 1989, he played another role in Stoneshistory. "The most important thing I did forthe Rolling Stones before Steel Wheels was raisethe bail for Keith in Toronto," Cohl recalls. "Fora long time Keith didn't know me as a pro-moter-he thought of me as a bail bondsman."

Cohl did scattered shows with the Stonesdating back to 1974, but the man who first withmade history with the band was the late, greatpromoter Bill Graham in San Francisco. Gra-ham had worked with the Stones, who by allaccounts never used an agent, since the '60s,but changed the game permanently with the1981 tour in support of Tattoo You.

The band needed to do something differ-ent. Legal hassles, taxes and onerous label andpublishing deals had depleted its financial re-sources. The Stones hired Prince Rupert Low-enstein as their business manager in the early'70s, and he saw the surest revenue for a bandthat can really play was to play-everywhere.

Lowenstein, a London financier whoretired in 2007, inherited a bit of a mess,but his skills reshaped the picture for theStones. He "saved them [money', got themout of a lot of really bad deals and structuredthem properly," Zysblat says. "It's rare fora banker to come in and live and breatherock'n'roll, but he did it, and did it verywell-and with style. He is a gentleman."

By the late '70s, particularly on the tour insupport of Some Girls, the Stones were sellingout big buildings and were considered the big-gest band in rock, but something was wrong:The tours weren't as profitable as they couldhave been, and the appeal wasn't as strong glob-ally as in the States. Merch per -caps, which lateraveraged an unheard of $10 per head through-out 20 years of touring with Cohl, were a paltry25 cents in Europe, according to one source.

And the band spared no expense. Zysblat saysbeing the Stones' tour accountant in his earlydays with the band was a gig that sometimesmade him want to 'blow my brains out; as in1975 when Jagger wanted elephants onstage inMemphis. "A simple request like that not onlyrequired getting elephants, it required reinforc-ing the stage, and just spending a fortune," Zys-blat recalls. "But it's something that eventuallybecomes national news and sells more ticketsalong the way. They're not afraid to try any goodidea, or a bad idea if they think it's a good idea."

With Graham's promotional flair and sheerforce of will, the Stones' touring began to turninto the cash cow that it would be for the next

30 years. "Bill helped make it all bigger thanlife," Zysblat says. "Bill and the band decidedin '81 that if you promote that you're a stadiumband, then people would believe you're a sta-dium band, and they turned it around."

Graham had serious history with the Stones,he was the best-known promoter in the world,and he pitched the band to be its tour directorfor the 1981 Tattoo You tour. The North Ameri-can run was roughly 50 shows, split fairly evenlybetween arenas and stadiums. While the Stoneshad been spending a lot of money on produc-tion for some time, this was their foray into

MICK JAGGERperforming inChicago duringthe 19 81 tourthat changed thegame forever.

"They'veeither had

an impact onorpioneeredevery single

aspect oftouring."

-BILL ZYSBLAT,who's worked with the Stones

since 1975.

"mega" production-a three -act show that fea-tured opener George Thorogood on all datesand middle acts like J. Geils Band and Journey.

"A number of things were very special aboutthat tour," says Gregg Perloff, president of SanFrancisco promoter Another Planet. Back thenhe was working with Graham, serving as the"agent" by routing the tour and cutting build-ing deals. In those days before the Internet, thepromotion of the Stones '81 tour was genius inits simplicity.

"We only advertised in one city. The rest ofthe tour sold out on a whisper," Perloff says. "Bill

would do press conferences, sometimes withJagger, but basically we would literally 'whisper'that the Stones were coming to town and everysingle date in the country blew out-except forDetroit, of all places."

The concept of national tour deals was juststarting to percolate with Concerts West's workwith the Beach Boys, but Perloff says Grahamgot the Stones tour because "our proposal madea lot of sense. We were actually hired by theRolling Stones, [unlike] the idea of what hap-pens now, where you're basically a bank and thereason the band is using you is to front -load the

money so that no matter what happens they'regoing to get paid. When a band knows they'regoing to sell out, there's no reason to take thatmoney. We got paid by the Stones, as opposedto us paying the Stones."

The '81 tour was, in a word, huge. If a sin-gle tour heralded the birth of the mega -tour,this would be the one. "To this day, I've neverseen a tour as big and powerful as the RollingStones' 81 tour, where people were just dyingto get a ticket," Perloff says. "Every newspa-per, every radio station, every outlet, wantedto write about the Stones, and what that didwas make them bigger than life. And of coursethat helped sales."

Given Graham's affiliation with the Winter-

land merchandising firm, merch took on a big-ger role on the '81 tour. "We used to have a jokein our company that the only way you could getfired from Bill Graham was to steal or run outof mediums," Perloff says. Buildings wantedthe band so badly that, for the first and probablylast time, they were willing to forgo their cutof merch sales, which could be as high 25% inthose days. "That was the power of the Stones.No other band could get that deal."

Another first: Amid cries of "sellout," theStones brought in a tour sponsor, Jovan Musk.Tour sponsorships have evolved mightily sinceJovan ponied up a reported $500,000 to sponsorthe Stones' 1981 tour, transitioning from simplya paycheck for "presents" designation to today's

multitiered, multimedia partnerships that allowartists, venues and events to sink more dollarsinto production and give fans an opportunityto interact with artists in new and unique ways.

But taking the money in '81 wasn't a given.Taking on a sponsor was radical enough forthe rebellious rock'n'roll world, but a fra-grance? "They had a lot of guts," Zysblat saysof the Stones. "They really felt like, 'By doinga sponsorship, we can give the kids better pro-duction and better value, and [Jovan) are will-ing to help us do that.' They came to that con-clusion not easily the first time. I remember

band meetings about it, butin the end Rupert, Mick andKeith came to the conclusion,'We're the Stones. We can dowhat we want.'"

Brands like Volkswagen,Sprint, E*Trade, AT&T Wire-less, T -Mobile, Ameriquest,Amex, Radio Shack and oth-ers have since aligned withthe band. Perhaps the big-gest deal of them all is VirginMusic's involvement with the50th -anniversary shows, whichsources say will pay the group$25 million for the first fourconcerts announced in Londonand Newark, N.J. (A BarclaysCenter play in Brooklyn is ex-pected but not yet announced.)

But in 1981, no major tourhad ever brought in a present-ing sponsor and, for many,such a move was sacrilege. "Inthose days nobody knew whata sponsorship meant. [Jovan)was on the ad, maybe they gotsome tickets, but it wasn't thatbig a deal," Perloff says. "Therewas no activation, there wasno sponsor on the [screens orbackdrops]. It was just on theradio spots and print."

Graham went on to successfully tour theband in Europe in '82, notably passing on Can-ada and Cohl. It would be seven years beforethe Stones toured again, and when they did theband would change the game in even more sig-nificant ways.

COHL MINING ITWhen the band reconvened in 1988 to record andplot a tour behind Steel Wheels, the easy solutionwould have been to fall right back in with Gra-ham, whose relationship with the Stones wasby then famous and productive.

Not so with Lowenstein. "Bill had had a dif-ficult relationship with Prince Rupert, and hewas very close to Mick and Keith," Perloff says."Remember, in '78 they had no money and by'89 they were very wealthy, and [Graham] felthis relationship with the band members wasenough. But it's not a good idea to have argu-ment after argument with the band's manager."

Enter Cohl, who had promoted the Stones inhis home market of Toronto and in such U.S. cit-ies as Buffalo, N.Y., dating back to 1974. He hadplayed a key role in the Jacksons' 1984 Victorytour, and though that show was a financial loser,he learned lessons about scaling, capacities, sta-dium plays, building deals and market value.

"I saw what could be in terms of the sizeof crowds, how you would deal with crowds interms of money, and it was way beyond any-thing I could have imag- continued on >>p16

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14 BILLBOARD NOVEMBER 17, 2012

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from »p14 ined, and I suspected it was waybeyond anything any other promoter could haveimagined," Cohl says. "1 always kept it in theback of my brain that one day that informationwould be useful."

That information became useful in 1988. "Iwent to Rupert with a proposal for the wholetour. He was clearly receptive," Cohl recalls. "Igot the tour because I had a better idea, and itinvolved more money for the Rolling Stonesthan Bill was putting on the table."

As to the nuts and bolts of the better idea,Cohl adds, "It was different scaling, it was re-served seating, it was better deals with arenasand stadiums than you could ever imagine, itwas merchandising. We were taking everythingand putting it into one pot and sharing it: spon-sorships, merchandise, ticket rebates, VIP tick-eting, anything you can think of that wouldgenerate money from the tour."

If it sounds like the multirights deals struckby Live Nation with acts like U2, Madonna, Jay -Z

and others (mostly engineered during Cohl'sbrief tenure as chairman of Live Nation andlargely spearheaded by Arthur Fogel, thenCohl's right-hand man and now chairman ofLive Nation Global Touring), Cohl says, "Thatwas when it was invented."

Zysblat, with RZO's continuity through the'80s, calls Cold's involvement "the next big step,"he says. "Michael decided that tickets, merch,all those prices were too low for this band," hesays. "They were selling every ticket, every T-shirt they had, and the scalpers were makingall the money. Not that [previous] tour directorPeter Rudge did a bad job in the '70s, but Peterfocused more on the artistic and the promotion,and Bill and Michael turned it into a business."

In 1981-82, Graham was a tour director, thenext evolutionary step following Rudge, in thesense that he wasn't a promoter or risk -taker,except in his home market of San Francisco.Graham oversaw marketing, production, ticket-ing and merchandising, but it wasn't his moneyon the line.

Cohl was hired to be the promoter, the guar-antor of money in every market. He took on therole of tour director at the same time mostly toprotect his investment, and he took on a cre-ative role in terms of marketing, messaging andbranding to maximize that investment.

A big component of Cohl's pitch was con-sistency: You had the same promoter in everymarket, as opposed to promoters with differ-ent marketing campaigns and regional turfwars fighting to draw crowds from one mar-ket to another.

"Michael had a very compelling argumentthat having everything exactly the same mar-ket by market would a) make life easier andb) to the extent you had any dates that weren'tdoing spectacularly, [cross-collateralizing] thedates would level out the money and allow thepromoter to put up a bigger guarantee," Zysblatsays. Amortization or cross-collateralization-the foundation ofnational and global tour dealstoday-was perfected, if not born. Cohl wasable to guarantee far more than any group ofpromoters could offer because he knew if helost money in one market, he'd pick it up in theoverage in another. "That didn't exist before,and obviously there wouldn't be a Live Nationor AEG today if that didn't happen."

So when it came down to money, Gra-ham couldn't compete financially withCohl. Graham's strategy involved combin-ing the resources of regional promoter of-fers in each market, continued on >>p113

A STONEDHALF -CENTURYMICK JAGGER and KEITH RICHARDS talk to Billboard abour theirupcoming live shows and their plans for 2013BY PAUL SEXTON

STAB

7, he first floor of London's DorchesterHotel is crowded with security men,management staff and press assis-

tants, all moving between various suites. Littlesensing the comedy value, they dart throughone door only to appear from behind anothermoments later to check a watch or make an-

other call. The business of promoting a new compilation, a film and ahandful of live dates is afoot, and the Rolling Stones are working hard.

On Oct.19, halfway through an intense run of rehearsal days in Paris,they interrupted that schedule to fly home for the London premiereof "Crossfire Hurricane"-the documentary directed by Brett Morgen,produced by Mick Jagger and executive -produced by the rest of theStones-and a day of interviews. Ronnie Wood looks bleary-eyed,but enthusiastic to a fault. Charlie Watts is laid up at home with theflu. Keith Richards cackles as amiably as ever, noticeably without theomnipresent drink near at hand. Jagger is purposeful but animated.

Billboard shared separate suites with Jagger and Richards to getthe word on the film, the GRRR! compilation (due Nov.13 in NorthAmerica on ABKCO/Universal) and 50 years in the Stone age.

When did a reunion begin to look possible?KEITH RICHARDS: We did some rehearsals in New Jersey [in the spring].To me that was the acid test, and when Charlie Watts clicked in, thenI knew that the juggernaut would continue. We were rocking, andeveryone's going, "Yeah, the energy's there." Music takes you overand above any of the petty little things, the bickering and all that crap.

Did you expect to record the new songs ["Doom & Gloom" and"One Last Shot"] for GRRR!?RICHARDS: They were making this compilation, and at the last momentthey tell us, "Oh, it'd be nice to have an extra track or two." So Mick andI say, "Oh, great, we've got a month. Just like that, huh?" I said, "I've gotone," and he said, "I've got one"-it was probably the quickest RollingStones recording sessions that I can remember, ever. We cut two tracksin three days, boom. And to me just taking one step back, to watch theband playing, just as an observer ... whoa, man, these cats are hot.MICKJAGGER: I knocked out "Doom & Gloom" in very quick time, did aquick demo ofit, and it didn't come out a million miles away from that,to be honest. Everyone's saying good things about it, so I can't be hap-pier. "One Last Shot" is a song that Keith wrote mostly. I wrote someextra lyrics for it. It's really good.

The retrospective film "Crossfire Hurricane" is quite dark, especiallyin its coverage of the Stones"60s history. Was that the intention?JAGGER: It is quite dark. Not as dark as it was in one cut. ]We said],

"Wait a minute, Brett, you've gone too dark! Come back into the lightnow, you can have a bit more funnies." If you lean too heavily on thedark bits, you can drag people down too much. I think it's a good bal-ance now. Several people said, "I know the story, but I couldn't stopwatching it. I still found new things in it."RICHARDS: Brett Morgen did an amazing job of keeping the story ontrack. He didn't get hung up with the chicks, which is a difficultthing to do. Also he found some amazing footage.

There's been controversy about your ticket pricing for the Londonand New Jersey shows. What's your take on that?JAGGER: I don't think there should be a secondary ticket market. I don'tthink it should be legal. To my mind, there has to be a better way ofdoing it, but we're living, really, with the way the system functions. Wecan't, in four shows, change the whole ticketing system. You might say,"The tickets are too expensive"-well, it's a very expensive show to puton, just to do four shows, because normally you do a hundred showsand you'd have the same expenses. [laughs] So, yes, its expensive. Butmost of the tickets go fora higher price than we've sold them for, so youcan see the market is there. We don't participate in the profit. If a ticketcosts 250 quid [5400], let's imagine, and goes for 1,000 quid [51,600],I just want to point out that we don't get that difference.

What sort of shows can we expect?RICHARDS: We'll have Bobby Keys in for a few horn things but we'renot carrying sections. Charlie said, "We should have the stripped -down thing." I said, "Charlie, you realize how much pressure thatputs on the guitar lineup?" But at the same time, it's a challenge,and he's right. The fact is that what we try and do onstage is deliverwhat's on the record, and there's a lot of horns and a lot of voices. OK,you want the blues band, you want the rock'n'roll, stripped down?You're going to get it. It's going to be fun, man.

Do you see the 50th anniversary as a cause for celebration?JAGGER: It's like a big birthday-you come to it and then you move on.RICHARDS: There's a sort of sense of timing with this band that youcan't really put your finger on. There's a sort of scratch and an itchthat comes up, and I suppose the 50 -year thing is an added spur.

And 2013? Keeping options open?JAGGER: 1 suppose you could say, yeah.RICHARDS: This juggernaut, once it gets rolling, is almost unstop-pable. "Oh, an extra gig," or, "Let's play somewhere you've neverplayed before." So things go on. Right now, I'm just happy to havethe thing rolling and moving. It'll be great, playing London and NewYork. The rest of it, it'll happen. Don't worry about it.

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16 BILLBOARD NOVEMBER 17, 2012

FROM ALL AT EAGLE ROCK ENTERTAINMENT SHE ROLLING STONES EAGLE ROCK ENTERTAINMENT FEN TREMOLO PROPERON/ MIRW0011HIN / A FILM DI NM MOIR "MOORE HURRICANE"

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EagleRockTV TheRollingStones 111 EagleRockEnt EagleRockNews www.eaglerockent.com

from »We then adding them up for onebid. Cohl took a similar tack by "layingoff" dates to locals and then, according tosomeone close to the deal in those days,"factored it by some crazy number, maybe150%, by saying to himself, 'Phoenix mayfall a little short, but New York will outsellthe guarantee, for sure."

In the end, Cohl offered a "staggeringlyhigher guarantee" just on the basis of thatcross-collateralization, plus one key factor: "Ev-erything was in the pot-from merch to spon-sorship to ticket sales, it was all one thing," asource says. That was something that Grahamdidn't have the ability to do, because notoriouslycompetitive regional promoters weren't inclinedto share their profits or take on others' losses.

Cohl used local promoters as well, butpaid them a flat fee (how much is a matterof much debate) as opposed to cutting themin percentage -wise. Being a promoter him-self, Cohl was acutely aware of how promot-ers made their money, and he used that tohis advantage. The more the local promoterwas making off ancillaries, the less they gotpaid from Cohl's cut.

In the end, Cohl's guarantee was an esti-mated S5 million higher than Graham's, butironically that guarantee ended up being irrel-evant, with the band's take ultimately ending upas more than triple the offer. Within a week ofthe first on -sale, Cohl was in the black.

And Cohl and his lean -and -mean Toronto -

based team of about a dozen sharp touring proslearned one big lesson from the Steel Wheelstour: "That we could do it," Cohl says. "It's thatsimple. We were able to gather the forces, putit together and manage that business in such away that it was an artistic and financial success."

Not only did they do it, they did it again andagain, bigger, broader and better each time. Theworld was the Stones' marketplace, more thanever. "You try to make it as expansive as pos-sible, and you try to do as well as you can oneach project," Cohl says. "It is the business ofart, but it's the art of business. If we're goingto do a project, we want to do it full bore. Wewant to be involved in every aspect of it, and wewant to market it to its maximum so it can bethe most successful thing it can be."

Graham died in a 1991 helicopter crash and,by all accounts, was still pissed off about losingthe Stones, calling it "like watching your favoritelover turn into a whore." With the perspectiveof time, Perloff sees the Stones' shift to Cohlas a natural evolution for the band.

"As much as it was devastating emotion-ally and financially to our company, it wasvery interesting because Michael was not awell-known figure and he and Arthur (Fogel]did a phenomenal job in the next phase of theStones," Perloff says. "I'm not going to say ourcompany wouldn't have, but it's interestingthat Bill and our company helped the Stonesat a certain phase of their career, then theypicked somebody that also helped them a greatdeal and did a great job. So they chose right."

TIME WAS ON THEIR SIDEBy the end of the Steel Wheels tour, Cohl and theStones had a better handle on their market valueand began charging hundreds of dollars for thebest seats and pacicages. The aggressive pricingstrategy, as Zysblat sees it, "didn't put the scalp-ers out of business by a long shot, but it helpedput the ticket price in a true market position."

Untold hours were spent on scaling thehouse. Scalpers had frustrated the band for

years by charging several times face value forthe best tickets (really, all tickets), and theStones opted to take that on by raising theirprices to levels only rarely seen in the primarybusiness. The media always focused on thetop -priced tickets, but Cohl and the band'sposition was the top 10% of tickets basicallyfunded the lower prices, keeping the other90% reasonable and a fair amount of themeven relatively low.

"One thing I do love about the band isthat, even in this current run of dates whereticket prices before fees are $850, there are$125 tickets," Zysblat says. "They alwaysdemand that there are a decent number offairly priced tickets, and those tickets get

into the hands of true fans."VIP, bundling, packaging, presales and fan

club ticketing were all first exploited to theirfullest by the Stones. SLO Ticketing presidentShelly Lazar, dubbed the "motherfucking ticketqueen" by Richards, basically created a busi-ness, and to this day oversees packages and"friends and family" tickets for the band. Fam-ily or not, there aren't any comp tickets on aStones tour. Be it promoter, label, band mem-ber or sponsor, someone's paying for everyticket in the manifest.

And, in the infancy of the Internet, theStones created "direct -to -fan" commerce onthe '89 Steel Wheels tour. Norman Perry, amerchandising visionary, oversaw the Stones'merch business for the duration of the tourswith Cohl. 'Norman made the first onlinerock'n'roll retail transaction ever, and I forcedhim to do it," Zysblat says. "At a time whenthere were no online sales, I told him he hadto open an online store, and he looked at melike I had two heads. This tour is six monthsaway, and I'm telling Norman that people aregoing to send him orders by electronic mail,because they want to wear their shirt to theconcert. He said, do it because you're mak-ing me do it, but I think it's a terrible idea.'I remember when he made the first transac-tion he called me up-he wasn't using theInternet at the time-and said, 'I just sold ashirt. That's one.' I said, 'Don't worry, there'llbe more.' And at the end of the tour he said,'I cannot believe what we did.'"

Perry built the most powerful merch ma-chine in history. Credit card scans at con-certs, broad and deep product lines and high -end apparel like leather bomber jackets withthe tongue logo all made their debut with theStones, on Perry's watch.

The Rolling Stones built themost powerful and varied merchmachine in history. From top:at the Los Angeles Coliseum In1981; a pop-up shop in Londontakes shape prior to the releaseof GRRR!; Stones skis fromBravado.

As for what makes the Stones such a greatmerch band, Perry points to the performances."It's always about the show and the experi-ence the audiences have at that show thattakes them beyond the traditional 'I need toget something to memorialize this' to 'I haveto, I must, it's imperative, and what about myfriends, I've got to get extra," Perry says. "Thecredit belongs to the band. Great songs, greatlyrics, great imagery, fantastic historical post-ers we could re-create and fantastic contempo-rary art that they gave us album after albumand tour after tour."

Along with Jagger, Perry remembers Wattstaking an interest in the merchandising."Charlie's original statement was, knowwe're going to sell a lot of T-shirts with a redtongue on it, but can we do something else?'And as a result, we created clothing that worksfor the moment-event shirts that memori-alized where we were and merchandise andclothing that was lifestyle," Perry says. "Brag-ging about your affinity for the Rolling Stonesbecame something that was very easy and im-portant to do."

They upped the ante every tour, with a newlook, theme, fonts, logos and products, pleasingold fans and impressing new ones. They madesure there were shirts fitted properly for women,and they never went light on quality. "So whilewe were happy to charge a lot, we were very justi-fied in doing so," Perry says, "because the mer-chandise was of such high caliber, and whenthe public saw it they reacted very positively."

Perry adds that the band could drive merchsales by the smallest gesture. "Every now andthen, Mick would wear a T-shirt onstage. Maybehe'd just put it on for the encore because he wassweating and that would be the No. 1 -sellingshirt of the day."

In 2008, when the Stones' music catalogshifted to Universal, another forward -think-ing merch company in Bravado, a subsidiaryof Universal Music Group, was blessed with theopportunity to take on the greatest merch bandin history. The Stones weren't touring after theA Bigger Bang tour wrapped in 2007, so Brava-do's focus was on retail and licensing, and theposture was global. After all, languages maydiffer but the tongue is universal.

Bravado CEO Tom Bennett recalls anearly meeting with Jagger and band attor-ney Joy Smith.

"We were able to pitch them about how wethought we could grow the retail part of thebusiness, as well as online and licensing, bymarrying the music and the merchandisingtogether so we could go and offer retailers allover the world a more complete package," Ben-nett says. "By tying into the enormous reach ofUniversal in 44 countries, it just revolutionizedour business to the fact that they're the mostsuccessful and first real example of how wellmusic and merch work together. It's astound-ing how well it's working."

Bravado has built an impressive retail pres-ence for the band in Norway, Japan, Brazil, Aus-tralia, the United Kingdom and across Europe."Being able to say that we represent their name,logo, license and music is continued on »p20

18 BILLBOARD NOVEMBER 17, 2012

ROLLING TOGETHERSINCE 1975

RZOCONGRATULATIONS!

from »p18 a hell of a great calling cani whenyou go knocking to meet really big retailers,"Bennett says.

The 50th anniversary provides an anchoraround which Bravado can build a huge programwith retailers and, as ever, the Stones provide com-

pelling imagery. The band commissioned ShepardFairey to update the classic tongue -and -lips logocreated by John Pasche some 40 years ago.

Like Robert Frank's classic imagery fromExile on Main Street, Andy Warhol's work onSticky Fingers and Walton Ford's striking go-rilla images for GRRR!, the band membershave "always aligned themselves with top tal-ent," Bennett says.

Now Bravado has some live events to work with

the kings of tour merch, and Bennett promises"really, really nice stuff in quite a wide range"

SUPER SIZING ITBy the mid -'70s the Stones were investing heav-ily in production and by the time Steel Wheelsrolled around, fans expected to have their mindsfully blown at a Stones show. The price tag wasmillions in upfront costs and millions morein labor and trucking, but the investment wasworth it, especially if the band wanted to playstadiums-and it did.

Cohl felt like, beyond the Stones' tours, theentire stadium concert presentation was on theline. "In those days stadium gigs tended to not

have the best reputation. They were OK if youwere a fanatical fan and a once -in -a -while thingto do, but not a thing to do on a regular basis,"he says. "We wanted these shows to be so en-joyable that people would come back time andtime again, tour after tour, and perhaps evencome see other bands in stadiums."

Michael Ahem was the production manageron the Steel Wheels tour and Jake Berry tookthe reins on Voodoo Lounge with a mandate tocut down leapfrogging, reduce production costsand create a universal crew. "Jake had a terriblejob," Zysblat says. "The band said, 'We're doingthis. You figure it out.' It always comes downto labor. You can always build another blowupdoll, but Jake had to figure out how to do it usingthe least amount of people."

Berry zeroed in on the labor side of the equa-tion, building a system where those doing thegrunt work requiring medium levels of train-ing could be grouped into multiple teams andjump ahead of the tour. The tricky, day -of -shownecessities could be performed by a universalteam, a core set of A -list experts that knew theidiosyncrasies of tour production inside and out,eliminating the need to hire and train exces-sive numbers of the highly trained, highly paidpersonnel like lighting directors, sound mixersand video personnel. It heralded a new age intour staffing, budgeting and efficiency. "Noneof it was rocket science, but most of it hadn't

been applied to rock'n'roll before," Zysblat says.Berry says he was "a little nervous" when

he moved from the heavy metal world andoverseeing production for AC/DC to theStones, which meant moving from a 16 -trucktour to a 26 -truck tour with an additionaldozen trucks of steel. "That was a little nerve-wracking, but like all tours, once you tamethe beast, it's great," Berry says. "Best job inthe world, the Stones."

From massive, bawdy inflatables to crazy -

large staging, dizzying towers, incredible sight -

lines and powerful video imagery, the Stonescontinuously pushed the envelope with pro-duction. If they didn't invent the satellite stage,the Stones certainly perfected and brought theconcept to its greatest heights on the Bridges toBabylon tour. "[Designer] Mark Fisher createda bridge that came out of the stage and bridgedthe gap to the B stage, probably still [one of]the greatest gags in rock'n'roll history," Berrysays. "We're talking 1998, a fucking magnifi-cent piece of engineering, a great idea, and no-body had ever done it. The bridge extended likea fireman's ladder-a very, very expensive fire-man's ladder. When it got to the stage we tied itdown and the band walked over and performedon the B side. It was magical."

Then there was the 2002 "Tour of Arenas,Stadiums and Theaters," affectionately knownas TOAST by the crew who felt that way by tour's

THE EARLY AGEA new version of al965 documentary gives rare (and electrifying) insight into theband's beginnings

n 1965, Rolling Stones manager An-drew Loog Oldham commissioneddirector Peter Whitehead to shoot

the group's two-day September Irish tourin order to, as he put it, let the lads get their"celluloid legs." The cinema verite footagewas collected into an slapdash film called"Charlie Is My Darling" (because taciturndrummer Watts was deemed most cam-era -friendly) that was shopped the fol-lowing year but never released or aired-although wobbly bootlegs have beencirculating for decades-and the reels satin film cans for more than 40 years.

As part of ABKCO's ongoing restorationof the Stones' earlyarchives-not to mentionthe band's 50th anniversary-the film hasbeen laboriously cleaned up and made intoa new documentary, including live segmentsthat represent the earliest known, profes-sionally shot concert footage of the group.

Anyone watching the film-which hasbeen making the rounds at film festivalsand was released as a lavish DVD/Blu-ray/CD boxed set on Nov. 6-may well wonderhow it could have languished for so long.

The live footage alone-six songs, includ-ing the then -new "Satisfaction"-is arguablythe most exciting document of the Stones'early years, capturing both the primal en-ergy of their performance and the hysteriait evoked. (One song actually isn't com-plete: During "I'm Alright," crowd membersswarmed onstage, tackling the band, and the

Stones had to be rushed off by police.)

Elsewhere, the cameras follow the22 -year -old Mick Jagger and 21 -year -old

Keith Richards goofingaround in hotel rooms,writing songs and doingimpersonations of theBeatles, Elvis Presley and

cheesy music -hall tunes.ABKCO's Robin Klein,

the film's producer, ex-plains that no one knewhow much unused foot-age from "Charlie IsMy Darling" existed, letalone how vibrant it was,before she and ABKCO'sMick Gochanour, thefilm's director, beganwork on the project inFebruary of last year.

"ABKCO had trans-ferred some 'Charlie'footage in the '80s for reference," Gocha-nour says. "We noticed there was a lot ofsilent footage of the Stones performingonstage, and that led us to search the vaultfor additional footage. We found five to sixhours of it-some in cans, some negativesWhitehead had never seen-and we real-ized there was enough to create a com-pletely different story."

Then came an eight -month process ofoptimizing the footage and painstakinglysynching the concert sequences with audio."[Engineer] Glyn Johns did a spectacularjob with the [concert] audio, but today'stechnology allowed us to improve thesound a lot," Gochanour says. "We used nooverdubs but it did require a lot of restora-

CHARLIE WATTSsigns an autograph fora fan in Ireland in 1965.

tion. A lot of the audio tapes were undocu-mented. I can't definitively say that the ver-sion of the song you're hearing is the sameas the one you're seeing, but they synch up."

As for what's next, ABKCO has a DVDin the works containing rare Stones pro-motional videos. The company declinedto comment further, but other projectsthat could be in line include Whiteheadfootage of a 1966 Royal Albert Hall con-cert and, of course, dozens of TV appear-ances. "BBC material, 'Ed Sullivan'-we'realways looking at those, but there are li-censing issues," Gochanour says.

So even though Klein promises there's"more to come," don't toss those VHSbootlegs just yet. -Jem Aswad

end. "The whole concept of stadiums, arenasand theaters in some select cities was unreal. Idon't know any band that could go from, say, inNew York, Giants Stadium to Madison SquareGarden to the Roseland Ballroom, all in a week,"says Berry, who created a color -coding systemto ensure that the right gear went to the rightvenue. "From a production manager's stand-point, that was the most gratifying tour we everdid-always an adventure and on the edge."

GRRR!-ING UP FOR MORESo now, 50 years in, the Stones are ramping itup again with shows in London, Newark and,still TBA, Brooklyn. For the past two years,speculation has been rampant as to who wouldpromote the shows. The most serious bidderswere sports and entertainment firm AEG, LiveNation with Cohl and Australian promoterDainty with Virgin.

Live Nation and Cohl had settled their legaltussle in the wake of his exit as chairman (overthe rights to promote the Stones, among oth-ers). A source familiar with the discussions saysLive Nation chairman Irving Azoff was pitch-ing hard for the Stones, while the band wasin discussions with Stones tour veteran Fogel,producer of many of the biggest tours in his-tory. Meanwhile, Cohl, having accomplished theherculean task of turning Broadway's "Spider -

Man: Turn Off the Dark" around, was havinghis own discussions with the band.

But the winning bid, according to sources,was based on a $25 million guarantee for theStones, whether it be four shows or five. Inthe opinion of one source familiar with thebids, "Cohl had the superior deal," particu-larly given his history with the band. In theend, the group must have decided that, forfive dates and no "tour" per se, it could livewithout a tour director, or perhaps Dainty,more a promoter in the traditional sense,might fill that role.

But one area where Cohl's presence will likelybe missed is as a "referee" of sorts managingthe decision -making process within the bandfor issues large and small. "The dynamic be-tween the band members is interesting," saysa veteran of numerous Stones tours familiarwith the group's inner workings. "If they dis-agree, there aren't that many people they trustas a referee, and between Rudge, Graham andCohl, there was that trust."

Generally, majority rules within the Stones,but sometimes a mediator would be necessary."Not that they were fighting-it could be thesimplest decision in the world: 'Do we want tospend another $50,000 on a blowup doll?'" thesource says. "And now that referee's not there.Hopefully they won't need it

So now Cohl finds himself in the same posi-tion Graham was in 1988: on the outside look-ing in as tickets fly out the window. But Cohl'snot taking it as hard as Graham apparently did.

"I'm not going to call Dainty a ... what didBill call me again?" Cohl says. Reminded of-and seemingly misinterpreting-Graham'squote about losing the Stones, Cohl replies, "Idon't think of the Rolling Stones as my best girland I don't think of Paul Dainty as a whore."

Indeed, Cohl sounds utterly convincing whenhe says he's not bitter. "I just won producer of theyear on Broadway for saving 'Spider -Man.' I justhad a new granddaughter. I'm having a great life,"he says. "And if the Rolling Stones ever want towork with me again, they can call and we'll seewhat happens. I'm sure the shows will be great,and I wish them all the best."

20 BILLBOARD NOVEMBER 17, 2012

DAINTY CROUP + VIRGIN = VIRGIN LIVE6k Prudential Center

Long a holdoutfrom iTunes, Kid Rock

is finally taking a bite ofthe Apple with his

new album, Rebel Soul.The story of how theCowboy went digital,

and what else he

NOVEMBER 17, 2012 www.billboard.biz I 23

CC'VE ALWAYS SAID that therewas going tobe a day thatwe wereon iTunes."

It's Halloween, and Kid Rockis singing a different, and unex-pected, tune. Until recently, themultiplatinum self-proclaimedAmerican Bad Ass remained oneof the last high -profile iTunes

holdouts, preferring to keep his music inside shiny jewel casesand off of Apple's giant retailer, and citing iTunes' near -uniformsong pricing as the main reason. And then in late October, RebelSoul, his ninth studio album due Nov. 19 on Top Dog/Atlantic,was quietly made available as a preorder on Mines. Its title trackwas posted for $1.29, marking the first non -soundtrack piece ofmusic the artist had issued on the platform.

Something had changed for Kid Rock. But what? Despiteforgoing digital sales, his career has been humming along inthe iTunes era -2007's Rock n Roll Jesus has sold 3.4 millioncopies, according to Nielsen SoundScan, with major help fromthe inescapable single "All Summer Long." Perhaps even moreimpressively, 2010's Born Free moved 1.1 million without spawn-ing a massive hit. And his criticisms of iTunes haven't budded."I still don't believe that all pieces of music are the same price.I just don't think that's American," he says.

Kid Rock (real name: Bob Ritchie) wants to make it dear thatthe digital baptism of his music isn't a cash grab, but rather therecognition of consumer habits. When Born Free was releasedin 2010, downloads represented 28% of all album sales for thatyear; that number is now at 39% through Oct. 28, accordingto SoundScan. Since 2008, iTunes has been the biggest musicretailer in the United States, and Rock has been giving away achunk of his sales by not listing his catalog there-"All Sum-mer Long" was such a massive radio hit that two different studioclone groups charted on Billboard's Digital Songs chart withcovers of the track. One of these homages, credited to the RockHeroes, sold a whopping 1.6 million downloads.

Clearly digital consumers wanted his music (or a reasonablefacsimile). And so after years ofhearing naysayers maintain thathis career couldn't survive solely on physical sales, Rock felt thathe'd proved otherwise. Now it was time to cede to technologyand superserve his fans. As a musician, you want the musicin as many hands as you can get it into," Rock says. "More im-portantly, I want people to get the music for the fairest price,and in the most convenient way. And that's really turned intoiTunes when you're talking about selling albums."

During the past decade -and -a -half, Rock, 41, has fashioned one

of the most durable careers in mainstream rock, swiftly adjustinghis sound while staunchly maintaining his personal brand. All ofhis studio albums since his 1998 breakthrough, Devil Without aCause, have sold more than 1 million U.S. copies, but that prob.ably wouldn't have happened if theDetroit native had stayed safelyinside the rap -metal construct of"Bawitdaba," the breakout singlefrom Devil. Instead, his songwrit-ing has followed his interests inSouthern rock, country, rap, bluesand soul. And Cocky-the 2001 fol-low-up to Devil-rose to No. 3 onthe Billboard 200 more than a yearafter its release, based on the cross-

over success of the single "Picture,"

which peaked at No. 4 on the Bill-board Hot 100 and No. 21 on HotCountry Songs.

"You see him at the hip -hopawards, you see him at the coun-try awards. He's genre -less," saysJulie Greenwald, chairman/COOof Rock's longtime label AtlanticRecords.

For Born Free, Rock decidedto hand the reins over to Rick

Team RockALBUM TITLE: Rebel SoulLABEL: Top Dog/AtlanticRELEASE DATE: Nov. 19

MANAGEMENT:

Lee Trink, Dare Mighty EntertainmentPRODUCER: Kid Rock

STUDIOS: The Allen Roadhouse, the Warehouse(Clarkston, Mich.)

PUBLISHING: RJR PublishingBOOKING AGENT: Rick Roskin,

Creative Artists AgencyUPCOMING TV: "Good Morning America" (Nov. 19),

Detroit Lions vs. Houston Texanshalftime show (Nov. 22),

"CBS Sunday Morning" (Nov. 25)PUBLICITY: Nick Stern, 7.10 Music

ATTORNEY: Ken Kraus, Loeb & LoebSITES: KidRock.com, MadelnDetroit.com,

AmericanBadassBeer.comTWEETS: @KidRock

Rubin, giving the veteran pro-ducer veto power over the entiretrack list. The process was edu-cational, but not as freewheel.ing as Rock would have liked. Atleast one of the tracks on RebelSoul, "Cucci Galore," was a con-tender for Born Free but didn'tmeet Rubin's standards, whichfocused more on classic song -

writing than booty jams. Forthe follow-up, Rock has madean unabashedly festive returnto form, recording in his ownDetroit studio. "I look at this re-

cord as a greatest hits of all newsongs," he says.

The singer and his teamhave set up a strong networkof brand partnerships as thekey awareness strategy for RebelSoul. Along with his long -run-ning Jim Beam sponsorship,Rock has partnered with ESPNfor its weekly telecasts of theChase for the NASCAR SprintCup, while his relationship withthe NFL will lead to another na-tionally televised performancelater this month.

These opportunities allowRock and new manager LeeTrink greater latitude to chal-lenge music industry conven-tions at a macro level. The singerhas demanded more transpar-ency from his label on market.ing details, while Trink-whoserelationship with Rock goes backto Devil Without a Cause, when

he was a product manager at Atlantic-says that he has hadconversations with Live Nation about revamping ticket and con-cession pricing at Rock's upcoming shows. "It may sound like aherculean task, but the concept is, 'How can we be a beacon toshow how other deals should be done?'" Trink says.

The reckless punk who sneered at authority in the "Bawitdaba"video 13 years ago now wants to shake up the industry's infra-structure. His iTunes decision may have come after ""hard-foughtnegotiations" with Atlantic, according to Trink, but the resultingdividends could be huge. And Rock's digital presence may con-tinue to grow-Trink says that discussion about offering Rebel

Soul to streaming services on re-lease date have gone "from no tomaybe." "Who knows?" Rock says."Fuck, maybe I'll check this Twit-ter thing out next."

KID ROCKperforming at arally for formerRepublicanpresidentialcandidate MittRomney onNov. 5 in NewHampshire.

REBEL YELLLast July, guitarist Blake Mills was

invited tocome to Detroit to recordsome parts for Rebel Soul. First,however, he'd have to go jet ski-ing with Rock off the shoreline ofdowntown Detroit.

Mills, a Los Angeles -basedguitar virtuoso who was broughtin by Rubin on Born Free, spenta single day working with Rockon the new album. Rock praiseshis thick, dirty tone on "3 CATTBoogie" as sounding like modernMuddy Waters (and he's right). Butbefore they got to the studio, Millsfirst had to spend some time cruis-

ing at 80 miles an hour on the Detroit River with the singer. "Afterwe were sore, we got in the car, drove to his ranch where his studiois, played tunes all day and had a really late night," Mills recalls."He's an incredibly disarming host, because his idea of a goodtime is a really, really good time."

The making of Rebel Soul was a more natural process for Rockthan that of Born Free, which he says was recorded with Rubinin a two-week span. The match -up should have been a natu-ral-after all, Rubin's pairing of Run-D.M.C. and Aerosmith on"Walk This Way" in 1986 formed a virtual blueprint for Rock'searly career. The singer gave Rubin complete control over theproduction and mixing of the project in order to "try somethingdifferent." Sessions lasted only four hours each day, thoughusually Rock works as hard (and as long) as he parties. Andthat wasn't the only way that Rock's and Rubin's visions differ.

"Rick's just all about the record-he doesn't care about any-thing else," the singer says. But for Rock-whose arena showsin 2011 grossed $10.8 million in 28 performances reported toBillboard Boxscore-touring is every bit as important as record-ing, maybe even more. "I would try to show him live shows,see where it's going live, but he didn't care about anything likethat. And I understand his process, but that's not mine. I seeeverything. I see the lights, the opening song. I see how songsfit in and how they can be changed around live."

For Rebel Soul, Rock went the polar opposite route He broughtin his touring band, the Twisted Brown Trucker Band, for thesessions in his Detroit studio, and after gathering TA., Zac Brownand Martina McBride for Born Free he nixed any guest contribu-tors (aside from Mills). Rock says that Rebel Soul was partiallyinformed by the hours spent sitting around an empty housereflecting on fatherhood, now that his 19 -year -old son, RobertRitchie Jr., is attending Belmont University in Nashville. Butalong with that free time came added leisure time, and empty -

nest syndrome afforded Rock more chances to hang out with

24 BILLBOARD NOVEMBER 17, 2012

Atlantic came into Delia's office and told him that a deal hadbeen reached. The decision has led to Rock's first major preor-der campaign, with his 3.3 million Facebook fans being told onOct 30 to reserve their copy of Rebel Soul on iTunes. Meanwhile,Atlantic will stream the album exclusively on iTunes on Nov.13, and "Let's Ride" has already sold 34,000 downloads since itsrelease on the platform, according to SoundScan.

Rock's back catalog could eventually make its way onto iTunes,although Greenwald says, don't think we're there yet." Fornow, the Atlantic team is content with placement for Rock oniTunes' home page and across its viral network. "For me topull up iTunes all weekend and the first thing I see is Kid Rockstaring back at me," Delia says, "that's kind of doing my job."

DEVIL WITH A CAUSERelease -timed appearances on "Good Morning America"and "The Howard Stern Show" will raise awareness aboutRebel Soul, but the biggest release -week look for Rock will bea performance at the halftime show of the Detroit Lions' an-nual Thanksgiving Day game on Nov. 22, three days after thealbum arrives. Rock has enjoyed a long relationship with theNFL: He performed the title track from Born Free at the Lions'halftime show on Thanksgiving in 2010, in a game that drew a

15.0overnight rating for CBS, according to Nielsen. And earlierthis year, Rock recorded "In Detroit," a new song for the team,as part of the NFL's Pepsi Anthems program, which had actslike Aerosmith, Kelly Clarkson, Travie McCoy and Wiz Khalifa

Below left: KID ROCK and Jim Beam master distiller FRED NOE at the launch of thebrand's live music series at South by Southwest on March 18, 2011, in Austin. Right: Rockwith Atlantic's JULIE GREENWALD at the Born Free party on July11, 2011, in New York.

vored Red Stag product beginning in 2009 and headlining thebrand's live music series in 2011, Rock has recently become theface of its new Devil's Cut line ofbourbon. On Oct. 27, Rock hosteda Jim Beam Devil's Cut Halloween party at LAVO in Las Vegas,

posing on the red carpet with a cup ofbourbon clenched betweenhis fingers. According to Beverage Information Group analystAdam Rogers, Red Stag grew from 75,000 nine -liter cases shippedduring 2009 to 251,000 in 2011, while Devil's Cut launched witha strong 55,000 cases shipped in 2011.

"Having a partner like Kid Rock helps to accelerate its salestrajectory, because he's a known and recognizable entity," BeamInc. senior director of U.S. bourbons Dan Cohen says of theDevil's Cut brand. In exchange for Rock's services as a spokes-man, Jim Beam has sent links to "Let's Ride" to its 1.2 millionFacebook fans, offered exclusive download links to his musicon bottle labels and, according to Cohen, plans to be a majorsponsor on Rock's 2013 tour.

After hitting the road with Sheryl Crow and on his own tosupport Born Free in 2011, Rock says that he's still putting to-gether a live show for Rebel Soul, and is aiming for February tostart his next trek. The singer has had discussions about inter-national opportunities, specifically in Australia, but as of now,nothing concrete is planned. "It was told to me a long time ago:'Go where you're celebrated, not tolerated.' And at this point inmy career, I'm done breaking markets," Rock says.

One thing he's not done with, though, is hard-nosed con-versations about lowering prices on everything associated

with his live show. At a Dallasshow in September 2011, Rockand management pushed LiveNation into an "experiment"in which 16 -ounce cups of hisAmerican Badass beer were soldfor $5, according to Trink. Themarkdown garnered positivefeedback, so Rock lowered priceson his live merchandise last yearas well. At merch stands weresigns that read "F--- the Econ-omy," and T-shirts went for $25instead of $40.

Trink says that he's starting tolook at ways that such discountscan be sustained, and extendedto ticket prices for Rock's 2013shows. "The concept is, 'Let's

"I want people to get the music for the fairest price, andin the most convenient way. And that's really turned into iTunes

when you're talking about selling albums." -KID ROCKfriends in Alabama and kick back on Florida beaches. As a result,Rebel Soul is a party record that keeps Rock's scruffy charm atthe forefront, with songs like "Detroit, Michigan" and "HappyNew Year" radiating good times.

Rock's albums have historically tended to turn slow starts intolong shelf lives: Rock n Roll Jesus climbed back into the top 10 ofthe Billboard 200 a full year after its release, thanks to the suc-cess of "All Summer Long." Atlantic VP of A&R and marketingAnthony Delia says that he expects Rebel Soul to enjoy a simi-larly slow burn. Lead single "Let's Ride" has performed modestlysince its Oct. 1 release, debuting this week at No. 12 on Hot RockSongs as Atlantic continues to push the track to rock radio. But"Bawitdaba," "Picture" and "All Summer Long" weren't the leadsingles on their respective albums, and Delia hopes to see anothertrack-maybe "Happy New Year," a midtempo party groover thatturns holiday cheer into a love song-follow that crossover success.

"We're not forcing things," Delia says. "We know we have ahandful of songs that are key tracks and can plot the timing alittle naturally. 'Happy New Year' is time -sensitive, so I wouldlove to do something this year. There will be a follow-up rocksong, and hopefully by the spring we'll have something work-ing at more mainstream formats."

Of course, Rebel Soul marks the first time that Atlantic canmonitor digital track sales and adjust its radio focus accordingly.Delia says that iTunes has long been a discussion point withRock: "We've heard we might be doing (iTunes] for five years,"he says with a laugh. Finally, in late October, a sales rep from

cutting songs celebrating their hometown teams.NFL Network director of programming Lawrence Randall

says that Rock had dinner with Lions president Tom Lewandafter a game earlier this season, and the decision to have Rockdo the Thanksgiving performance came easily. "There's a cer-tain comfort level there with Lee [Trink] and Bob to deliver agreat show," Randall says.

Rock, a diehard Lions supporter, aligns his brand partnerswith his life. He has no love for branding deals that come acrossas inauthentic. "When you see [Shaquille O'Neal] and PeytonManning, who I consider both friends, do car commercialsand you're like, 'You motherfuckers do not drive that fuckingcar,' that's shit I won't do," he says.

In addition to his continued philanthropic work with the KidRock Foundation, his American Badass beer brand and a strongrelationship with the U.S. military, Rock's latest high -profilepartnership-with ESPN for its Chase for the NASCAR SprintCup series, which kicked off in September-culminated froma lifetime of auto -racing fandom, and has given him a weeklyopportunity to preview Rebel Soul. New music and classic Rocksingles are interweaved throughout ESPN's four- to five -hourtelecast, and Rock appears in opening video teasers that werefilmed at the Michigan International Raceway.

Meanwhile, Rock's deal with Jim Beam has remained the idealfit. The singer often brings up the fact that he was name -checkingthe bourbon brand in his lyrics long before the partnership beganin 2009. After serving as the face of Jim Beam's black cherry-fla-

each show each other all the money we make and figure outhow to make things cheaper for the fans and still walk awayhappy,'" Trink says. "We're at least going to try and attemptto go to a place where a $50 ticket is actually a $50 ticket. Youhave to try. I'm not saying we're there. I'm saying we're mo-tivated to do it

Rock expresses frustration not just with the economics of thelive market, but with the current major -label system as well. Hehas one more album on his Atlantic contract, and while he ap-preciates the creative freedom the label has given him duringthe 14 years since Devil Without a Cause, he says, "If things staythe way they are, I can't say I'll be there after my next record.Personally, I would like to have my whole career with AtlanticRecords-that's where I started, I have great friends [there] ...but it's just the lack of transparency." Trink notes that Rock'sfuture label plans depend on how the business itself continuesto develop. "There's a period of probably two years before weare in a position to make a decision," Trink says. "Consideringhow quickly the landscape of the music business is evolving, Idon't know that record labels know exactly what they're goingto look like in two or three years, and I don't know what otheroptions will exist in that time frame."

Ifanything, Rock's decision to join iTunes might begin a newchapter in his relationship with Atlantic. He says that his labeldeal is "great and very fair," and most important, came when hewas ready. "I did it on my terms," Rock says of his iTunes pact."Nobody can take that away from me."

NOVEMBER 17, 2012 www.billboard.biz 25

TOOLING UP

FOR THE FUTURE

Ilsoard

FUT.URESOUND,

illboard's Future -

Sound conferencewas created to lookfor ways to advancethe conversationsurrounding themost important is-sues in the digitalmusic business. Acollection of exec-utives and thoughtleaders in musicand technology willconverge at Terra in

San Francisco on Nov. 15 and 16to push the dialogue forward anddiscuss themes ranging from theeconomics of digital music andlicensing to data and analytics.IfThe conference will kick offwitha keynote from Union Square Ven-tures partner Fred Wilson at 1:15p.m. on Nov. 15. Wilson is an in-fluential venture capital figurewho has invested in such digitalmusic startups as Turntable.fm,SoundCloud and Songkick. Theconversation is likely to cover theventure capitalist's uneasiness infunding startups whose businessmodel require licenses from re-cord labels. Although Turntablehas acquired licenses from thefour majors, Union Square's other

STORY By GLENN PEOPLESILLUSTRATION BY JIMMY TURRELL

Futurists, venture capitalists and music insiders will cometogether at BILLBOARD'S FUTURESOUND conference tofigure out what lies ahead for the business

music -focused investments are service -

oriented businesses that don't require licensedcontent. Wilson frequently chastises majorcontent companies at his widely read blog, AVC, for the licensing restrictions he believeslead to poor user experiences and piracy. Key-notes bookend the conference the followingday. A keynote Q&A with Marc Geiger, headof music at William Morris Endeavor, takesplace at 9:15 a.m. on Nov. 16. Geiger's digitalinnovation goes back to founding ArtistDirectin 1994. An online retailer and distributioncompany for music acts, ArtistDirect wouldeventually include a booking agency, a labeland other Web properties. Now Geiger has aclient roster that includes the digitally savvyLady Gaga and visionary veteran Roger Waters.

At 4:00 p.m. the same day, Billboard edi-torial director Bill Werde will conduct a key-note Q&A with Deadmau5. The EDM super-star (real name: Joel Zimmerman) will discusssuch topics as the state of dance music andwhy subscription services like Spotify didn'timmediately get his latest album, >Album TitleGoes Here<.

Last year's FutureSound conference foundthe industry troubled by the friction pointsbetween rights owners and digital music ser-vices. The desire to license labels' music andthe complications involved with licensing hadslowed the rate of innovation and impaired therelationship between the technology camp andthe traditional music business.

"The music business is a complex web ofrights and procedures that create roadblocksfor most developers," Billboard wrote in awhite paper following last year's conference."Without considerable funding to enable amultiyear product cycle that results in the ac-quisition of licenses, all but the best -fundeddevelopers are pushed out of the ecosystem.The result is a top -down system for incuba-tion that rewards those entrepreneurs withthe best connections and the most resources."

Fortunately, the digital and traditionalworlds have come closer together since the

conference. Universal Music Group plans toopen an office in Silicon Valley in order to beloser to technology companies. NARM's Digi-talMusic.org has helped entrepreneurs workwith content owners. EMI released its first appthrough OpenEMI, an initiative through whichit offers prelicensed assets to developers.

OpenEMI founder Bertrand Bodsen will beon hand at FutureSound. Bodsen will appearon a panel on innovation and licensing withMatt DeFillippis, VP of new media and tech-nology at ASCAP, and Jon Vanhala, senior VPof digital and new business at Island Def Jamand Republic. Vanhala has also created an eco-system of licensed rights for developers at IDJand Republic, although the label group's initia-tive has yet to release its first commercial app.

Apps are the new music formats, and theconference will examine how they're open -

rector of research and development for FordMotor, and Ty Roberts, co-founder/senior VP/chief technology officer at Gracenote, will givea presentation on how to bridge digital music'sautomotive divide. Gracenote products powerthe voice recognition for music search and play-back of Ford's SYNC system.

The FutureSound format is different fromthat of most conferences. Rather than followa predictable model of keynotes and panels,Billboard has elected to add hourlong seg-ments with four 15 -minute presentations byindustry leaders. Each presentation covers a

The music business is a complex webof rights and procedures that createroadblocks for most developers.

ing up new opportunities in devices, distri-bution and systems.

Producer Don Was, president of Blue NoteRecords, will be the subject of a keynote Q&Aat 5 p.m. on Nov. 15. Blue Note has recentlyreleased two innovative apps. The first wasone for Spotify that was designed by Manches-ter, England -based developer RetroFuzz. Thesecond was an iPad app by Goldbug. The firstresult of the OpenEMI initiative, the free iPadapp allows users to pay 51.990.49 to streaman initial catalog of more than 1,000 tracks.

Music is venturing into such environmentsas the living room and automobile in new ways.At 10 a.m. on Nov. 16, Jim Buczkowski, di -

topic familiar to the executive without sound-ing like an advertisement.

The first hour of presentations starts at 2

p.m. on Nov. 15. TastemakerX founder/CEOMarc Ruxin will talk about "gamifying" music.Topspin Media CEO Ian Rogers will discussmanagers, labels and the future of artist ser-vices. Google Music head of global program-ming Tim Quirk will talk about music mer-chandising in the digital age. And Khush CEOPrerna Gupta will discuss strategies for creat-ing win -win artist and developer relationships.

Presentations the following day start at 1:30p.m. with Epitaph Records VP of digital JasonFeinberg talking about data and metrics inmusic. GVC Capital founding partner ManyNada will follow with a presentation on thefunding boom in music. Next will be VinceBannon, VP of entertainment partnershipsand development at Getty Images, discussing

26 BILLBOARD NOVEMBER 17, 2012

content IDs. Finally, Nic Adler, owner of theRoxy nightclub in Hollywood and founder ofmarketing agency Adler Integrated, will talkabout how to successfully merge online andoffline strategies.

The economics of digital music is an ev-ergreen topic and will be a theme at Future -Sound. "Artist Revenues and Digital MusicEconomics," set for 3 p.m. on Nov. 16, willdelve into the subject and ask if digital ser-vices are serving the consumer or serving theartist. Moderator Antony Bruno will host apanel of diverse viewpoints: Rhapsody Inter-national president Jon Irwin; artist Zoe Keat-ing; Emily White, co-founder of artist man-agement firm Whitesmith Entertainment;David Marcus, senior VP of worldwide artistservices at Warner Music Group; and, in arare music industry appearance, Bandcampco-founder/CEO Ethan Diamond.

The need to balance serving the artist andserving the customer has never been moreapparent. Webcasters have united around theInternet Radio Fairness Act in an attempt tolower the statutory rate they pay for the digitalperformance of sound recordings. In addition,Pandora has sued ASCAP for lower rates for the

performance of ASCAP songwriters' and com-posers' works. Critics contend that webcastersare limiting the number of advertisements forthe benefit of the customer experience.

The economics of digital music in 2012has been typified by the ascent of subscrip-tion services. Since the 2011 FutureSoundconference, Rhapsody surpassed 1 millionsubscribers (December), Muve Music reached600,000 subscribers (February), and Spotify'sU.S. subscribers hit 1 million early this fall.

Some artist managers and labels are cau-tious about putting their releases on streamingservices and would rather sell downloads andCDs. The result has been an occasional tug ofwar between holdouts and subscription servicesand their customers. Taylor Swift's Red was thelatest major release to opt out of subscriptionservices, prompting Rhapsody to explain the

album's absence to its subscribers at its blog.Nevertheless, Red went on to sell 465,000 digi-tal albums at $14.99 in its first week of releaseand another 94,000 in the second week, accord-ing to Nielsen SoundScan.

THE FUTURISTSFutureSound is ultimately about the future of digital music. So Billboardhas created an Innovators Showcase to give five startups an opportunityto pitch their products to a panel of five judges representing a wide swathof the music industry: Walden VC managing director Larry Marcus, Digital

Cowboys founder David Kusek, SFMusicTech founder Brian Zisk, Warner MusicGroup senior director of digital strategy and business development YiPing Hoand TAG Strategic managing partner Ted Cohen.

Tipping off at 3:30 p.m. on Nov. 15, the showcase will allow each startup togive a 10 -minute pitch and have five minutes for a Q&A period with the judges.The finalists, selected from more than 60 nominees, will also have demonstra-tion tables set up to show off their services to conference attendees. Here's alook at the five finalists.

GETMIXXDRoger Hoffman, CEO

GetMixxd allows people to sendan online postcard that playsmusic. The service uses a propri-etary algorithm that utilizes songlyrics, message text and Facebooklikes to provide relevant songs foreach postcard based on mood, sentiment and emotion. Each card has a spacefor advertising that can be geo-targeted. Any song that's available on iTunescan be sent on GetMixxd.

PLAYGROUND.FMMehul Trivedi, CEO; Vivek Agrawal, COO

The iPhone app learns about a user's musical tastes-by analyzing listening trends on the iPhone, Spotify,Rdio and more-and recommends playlists that otherPlayground users have created in a single, easy -to -useinterface. The app works by tapping into a user's Spo-tify premium accounts. Users who don't subscribe toSpotify can still use the app to create and share playl-ists and connect with nearby Playground users.

SWARM.FMJeff Watts, CEO;

Andrew Denver, COOA music discovery tool that aggre-gates information and content fromacross the Web and filters it through aperson's social graph, Swarm.fm rec-ommends new releases by new andfamiliar acts, shows friends' recent lis-tening activity and reveals which artists friends have recently discovered. In otherwords, it turns a fire hose of information into something more manageable. The ser-vice is currently available only as a Spotifyapp. Other platforms are coming soon.

bor._

um TO WOO TOROS

TIXIEJeff Foster, CEO;

John Mazzocco, co-founderTixie is a website and iPhoneapp for buying or playing towin tickets to live events. Users bid on shows they wantto see with their daily allotment of daily tokens. Winnersreceive two tickets to the show. The company's goal isto increase the frequency and value of fan -to -band en-gagement. The service currently has shows in eight mar-kets including San Francisco, Seattle, Dallas and Atlanta.

TUNEZYDerrick Fung, CEO;

and Brandon Chu, COOThis social e -commerce platformfor musicians helps them sell fanexperiences, merchandise andonline performances. Fans canuse the platform to get exclusiveaccess and discounts in exchange for promoting their favorite artists. Musicians canlist an unlimited number of merch items and experiences for sale for $5 per month.

-GP

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NOVEMBER 17, 2012 www.bilii,oard.t. 27

SOM LIVRESALUTES ITS NOMINEES

',ONO OF IHE YEAR

BEST BRAZILIAN SONG"..,

BEST SERTANEJA MUSIC.

BY AMARANTOS

BEST SERTANEJA MUSIC ALBLAti BEST SAMBAYPAGODE ALBUM BEST SAMBA/PAGODE ALBUM _

/ MAW 11.-401_1ii-

BEST MPB(MUSICA POPULAR BRASILEI RA) ALBUM BEST CHRISTIAN ALBUM PORTUGUESE LANGUAGE4

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BEST BRAZILIAN ROOTS ALBUM

CONGRATULATIONS TO THESE AMAZING ARTISTSON THEIR 2012 LATIN GRAMMY' NOMINATIONS.

WWW.SOMLIVRE.COM/GLOBAL

som livre

41

SPECIAL FEATUREM.111.111111111111M1111011111111111111111=1111111111

AN INFLUENTIAL MUSICMARKET ALSO SETSTHE PACE IN GROWTH

howBrazil

By Thom Duffy & Mariana Padilha Sewaybricker

oonisiThis report is acollaboration by Billboard and sister

publication Billboard Brasil.

IIMMMI111 MEM HEN THE Latin RecordingAcademy presents its 2012

Person of the Year honor111 to Brazilian music icon

CaetanoVeloso on Nov. 14in

I Las Vegas, the organizationbehind the Latin Grammy

Awards will recognize notonly Veloso but the en-during impactofBrazil on the world's music scene.

The fusion of tropicalismo, which Veloso andhis peers helped create in the '60s; Brazilian rock,which Roberto Carlos and the "jovem guards"pushed forth in that same decade; samba andbossa nova rhythms popularized at that time byJoao Gilberto and Antonio Carlos Jobim-theseare just some of the styles from Brazil that havewon devoted fans around the world.

Western pop musicians, from the Brill Build-ing songwriters ofthe early '60s to "world music"proponents like David Byrne and Paul Simon,are among the many influenced by the soundsof Brazil. Most recently, artists like Michel Tel6have continued to show Brazil's global impactas a talent source.

On the live front, Brazil has been a major tour-ing market for decades, going back to the launchof the mega festival Rock in Rio in 1985. Thiscoming year will bring not only a new editionof Rock in Rio but the return of the Monstersof Rock festival and the debut of Lollapaloozain Brazil next March.

Brazil today is the world's eight -largest musicmarket (ranking behind Canada, in seventhplace), according to combined data on physical

sales, digital sales, performance rights revenueand synchronization revenue, compiled by IFPI.

What's also important is Brazil helping to setthe pace for growth and the geographical diver-sification of the global music business, as IFPICEO Frances Moore wrote in "Recording Indus-try in Numbers 2012," the trade organization'sannual report, published in March.

"The spread of digital business, driven bysmartphones in particular, is opening up new

opportunities in new markets," Moore wrote.'The so-called 'BRIC' economies [Brazil, Russia,India and China), for example, offer enormouspotential. Brazil saw overall market growth in2011 of 8.6%" to total revenue of 5262.6 million.

Music piracy continues to plague Brazil, witha rate of usage of illegal music sites -44%, ac-cording to estimates from Nielsen and IFPI-that's far greater than the global average.

But a dramatic increase in the availability of

CAETANO VELOSOis the Latin Recording

Academy's Personof the Year; below:

MICHEL TELO burstfrom Brazil to global

acclaim this year.

legitimate digital music sources in the past yearmay temper theft of music online.

In December 2011, iTunes launched in 16countries in Latin America, including Brazil.Digital music subscription service Rdio begandoing business in the market in a partnershipwith mobile phone company Oi. Yahoo Musicand YouTlibe are among some 18 digital musicservices now available in the market.

Billboard's Hits of the World publishes singlescharts compiled by sister publication BillboardBrasil and album charts prepared by APBD/Nielsen. Sony currently leads the album chartwith Father Marcelo Rossi's Agape Amor Divinowhile the No. 1 song on the singles chart is "TeVivo" from Luan Santana on Som Livre.

On the album chart, the highest-ranking re-lease from a Western act is Adele's 21 (Sony).

For this snapshot of the Brazilian music busi-ness, Billboard and Billboard Brasil presentedthe following question to key sources in the mar-ket: What plans or projects will increase yourbusiness in the next six to 12 months? Here areexcerpts from the replies received.

SONY MUSIC BRASIL"Sony Music Brazil is investing highly on thedigital side of business," label president Alex-andre Schiavo says, noting partnerships on Weband mobile platforms, using multiple businessmodels. Like other companies, as Sony createsmore digital content, it's leveraging social mediato promote and sell it.

"Sony has over 2.7 million fans on Facebook,and if we add up the artist pages that we man-age, the number is over 10 million," he says.

These digital efforts continued on »p32

NOVEMBER 17, 2012 www.billboard.biz 29

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SPECIAL FEATUREfrom »p29 will drive opportunities tied tothe World Cup in Brazil in 2014 and the Sum-mer Olympics in 2016.

"We have been leading the market for thepast three years and we want to continue witha diversified operation where we also grow inphysical unit sales," Schiavo says.

Sony Brasil has reached sales peaks with in-ternational acts, from Beyonce to Adele, and withlocal acts like Rossi, whose Agape Amore Divino

has sold more than 1.6 million units, the com-pany reports.

The year ahead will bring new releases fromRoberto Carlos, Padre Fabio, Ana Carolina, Vic-tor & Leo, Zeze & Luciano, Bruno & Marroneand others. "Artists and music are the core ofour business," Schiavo says, "and we will aggres-sively invest in new talent for 2013."

MICHEL TEL6Michel Telo early this year joined the long listof Brazilian artists to gain global acclaim as hissong "Ai Se Eu Te Pego" (Oh If I Catch You), re-leased by Som Livre, reached No. 1 on the popsingles chart in 15 countries from Europe to LatinAmerica. Videos of the song, as choreographedby Real Madrid and AC Milan soccer stars, anda cover version by Latin superstar Pitbull helpedpropel worldwide sales.

"Our main focus is Brazil, so we will workhere 75% of the time. Michel is already in thestudio to record the basic tracks" for his nextrelease, says Teofilo Te16, the singer's brotherand manager.

"Still, we will continue to focus on promotionand making concerts around the world and willtry to optimize our time," the manager says. "Wehave signed a partnership with David Sonen-berg and William Derella for the managementof Michel's career in the international market.They're the managers of the Black Eyed Peas,among other artists. Now we're putting togethera strategy that includes the launch of a few sin-gles, among other things."

SOM LIVREAleadingindependentlabel, Som Livre estimates

it has 20% of the Brazilian music market."We are at the height of an extremely posi-

tive time for Brazilian music all over the worldand also for international music in Brazil," GMMarcelo Soares says. "Som Livre has the for-tune of being a key player in this scenario withthe international success of Michel Te16, MariaGadu and Gusttavo Lima as well as importantreleases in Brazil such as Dave Matthews Band,Jesse Harris, Band of Horses and SOJA.

"The next few months will bring lots of newstuff like the Jorge & Mateus release recorded inLondon at the Royal Albert Hall, a very beautifulproduct. We will also have the new Luan San-tana release that will without a doubt be one ofthe main launches in Brazil next year. We willalso prepare the new releases from Michel, doMarcelo Jeneci and a few newly signed artiststhat will have an impact but we can't reveal yet.

"We will also open the doom for new artiststhat bring a good musical mix to our cast. Afew good examples are Palavrantiga and BandaTereza-excellent bands-and CDs by Silva andJesuton that are hitting the stores now.

"On the international front we will launch MyMorning Jacket, one of the most respected rockbands in the world that oddly enough never hadanything released in Brazil.

"We're planning a big expansion of our festi-val brands-Festeja, Arena Pop and Pagode daHorn-and the first edition of the Slap! Festival,celebrating five years of our boutique label thathas launched so many good artists.

"And to complete this scenario of good news,"Soares adds, "we see digital music growing everyday with new services becoming interested inthe Brazilian market. We have been workingvery closely with many of these companies todevelop models and exclusive contents."

T4FAt the recent Billboard Touring Conference &Awards, Brazil's T4F (Time for Fun) rankedalongside AEG Live and Live Nation as a finalistfor top promoter. The company did astoundingbusiness in the past year with Cirque du Soleil's"Varekai," including 69 shows at Parque Villa -

The Bossa Nova, And BeyondGILBERTO GIL ON BRAZIL'S GREATEST MUSICAL CONTRIBUTION

Gilberto Gil is in the midstof a North American tourdevoted to forro, theparty -starting countrymusic of Northeast Brazil.Last month, Gil releasedConcerto de Cordas andMaquinas de Ritmo, anacoustic album withelectronic flourishes, fea-turing some of the better-known songs of his five -decade -long career.

At the Latin GrammyAwards on Nov.15, the

album Especial, Ivete, Gile Caetano, a live recordingwith singer Ivete Sangaloand Caetano Veloso, willvie for album of the year.

Billboard recentlyasked Gil what he wouldconsider Brazil's most

cl

:. .)

GILBERTO GILperforrang In

London.

important contributionto the world's musicalculture.

"From the point ofbeing exposed, of hav-ing a broad internationalexposure, it's been thebossa nova," Gil says. "It'sbeen the Brazilian style

most welcome and mostexposed worldwide. Ifyou ask a New Yorker, ora Californian, or a Japa-nese person or a Germanabout Brazil, they willsay 'Girl From Ipanema.'Joao Gilberto and SergioMendes are the ones re-sponsible for promotingbossa nova for the last 30or 40 years, and they arethe most known.

"But at the same time,Brazil is so broad, and the

population is so big," hecontinues. "It's about timenow, as Brazil progresses

as a global player, that thehidden parts of Brazilianculture are going to berevealed."

-Judy Cantor -Navas

Lobos in Sao Paulo, which attracted 157,409.T4F also presented two shows of The Wall

Live with Roger Waters at Estadio do Morumbiin Sao Paulo and another at Estadio Beira -Rioin Porto Alegre, as well as two shows by PearlJam at Estadio do Morumbi that drew nearly100,000 fans.

The company states that it isn't ready toannounce its major concert bookings for themonths ahead, prior to on -sale dates. But itwill confirm plans for a premiere of the mu-sical "The Lion King" in March at the TeatroRenault-and a fifth season of Cirque du Soleilin South America with the show "Corteo," alsocoming in March.

XYZ LIVE"XYZ Live is a relatively new company in Brazil,made up of seasoned veterans of the entertain-ment business," says Phil Rodriguez, one ofthefirm's principals. He notes thatXYZ Live formedin 2011 by merging, into one new company, thevarious entertainment companies that ABCGroup had bought during the past three years.XYZ Live now has aconcertand touringdivision,a sports division, a theatrical division, a talentagency and a ticketing company.

"This year we brought to our company JoseMuniz-one of the top concert promoters in thewhole of Latin America and Brazil with over 30years' experience," Rodriguez says. "Together wewill increase our number of events by at least35%. We also just bought into Chain Produceies,one of the top theatrical producers in Brazil.

"Our ticketing company has entered into anagreement with Intelli-tix-the mostexperiencedcompany in the world when it comes to [radiofrequency identification] technology for accesscontrol, brand activation, social media, et cetera."

"We are extremely excited about two venueprojects we have closed in Sio Paulo," Rodriguezadds. "Both locations are landmarks in the city ofSao Paulo with excellent locations. Between thetwo we will offer the market capacities rangingfrom 3,000 to 8,000 [indoor] and from 15,000 to25,000 outdoor."

"in 2013 we will be bringing back to Brazil-after 14 years-the Monsters of Rock festival.This was the premier hard rock festival in Brazil,and in Latin America for that matter. This timeit will be a two-day event. The dates will be Oct.19 and 20, 2013, in Sao Paulo."

GEO EVENTOSGEO Eventos is the live entertainment divisionof Globo Organization, Brazil's leading sports,

Celebrating at a pressevent announcing the

return of Rock in Rioin 2013 are (from left)

Jota Guest lead singerROGERIO FLAUSINO

and festival partnersROBERTO MEDIDA and

EIKE BATISTA

media and entertainment firm."Our portfolio includes the internationally

renowned Lollapalooza that will have Pearl Jam,the Killers, the Black Keys, Deadmau5, Queensof the Stone Age and Planet Hemp as headlin-ers, and take place March 29-31 at the JockeyClub in Sao Paulo," GEO CEO Leo Ganem says.

In October, GEO and C3 Presents, the pro-ducer of Lollapalooza, announced an expandedpartnership. The deal makes C3 the exclusivepartner for GEO for all festivals, tours and spe-cial projects in Brazil. The two companies willbe collaborating on the electronic music festivalXXXperience, which GEO has staged for manyyears, as well as a new international music fes-tival in Rio de Janeiro.

Ganem and C3 partner Charlie Walker an-nounced their new partnership on the finalday of the C3 -produced Austin City LimitsMusic Festival.

"With GEO we saw an opportunity to increaseour presence [in Brazil) by operating year-roundand developing other kinds of experience for thepublic down there that they haven't seen yet,"Walker says. C3 could also promote, with GEO,a leg of a tour that's visiting South America."When bands come down to do Lolla, they usu-ally don't want to come down for just a one-off"Walker says. "If there are six or seven other mar-kets they want to play, we may try to do some orall of them, depending on the circumstances."

ROCK IN RIOIn the nearly three decades since the festival'sdebut drew an estimated 1.4 million fans across10 days to a custom-built venue, the Cidade doRock (City of Rock) in January 1983, Rock in Riohas become a global festival mega -brand, withevents in Brazil, Portugal and Spain.

At the moment, Rock in Rio VP Roberta Me-dina says, "we're working on the organization ofRock in Rio 2013 that will happen Sept. 13-22at the City of Rock" The festival has already an-nounced three headliners: Iron Maiden (whichalso played the first Rock in Rio), Metallica andBruce Springsteen.

"We intend to announce more names nextmonth," Medina says. "We expect to have595,000 people in all seven days of Rock in Rio2013. In this edition, the event will work witha maximum capacity of 85,000 people a day.And we already have contracts with the Rio citygovernment for the production of Rock in Rio2014 and 2015.

"The 2011 edition in Brazil alone, accordingto data from the Board of continued on >>p34

32 BILLBOARD NOVEMBER 17, 2012

XYZ Live exhales music, fashion and culture and breathes sports and talent.

It creates content for the generations X, Y and Z all around the stages, tracks, fields,

courts, ramps, pulpits and catwalks. XYZ Live: Brazil's hottest live entertainment company.

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from >>p32 Tourism, has generated an eco-nomic impact of more than $480 million tothe economy of the city and 45% of the peopleat the event came from outside of Rio de Ja-neiro," Medina says.

"The event takes place in the even yearsi n Europe. The next productions of Rock inRio in Lisbon and Madrid will happen in Mayand June 2014."

Medina estimates that Rock in Rio will in-vest $350 million in its brand during the nextfive years worldwide.

"Besides Buenos Aires, Rock in Rio hasalso been talking with people in Peru andGermany-countries that may have futureeditions of the festival," Medina says. "Wenot only want to go beyond borders withthe festival itself but focus on the expan-sion of the brand to new stages, to differentmarket segments."

To achieve that global brand expansion,Rock in Rio in May announced a partnership

with Brazilian magnate Eike Batista, chair-man of EBX Group.

"We have sold 50% of the Rock World S.A.company that owns the brand Rock in Rio toIMX Live, a company associated with IMZ,which is a sports and entertainment holdingof the EBX Group and [U.S.-based sports andentertainment company] IMG Worldwide,"Medina says.

"Examples of this brand expansion alreadyin production are the theatrical openings ofRock in Rio: The Musical, scheduled for theend of November 2012, and will tour Braziland Europe-and I have a dream of takingit to Broadway.

"We have also launched a comic book forthe festival with its own characters that willmaterialize onstage during the event in gamesand books, and we're also starting to developa line of fashion/style for the brand Rock inRio. We want to be part of our public's every-day life."

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POLISHING THE STONEDeftones mine

"Diamond" sound

TRIPLE PLAY WU LIFEThe Weeknd's

"Trilogy" arrives

SOUNDGARDEN'Sy, "Been Away Too

Long" is No.10 on theRock Airplay chart.

RZA kicks kung fu,Kanye and craft

BY MITCHELL PETERS

VICTORY SONGSMariah Carey,sing Obama's praises

IN BLOOM

SWEET SPOTRobbie Williams tops

U.K. charts

Alt -rock legend Soundgarden returns with first album in 16 years

Despite the title, Soundgarden's comeback single

"Been AwayToo Long" is not "specifically aboutmy band gettingback together," frontman Chris

Cornell says. But the title made it an obvious choice asthe leadoff track and first single for Soundgarden's sixth

album, King Animal, due Nov. 13 on Loma Vista Record-

ings. (Mercury will release the album in the UnitedKingdom, and Vertigo will handle all other territories.)

The set, the first studio album from the veteran Se-attle rock band since 1996, arrives nearly three yearsafter Cornell announced Soundgarden's reunion onTwitter. The group broke up in 1997 following the re-lease of Down on the Upside, which debuted at No. 2 on

the Billboard 200 and has sold 1.6 million copies, ac-cording to Nielsen SoundScan. Since then, Cornell hasreleased four solo albums, including his most recent,2011's Songbook, a collection of tunes he performed onan acoustic tour. Cornell has also contributed tracks tosuch movies as "Mission Impossible II," James Bondfilm "Casino Royale" and "Machine Gun Preacher."

just read some quotes where Dave Grohl is talking

about the Foo Fighters taking a hiatus of an undeter-mined length, saying, 'I want to be in this band forever,and that's why we need to take a break.' That's perfectly

described," Cornell says of why it took Soundgardenmore than 15 years to return to the studio. "Did weneed to split up and tell the world and the fans we'resplitting up? Probably not. It was time to take a breatherfront the business."

Cornell says the driving throe behind Soundgarden's2010 reunion was to draw attention to the band's catalog

and legacy. Since the announcement, the group has reig-

nited its fan base by playing numerous concerts and festi-

vals, releasing its first retrospective album, Telephantastn;issuing the live set Live on 14; and penning the song "Live

to Rise" for film "The Avengers." According to Cornell, it

was during these various projects that Soundgarden re-established its chemistry and began discussions aboutrecording a new album.

Soundgarden members Cornell (vocals), Kim Thayil(guitar), Ben Shepherd (bass) and Matt Cameron (drums)

co -produced King Animal with Adam Kasper. The album

will be the first release on longtime label executive TomWhalley's new Loma Vista Recordings, a partnership be-

tween Whalley's Seven Four Entertainment and Republic

Records. (Other acts on the label's roster include LittleDragon, Damian Marley, Cillie Barnes, Rhye, Ghost and

Cut Copy (through Modular Recordings).) Whalley says

he signed Soundgarden because he's attracted to self-contained acts that write their own songs, play their own

instruments and sing their own songs."That's what Soundgarden does," Whalley says. "I

like that combination of things."Soundgarden's deal with Loma Vista encompasses

King Animal and its follow-up, 9f we choose to do onemore," Cornell says. "Either side has the option to doit, or we walk away if it's not working out

So far, so good. According to Republic executive VP ofmarketing Jim Roppo, the nearly three years of ground-

work leading up to King Animal has created a significant

boost in exposure. "One of the things we find with somany artists-and this isn't exclusive to Soundgarden-is that when they go away for some time, the talk really

dies down," he says. "And it's almost like cold -startingan engine in the middle of winter in Minnesota. It takesmore energy to do that than if you continue the conver-sation and slowly ramp it up?

The label issued a video trailer for King Ani-mal leading up to the late -September release of"Been Away Too Long." This week, the song is No.10 on Billboard's Rock Airplay chart. "Been AwayToo Long" and "By Crooked Steps" were used inpromotional spots on ESPN for "Monday NightFootball," and the single was heard during a late -

October episode of FX's "Sons of Anarchy." Addition-ally, Soundgarden recorded a track -by -track narrative forKing Animal at Seattle's Moore Theatre. Those videoshave been rolled out weekly with various partners-in-cluding MSN, Spin, Details and Yahoo Music-in theweeks before the album release, Roppo says.

To stir more buzz, the band announced three inti-mate November concerts at New York's Irving Plaza,Toronto's Phoenix Concert Theater and Los Angeles'Fonda Theatre. Fans who preordered the new albumthrough SoundgardenWorld.com were given access toon -sales ahead of the general public. A North American

tour will follow in 2013. The group has also been tappedto perform on "Late Show With David Letterman" onNov. 12 and `Jimmy Kimmel Live!" on Nov. 26.

Whalley says, "The centerpiece to all this is notjust that they re-formed, but about the quality of therecord they made. You don't see that very much today.They fit into the general sensibility of why Adele's orMumford & Sons' records are doing so well: There'san emotional connection from a musician and song-writer to an audience."

NOVEMBER 17, 2012 www.billboard.biz I 37

ROAD

Grime time official: London -based rapper Wiley (aka"the Godfather of Grime")has just announced a four -

date spring tour featuringfellow grime MCs Skeptaand JME. Booked by theCoda Music Agency, theU.K. trek will take off inNorwich at the NorwichWaterfront (April18), beforemaking stops at the HMVInstitute in Birmingham(April19), the Forum inLondon (April 20) andclosing in Manchester atthe HMV Ritz (April 22) ...Soaring: As she continuesthe run-up to her full-lengthCapitol debut (I'm NotAlright, due early next year),buzzing indie-pop singerSky Ferreira keeps the showon the road working herrecent Ghost EP. Booked byCreative Artists Agency,stops include Bardot/School Night in Los Angeles(Nov.12), TT and the Bearsin Cambridge, Mass. (Nov.27), a two -night standin New York (Brooklyn'sGlasslands Gallery on Nov.28 and Manhattan's MercuryLounge on Nov. 29 and astop at DC 9 in Washington,D.C. (Nov. 30) ... Barnstorm-ing: Little Big Town will

head out on a sprawling2013 tour in support ofrecent fifth album Tornado(Capitol), which toppedBillboard's Top CountryAlbums chart and bowed atNo. 2 on the Billboard 200.Beginning in Murray, Ky., atthe Lovett Auditorium (Jan.31), the act will make stops

at the Tennessee Theatrein Knoxville (Feb. 23), the

Rialto Square Theatre inJoliet, III. (March 21) and the

Majestic Sun Theatre in SanAntonio (April 28) along theway. David Nail and KaceyMusgraves support onselect dates ... Runaways:On Nov. 9, Calexico kicks offan expansive trek throughEurope and North Americain support of its Anti- debut,Algiers, at the Teatro Kapitalin Madrid. Booked byBerthold Seliger of BillionsCorp., the band will stop atEstragon in Bologna, Italy(Nov.14) and Republic inSalzburg, Austria (Nov. 28)before playing U.S. datesthat include the Orpheumin Flagstaff, Ariz. (Jan.17),the Fox Theatre in Boulder,Colo. (Jan.18) and the Buck -

head Theatre in Atlanta.(Jan. 25). -Nick Williams

DEFTONES' "Tempest" is charting onBillboard's Active Rock and Alternative lists.

tiSo So Deftoneseteran hard -rock band looks to make it five 10 tops in a row\it

Wen the GrammyAward -winningmetal band Def-

tones finished recording theirsixth album, Diamond Eyes (Re-prise, 2010), the members felt asurge of creative momentum.

"We still had so many ideasleft. We were almost ready togo back to the studio rightaway," singer/guitarist ChinoMoreno says. "So when we fin-ished touring Diamond Eyes, wewere fired up to keep going inthe same direction."

Now, more than two yearsafter Diamond Eyes bowed at No.

6 on the Billboard 200 (237,000

sold, according to NielsenSoundScan), the Sacramento,Calif., group returns with KoiNo Yokan (Nov. 13, Reprise), aproject that shares what Morenoterms "a positive energy" withits predecessor. "We ran withour instincts and tried not tosecond-guess things," he says."We also tried to be immediatewith recording, having all of ustogether in the room."

Diamond Eyes marked thefourth consecutive top 10 re-lease of all -new material fromthe Deftones, who lodged back -

to -back-to-back top 10 effortswhen White Pony reached No.

3 in 2000, Deftones hit No. 2 in2003 and Saturday Night Wristarrived at No. 10 in 2006. ForKoi No Yokan, the group re-turned to the studio with Dia-mond Eyes producer Nick Rasku-

linecz (Foo Fighters, Rush),focusing on a continuation ofits previous success.

The new album's first single,"Tempest" went to radio on Oct.9 and is charting on Billboard'sActive Rock and Alternative tal-lies (this week sitting at Nos. 17and 32, respectively), but Morenoacknowledges that the band'sheavy rock songs aren't tailoredfor commercial release. "In the

past we got pressure to makemusic specifically for radio," hesays. "Some ofthe new songs arethe most commercial we've everwritten, but it wasn't somethingwe did on purpose."

For Reprise and the band'smanagement, Velvet HammerMusic and Management Group,the focus from the beginning ofthe campaign for Koi No Yokanhas been on longtime and newfans. The band debuted an earlytrack, "Leathers," on Sept. 19through its website, amassing37,000 downloads in 24 hours,according to Reprise. A video for"Tempest" will arrive around

street date."When it comes to the Def-

tones, its fans come first," Re-prise VP of rock music HeatherLuke says. "The key is to givethem all this content pm -releaseand then after the album release"

Another key aspect of thecampaign is the band's tour,which began Oct. 9 and wrapsNov. 21 in Los Angeles. The dates

are mostly underplays in venueswith capacities ranging from1,000 to 4,000. The idea was toencourage fans with live rendi-tions of the new material, muchof which has ended up on You -

Tube. The act will embark on itsnext U.S. headlining run in 2013.

"There's nothing like seeinga band that's this powerful livein small venues and having thefans be able to really touch themusic before an album evencomes out," says Velvet Hammerowner David "Beno" Benveniste,who sees Koi No Yokan has hav-ing the potential for three singlesand a 24 -month cycle. "What wewanted to do with the label is towork this record and create a last-

ing cycle rather than a quick -fixcycle. We wanted to let this de-velop and precipitate over time.And did they make an amazingrecord? Yes."

Ea= BY JUSTIN JACOBS

The `Psycho White' StuffYelawolf and Travis Barker team up for genre -bending EP

Blink -182 drummer Travis Barkerand Alabama rapperYelawolfcer-tainly share some passions: hip -

hop; tattoos; fast, aggressive music; andfashion-Yelawolfrunshisown line, Coun-try Fresh, through Barker's Famous Starsand Straps brand. Until recently, the artis-ts

also shared an executive in Paul Rosenberg.

(Yelawolfis signed to Rosenberg and Erni-nem's Shady Records, and Barker was long

repped by Rosenberg.) So sharing an EPshouldn't come as a surprise

On Nov. 13, the duo will release Psycho

White, a collection ranging from reggae -

rap to mosh-pit hip -hop to near-dubstep,all in just five songs. The project will ar-rive through Barker's LaSalle Records/Killer Distribution. While the musicoften blasts with teeth -rattling inten-sity, it couldn't have been a more casualaffair. And Yelawolf and Barker intendto keep it that way.

While Barker has a punk -rock back-ground, as a kid he played along to" \Vhodini, Beastie Boys, Slick Rick andDoug E. Fresh albums, while also play-ing along to Master of Puppets," he says.With enough Blink -born notoriety underhis belt (the band has sold 13.6 million al-bums, according to Nielsen SoundScan),he began producing hip -hop tracks forartists like T.I. and Paul Wall.

Three years ago, Barker's managerturned him onto Yelawolf's "TrunkMuzik." "He said, 'Check this kid out. Helooks like you but he's a rapper,'" Barkerrecalls. "I thought he was fucking ridic-ulous." A week later, the two met at RobDrydek's Fantasy Factory in Los Angeles.Talking shop, Yelawolf whistled an eeriemelody that stuck in Barker's head. Helaid a snare beat underneath it that day,and the duo's first track was in progress.

The pair became fast friends and begancutting tracks whenever they found them-selves in the same city, hesitant to aim forany set musical direction. On Lil Wayne's2009 I Am Music tour, Yelawolf caught up

with Barker, one of the tour'sopeners. "Hesaid he wanted a real high-energy track.It was 4 a.m., and everyone was gettingsloppy in the hotel lobby," Barker says. "Ihad a portable studio. I went to my roomand right there recorded the drums to[Psycho White's first single] 'Push 'Em.'"

The impromptu sessions, Yelawolf says,were never forced. "Even if he and I hadnever heard each other's music before, wejust knew," he says. "We had a kindred vi-sion." Yelawolfappeared on Barker's 2011solo album, Give the Drummer Some (Inter-

scope), that featured star MCs, and Barkeroffered Yelawolf a crack at his own T-shirt

line, fusing what the Alabama -born rap -

38 BILLBOARD NOVEMBER 17, 2012

per calls "my country -ass shit with hisWest Coast punk -rock shit." Through itall, the tracks that wound up on PsychoWhite weren't forgotten.

Yelawolfs major -label debut, Radioac-tive (Ghet-O-Vision/Shady/Interscope),thrust him into the spotlight in 2011 butleft him unfulfilled. (It peaked at No. 27on the Billboard 200 and has sold 164,000copies.) "The creative wings of that recordwere clipped so early," he says. "That'llbe the first and last time people hear meunder the constraints of other people'sideas." But his frustration refueled hispassion for Psycho White.

Earlier this year, the duo set to workfinishing the EP, to be released timedto Yelawolfs winter Country Fresh line.

The five tracks hint at a creative brother-hood-Barker's programmed beats andlive drumming evenly chug alongsideYelawolfs flow, as heard on propulsivesingle "Whistle Dixie." The musical un-derstanding between the two is hard tomatch, and impossible to fake.

Though the pair will playa few Califor-nia shows, and likely some Vans Warpeddates in 2013, there aren't any major tourplans in the works. To Barker, who sayshe's recording a Christmas EP with Blink -

182, Psycho White looks to be another funproject in a career full of them.

For Yelawolf, the EP signals somethingmore. "This was my first step into true,pure artistic freedom," he says. "And itfeels great."

\\,i(ELAWOLF\ (left) and

TRAVISBARKER havebeen working

on their EPsince 2009.

1 111111!"11P: -

R&B BY ANDREW HAMPP

THE XO FACTORThe Weeknd'sRepublic debutrepackages hisbreakout mixtapesas one release.Will it work?

For more than a year, Torontosinger and Drake affiliate AbelTesfaye, aka the Weeknd, was

the hottest unsigned R&B artist sinceFrank Ocean. The three mixtapes hereleased for free through his website in2011 (HouseofBalloons, Thursday, Echoes

of Silence), sparked a media frenzy(House of Balloons was nominated forCanada's Polaris Music Prize) and ledto him selling out his first U.S. tour lastspring in less than five minutes.

But since signing with Republic inSeptember in a joint venture with hisown XO imprint, the Weeknd is at-tempting the transition from indie fa-vorite to mainstream star with Trilogy, a

rerelease of his mixtapes that includesthree bonus songs and arrives Nov. 13.Though the three -disc album will top

When Robert "RZA' Diggs was pillag-ing old kung -fu flicks as a New Yorkteen, he never imagined he'd one daybe directing one. Since producingthe landmark Enter the Wu -Tang: 36Chambers (Loud) in1993 and spawn-ing the lengthy, fruitful career of theWu -Tang Clan, the Grammy Award -winning beatsmith has tapped Intonearly all sides of the entertainmentindustry: collaborating with everyonefrom the Black Keys to Kanye West,penning two books and landing rolesin films including "Funny People" and"American Gangster." This month,

out at 30 tracks, it'll be priced like asingle CD, with a suggested price of$14.99 for the CD and $9.99 on iTunes.

The tactic of repackaging free onlineprojects for commercial release is in-creasingly common in hip -hop (Drakesold 675,000 copies of his repackagedbreakout mixtape, So Far Gone, accord-ing to Nielsen SoundScan), but it'stricky to pull off for artists who buildtheir songs around samples. Oceanscuttled plans to rerelease his Nostalgia/Ultra mixtape through Island DefJamearlier this year after failing to clear keysamples (and dodging lawsuits) fromacts like the Eagles. (Ocean's major -la-bel debut, Channel Orange, containedall new material and bowed at No. 2on the Billboard 200 in July.) But thepress -shy Weeknd tells Billboard thatalthough the Trilogy samples were "kill-ing me," he was able to get clearancefrom acts like Beach House ("The Party& the After Party") and Siowcsie & theBanshees ("Glass Table Girls"). Onlyhis use of Aaliyah's "Rock the Boat" onfan favorite "What You Need" failed tomake the CD.

RZA delivers Ghostface Killah's71velve Reasons to Dle, the second re-

lease from his new label Soul TempleRecords, and makes his directorialdebut with "The Man With the IronFists," a kung -fu film starring Lucy Liu

and Russell Crowe that's "presentedby" Quentin Tarantino. The film'ssoundtrack, which bowed at No. 31 onthe Billboard 200, was the label's firstrelease, and the film opened with $7.9million, according to Box Office Moto.

What was the biggest differ-ence between producing an album

But if convincing core fans to spend$10-515 on albums they already ownis one challenge, getting them to shellout even more on the touring circuit isnot. In October 2011, William MorrisEndeavor music head Marc Geiger fa-mously told Topspin CEO Ian Rogersthat the Weeknd was able to command$25,000 for a show-even though he'dyet to playa single proper gig. Joel Zim-merman, music agent and head of Wil-liam Morris Electronic, clarified to Bill-board that the figure was used more asan example of the quotes mentioned inthe bidding war to sign the Weeknd andhis management-a deal that remainedin process through January 2012.

"I had just booked Coachella for hisfirst U.S. show, and I didn't know if wewere hired. I still thought this couldbe a one-off thing," Zimmerman says."Right before they came out to L.A., Iflew to Toronto to meet everybody andget a handle on who they were and howwe could work together. It's been oneof the most rewarding experiences Iever had."

The Weeknd's initial U.S. shows,

and directing a film?The amassment of work and people.It's hard work to make an album, butthere's maybe 12 people that help. Fora film, you're talking about a cast andcrew of 400-600 people. Doing musicvideos is one thing-maybe two daysto prepare. This is more like 100 daysof preparation, 60 days of filming, an-other 100 days of editing. This thingtook a lot of time.

tit What were you able to do withspecial effects and fight scenes Inthis film that wasn't possible during

HE WEEKND'S Trilogy contains 30 songs.

with a limited band and set production,grossed an impressive $335,000 acrossfive dates with attendance of 8,352, ac-cording to Billboard Boxscore. For afall tour that began in September andran through last week, the Weeknd re-turned with a new band, backup sing-ers and a full production complete withcustom videos.

His appeal has also been evidenton the charts. "Crew Love," a collabo-ration with Drake from the latter's 2011chart -topper Take Care, went top 10 onBillboard's Hot R&B/Hip-Hop Songschart in June, while Wiz Khalifa duet

the golden era of kung -fu films?Well, take a movie like " live Deadly Ven-

oms." You've got the Toad, where youcouldn't penetrate his skin, and you hadto find his weak spot. In today's technol-ogy, we could take an idea like that andmake brass bodies. A guy who's able tochannel his chi and turn his whole bodyto solid metal. We got the actor to act itall out, and then took a CGI copy of hisbody and made it brass.

3 One of the more notablesongs on the soundtrack Is KanyeWest's "White Dress." How didthat come together?Kanye is a great artist. I had a chance toworkwith hi m on [his My Beautiful Dark

Twisted Fantasy] and [West and Jay -Z's]Watch the Throne. When I got back from

[filming in] China, I was in my editingroom and I reached out to him to comelook at a scene and potentially give mea song for the score and soundtrack.He came through, dug what he sawand wrote this song for us. He killed it.

49 Also on the soundtrack areBrooklyn upstarts the FiatbushZombies. Are there other new MCsyou have an eye out for?Joey BadaS$ is representing good. MAPand them, I love that crew. Meek Milland Wale . .. Kendrick Lamar and hisfolks. It took time, but now my genera-tion can say, "OK, we've got some talentin the driver's seat. Hip -hop will goon."The only thing they need is conscious-ness. We all like to party. But at the same

"Remember You" is No. 36, just behindTrilogy lead single "Wicked Games,"which is No. 27. Zimmerman notes thatthe Weeknd has already begun record-ing new material, and that major tour-ing plans will bring him to Europe inthe spring, the festival circuit in thesummer and even bigger U.S. venuesnext fall. The artist may even becomemore accessible in due time.

"At some point, he'll start doingpress," Zimmerman says, "but rightnow it's been more about the musicand the performance and just evolv-ing as an artist."

time you want some imagery out thererepresenting social consciousness andawareness. My generation had that bal-ance. Now we could use some of that.

5 Do you plan to write morebooks?Yeah, I'm already working on it, put-ting down some beautifid ideas. Some-times a man is shy to expose his life.But I realize my life sometimes helpsother brothers escape hell. Readingabout Jesus-not comparing myselftoJesus-but reading the Good Book andof men of history, we see them make itthrough challenging times. It helps uswhen we face these odds. The masteralways leaves clear footprints, and I'mtrying to leave some footprints for thesekids so they can say, "Hold on, man, Iknow which way to go."

6 Several artists have taken ex-ecutive positions at major labelsrecently. Have you been ap-proached by anyone, and wouldyou be Interested?!haven't beenapproachedbyanyone. I'mreally comfortable with filmmaking. Adirector's an executive: He's got to havehis hands on music, he has to know howto control talent-all these things that Idid as a producer I can do as a directorand more. I don't just do things for my-self, honestly. I want brothers who comefrom my hood and any urban area to re-alize, it's many paths we can take. AndI'm proving that as one man-imaginewhat they could do. -

NOVEMBER 17, 2012 I www.billboard.biz 39

A1.13 U IVISNEIL YOUNG &CRAZY HORSEPsychedelic PillProducers: Neil Young JohnHanlon, Mark HumphreysReprise RecordsRelease Date: Oct. 30Driving factors behind recentNeil Young albums have beenlargely apparent-war, Amer-ica's folk heritage, an old car-and Psychedelic Pill is clearlytethered to Young's reviewof his personal history forthe memoir "Waging HeavyPeace." Young's albums chal-lenge his fan base to followhis lead rather than sink intothe familiar. Psychedelic Pillis a heavy dose of the crunchyguitar rock that he and CrazyHorse trademarked at theend of the '60s. Reunitedwith Crazy Horse for theirsecond album this year, theyprovide a heavy thunder tosurround Young's invigorat-ing guitar solos, nasally whineand group vocals to give thefeel of a barn jam session. Hereminisces about the GratefulDead and Roy Orbison andrecalls the hippie dream and'60s idealism, not to mentionhis childhood home, generat-ing steam whenever the gui-tar solos fly in the vein of "Likea Hurricane." Nothing topsYoung's last great guitar song,'No Hidden Path" from five

PHILLIP PHILLIPSThe World From the Side of theMoonProducer: Gregg Wattenberg19 Entertainment/InterscopeRecords

Release Date: Nov. 19At the beginning of his major -label debut, The World Fromthe Side of the Moon, season 11 "American Idol" winnerPhillip Phillips laments, "It's hard to know where I stand."

He certainly has reason to. Like most "Idol" winners, theGeorgia -born singer/songwriter was treated as a blank can-vas, judged on skill at the expense of identity. Even Phillips'coronation song, "Home," aligned him with the Mumford& Sons nii-folk movement. He continues that path here on

"Gone, Gone, Gone" and "Can't Go Wrong," but the albumactually plays out more like the year's second-best DaveMatthews Band release. Working primarily with producerGregg Wattenberg (0.A.R., Train), Phillips displays thatsame Southern jam inclination, driving "Hold On," "Tell Me aStory," the gentle "Wanted Is Love" and especially "Get UpGet Down" with acoustic guitar and percolating dynamicsand sonic enhancements (plenty of strings). Phillips even has

the same kind of throaty timbre and a tendency to roll his r'slike Matthews. But Phillips sounds natural enough within that

style, more acolyte than imitator, which makes the albumone of the more engaging champion debuts in the show'sinconsistent history.-GG

years ago, but the range, am-bition and expansiveness ofhis instrumental work is wor-thy of study and praise.-PG

THE SWORDApocryphonProducer: J. RobbinsRazor & Tie

BILL WITHERSThe Complete Sussex andColumbia MastersProducer: Leo SacksColumbia/LegacyRelease Date: Nov 6

When Slab Fork, W.Va., native Bill Withers found himselfin a Hollywood studio recording his first album, he toldproducer Booker T. Jones he was nervous about doingsomething he'd never done before. Jones responded,"Just do what you do and do it good." Well, Withers-withhis distinctive brand of folksy soul and warm, understatedvocals-did just that. The indisputable proof resonatesthroughout this 91 -track boxed set. It contains all ninealbums the singer/songwriter released between 1971 and1985. The signature songs that others have covered orsampled through the years are here, from first hit "Ain'tNo Sunshine" and "Grandma's Hands"-which rocketed theformer jetliner toilet installer to instant fame-to "Lean onMe," "Use Me" and "Lovely Day." But it's the gems amongthe lesser -known album tracks (e.g., "I Love You Dawn,""Hello Like Before" or "Can't Write Left -Handed") that fullyunderscore Withers' eloquence as a gifted poet laureate/storyteller-a man unafraid to show and share his emotions.It's a timeless primer for music fans and artists alike.-GM

Release Date: Oct. 22The Sword's identity hasbeen in the forge, glowingmightily and malleably. Its2006 debut, Age of Winters,revealed an ardor for vintageheavy metal by a group notyet capable of fully express-ing that passion. On its latest,Apocryphon, the messianicbombast of 2008's Gods ofthe Earth has been jettisoned,as well as the hard rock -tinged sci-fi of 2010's WarpRiders. Deep strains of self -seriousness have been ex-cised in favor of open-facedpleasure. The Sword wor-ships Black Sabbath -brand'70s heaviness without beingenslaved by it. Songwritingcomes before sludge, thehurtling speed -metal sec-tions have been scaled back,and it's all mixed to perfec-tion for the first time. Stand-outs include "Dying Earth,"with its endless riff buffet,skittering verses and flagrantdueling -solo finish, and "Veilof Isis," an enormous instanttheme song for the group.Creative sameness occasion-ally threatens to creep in andfat could be trimmed, but theSword's vision is finally pow-erful enough to swallow lis-teners in its stampede.-ZD

POP

SHINY TOYIII

Producers: Jeremy Dawson,Chad PetreeFive Seven MusicRelease Date: Oct. 22It's been tough knowing whothe players are in Shiny Toy

GUNSGuns during the past fewyears. Original singer Cara hFaye left and returned, andthen divorced husband andVersant partner Daniel Jo-hansson, who was briefly inthe band. But the synth -poptroupe's original lineup is backfor the first time in four years

CRYSTAL CASTLES(III)Producer: Ethan KathCasablanca/Republic Records/FictionRelease Date: Nov. 13

At first glance, Crystal Castles' third album is even moreunrelentingly bleak than its predecessors-singles aretitled "Plague" and "Wrath of God," and the artwork is animage of a mother cradling a son suffering from tear gasexposure. The electro-rock duo of Alice Glass and EthanKath may work with a steely exterior, but (///) continuestheir creative upward trajectory by offering some of theact's most lavish pop moments. "Kerosene" follows thehaze of "Plague" with chattering, synthetic beats flankingGlass' breathy vocals, while "Sad Eyes" explodes uponcontact before slinking into a multifaceted, wholly gor-geous groove. The pair is now two albums removed fromthe videogarne glitches of its 2008 self -titled debut and has

gotten better at crafting fleshed -out arrangements. Someof (///) brings to mind the Wall of Sound ambitions of MyBloody Valentine, but these 12 songs are ornately craftedand are never too far from an interesting hook. CrystalCastles aren't as cold as they appear to be, but they arecalculating-(///) is an expertly produced album that, at justnearly 40 minutes, leaves fans wanting more.---JL

on ///. After a dalliance witha more guitar -centric sound.the members re -embracetheir synthesizers, laying onhooky pop melodies thatagain underscore the chem-istry between Faye and vo-calist/guitarist Chad Petree.Faye announces her return onopener"Somewhere to Hide,"but by "Waiting Alone" thetwo trade lines like joustinglovers as if no time has passed.

"Wait for Me" builds througha moody intro, "Fading Lis-tening" grows from Petree'saching falsetto into a smoothpop tune, and "The Sun" un-folds intoa luxuriously craftedcomposition. "Take Me Backto Where Was" finds Petreewistful and wishful, accom-panied by piano and sing-ing about "moving forward."Shiny Toy Guns certainlyachieve that on111.-GGr1=1TITO PUENTEQuatro: The DefinitiveCollectionProducer: Anthony GonzalezSony Music LatinRelease Date: Oct. 30At a time when boxed setsare all but nonexistent in Latinmusic, Sony Music Latin hasgone many extra miles withQuatro: The Definitive Col-lection. It's an exquisitely cu -rated set that compiles fouralbums by percussionist TitoPuente thatdefined hissound,plus a fifth CD of mostly rarebonus material and outtakes.Puente is known mostly for"Oye Como Va," a track thatisn't included here. Instead,Quatro assembles his RCArecordings from1956 to1960.It begins with Cuban Carni-val, original Cuban -inspireddancefloor material (includ-ing the seminal "Pa' LosRumberos"), and ends with1960's revolutionary Revolv-ing Bandstand, a collection ofstandards performed by Pu-ente's Latin band and BuddyMorrow's jazz group. So farahead of its time that eventoday its execution seemsinconceivable (all recordedtogether in the same studio),the music here highlights howPuente pushed the boundar-ies of Latin, American, jazzand dance music with everyrecording.-LC

rc

40 BILLBOARD NOVEMBER 17, 2012

SINGLESLUDACRIS FEATURINGUSHER & DAVIDGUETTARest of My Life (3:52)Producers: David Guetta, GiorgioTuinfort

Writers: variousPublishers: variousDef Jam RecordingsOn "Rest of My Life," the latest song to emerge fromLudacris' forthcoming Ludaversal, the Southern rapperpulls an all -too -familiar yet commercially wise move byteaming with EDM star David Guetta and R&B king Usherfor a motivational dancefloor banger. Despite being billedas the rapper's song, Usher steals the spotlight here, play-ing the guy at the yacht -club party who's downed onetoo many. Luda doesn't disappear completely: The MC,post -self -prescribing "two drinks a night," instructs histombstone to read "women, weed and alcohol." Naturally,the whole affair gets washed down with Guetta's top40 -friendly chorus, in which the DJ goes buck wild witha bruising, bombastic beat. While "Rest of My Life" isn'tthe rapper and producer's first rodeo together-check outLuda's guest spot on Guetta's "Little Bad Girl"-this par-ticular pairing nonetheless comes off a bit contrived.-OH

rETHE READY SETGive Me Your Hand (BestSong Ever) (3:48)Producer: AndrewGoldsteinWriters: J. M. Witzigreuter,A. Goldstein, S. WilcoxPublishers: variousSire RecordsBillboard Hot 100 fans gotto know Jordan Mark Witzi-greuter, aka the Ready Set, in2010 through the bittersweet"Love Like Woe." With help

SAM PALLADIO &CLARE BOWENFade Into You (3:30)Producers: T BoneBurnett, B. MillerWriters: M. Jenkins,T. Rosen, S. McAnallyPublishers: variousABC Studios/Lions Gate/Big MachineOne of the biggest draws of new hit TV show "Nashville,"ABC's country music answer to "Glee," is actually the sing-ing and original songs. On the one end of the spectrumare flashy pop -country diva Juliette Barnes (played byHayden Panettiere) and longtime country superstar RaynaJames (Connie Britton), while on the other are soft-spoken,unknown singer/songwriters Scarlett O'Conner and Gunnar

from Pete Wentz's Decay -

dance imprint, the track madean impressionwith an easygo-ing melody and some innocu-ous emoting. The Ready Set'slatest single kicks all lovelornreservations aside and shootsforsomewherebetween EDM-tinged pop and a latter-dayAll-American Rejects song.In courting the younger popcrowd, Witzigreuter doesn't

exactly break the mold here,though this hyper -contem-porary cut at least deservesa place in any PG -rated partymix. The track's buildups andreleases are about as routineas Witzigreuter's hair swoop,though it does cross over intoa few seconds of Auto -Tunedglory when he belts out thesong's wistful title. "Give MeYour Hand" isn't quite asdefinitive as Carly Rae Jep-sen and Owl City's "GoodTime," but it certainly existson the same coming -of -agewavelength.-CP

IMEMICHRISTOPHEROWENSHere We Go (3:37)Producer: Doug BoehmWriter: C. OwensPublisher: Ribbon MusicFat PossumIn former band Girls, Chris-topher Owens was crownedthe new king of indie-rockmelancholy. Often draw-ing inspiration from his owntortured back story (raisedwithin the confines of fun-damentalist cult Childrenof God), Owens' music wasenigmatic and lush-butoften awkwardly confes-sional. With "Here We Go,"his first single as a solo art-ist, Owens pulls back on the

ANGEL HAZENew York (3:22)Producer: William "the83rd" McNairWriters: G. Scott -Heron,R. Wilson, W McNairPublisher: BrouhahaMusic

Republic"Nicki doesn't compare with me," rapper Angel Haze told Billboard last August, referring toNicki Minaj. "I don't compare with her. She's just doing her own thing. I'm doing my own thing."

The reality of hip -hop music is that there are more female MCs grabbing major media attention,

but still not enough stars for each one to avoid ham-fisted comparisons to other women rappers.

A song like "New York," from Haze's online album Reservation, slays any comparisons to artistslike Minaj-Haze's off-the-cuff flow, which jams syllables in spaces that shouldn't exist and stealspalpable joy from the profane turn of phrase, is actually reminiscent of Dizzee Rascal's stylewhen the London rapper was in his heyday. "Sick bitch, chicken noodle soup face/Calls fromoverseas like a motherfucking crusade," goes the chorus of Haze's call -to -arms, which includes

a beat composed of little more than supportive hand claps. "New York" has some dubiousrhymes, but Haze throws them like spears at the listener. The rapper is a fierce, individual talentwho sounds like she might hunt down anyone who shrugs her off with a cheap comparison.-JL

melodrama, reinventinghimself as a stoned, grog -

worshiping James Taylor."If your heart is broken, youwill find fellowship with me,"Owens sings in a big-heartedcroon, as the instrumen-tation builds into a wall ofsound composed of finger -

Scott, played by Clare Bowen and Sam Palladio. On "FadeInto You," Bowen and Palladio combine as a singing duoand impressively get to the heart of early country music. Astrumming guitar gently highlights "Fade Into You," whileBowen nails her part by showcasing the intimacy of hervoice, which so seamlessly melts into Palladio's soft tone."Fade Into You" is the understated side to any Nashville glamand, more than anything, a welcome reflection on countrymusic history.-JM

picked acoustics, angelicvocal harmonies, jazzy fluteruns, half -sighed harmonica,a psych -fuzz guitar solo andbass that purrs like a kitten.Owens has never soundedthis free -spirited, and basedon the musicality of "HereWe Go," this grown-up Girlshould have no trouble flour-ishing on his own.-RR

HIP -HOP

FLO RIDAI Cry (3:43)Producers: The Futuristicks,soFLY & Nius, Paul Baumer,Maarten HoogstratenWriters: variousPublishers: variousPoe Boy/AtlanticIs the world ready for an emo-tional Flo Rida? Apparentlyso, considering that "I Cry,"like all of the other singlesreleased from the Floridarapper's Wild Ones, has

quickly shot into the upperreaches of the Billboard Hot100. Although the syntheticbeat and sing -song chorusremain from party -starterslike"Good Feeling"and "WildOnes," the sample from theBingo Players' "Cry (Just aLittle)" and somber musicvideo (which resembles"American History X" crossedwith a Katy Perry clip) con-firm that this is no "Whistle."Even more demonstrative arethe lyrics tucked inside Flo'srapid flow: "Can't let go, gotfans in Okinawa/My heartto Japan quake losers andsurvivors," he energeticallyraps. "I Cry" is a strange de-tour for the dancefloor fiend,but like the Black Eyed Peas'"Where Is the Love?," popaudiences seem to be keen tosome generalized grief shar-ing. Call him Flo Reflective, ifyou will.-JL

;CO oZbi ti ;I ol I igaEDITED BY MITCHELL PETERS(ALBUMS) AND JASONLIPSHUTZ (SINGLES)

CONTRIBUTORS: Zach Dionne,Phil Gallo, Gary Graff, DanHyman, Jason Lipshutz, JillMenze, Gail Mitchell, Chris Payne,Ryan Reed

All albums commercially availablein the United States are eligible.Send album review copies toMitchell Peters at Billboard, 5700Wilshire Blvd., Suite S00, LosAngeles, CA 90036 and singlesreview copies to Jason Lipshutzat Billboard, 770 Broadway,Seventh Floor, New York, NY10003, or to the enters in the

appropriate bureaus.

NOVEMBER 17, 2012 www.billboard.biz 41

YOUNG JEEZY andMARIAH CAREY are

the artists J

who released songscelebrating PresidentObama's re-election.

POLITICS BY STEVEN J. HOROWITZ

O.R.Ca06AM. CO"

FORWARD!

Singing Obama'sPraisesYoung Jeezy, Mariah Carey and Will.i.am all hit thestudio to celebrate the president's re-election

bile millions of people took to so-cial media networks to celebratePresident Barack Obama's victory

on Nov. 6, some musicians used music as theirmedium to champion his win.

Hours before Obama was elected to a secondterm, Def Jam rapper Young Jeezy released histrack We Done It Again," a testament to his confi-dence that the president would bestMitt Romney in the election. Thefollowing day, Mariah Carey un-leashed her inspirational "Bring ItOn Home," and Plies dropped hismidtempo cut "Obama Forward."Black Eyed Peas fiontanan Williamis currently recording a victory song

that serves as the follow-up to his2008 release, "Yes We Can."

Artists who release victorysongs not only express their sup-port through music, they also ben-efit from their promotional value.WQHT (Hot 97) New York PDEbro Darden says that artists tend to release vic-tory songs to celebrate the win of the candidateof their choice, and notes the benefits. "As artists,they feel the best contribution to the moment ismusic," says Darden, who anticipates that Jeezy'ssong will "do well" on the station. "[They alsowant) to be a part ofthe biggest conversation hap-pening at the moment. While I feel these artistsare genuine in their joy for the win, I also knowthey use it as promotion."

Jeezy debuted "We Done It Again" across sev-eral platforms hours before Obama was namedthe victor. On SoundCloud, the anthemic trackhas counted 85,0001istens, while on YouTube, ithas amassed more than 20,000 views. The dayfollowing the election, Jeezy released the track'saccompanying video on MTV.com, pulling in76,000 views in 24 hours.

The Atlanta rapper included a similar tribute,"My President" (featuring Nas), on third albumThe Recession, which arrived in September 2008.The song peaked at No. 13 on the Rap Songs chartthe week of Feb. 7, 2009, and has sold 615,000

42 BILLBOARD I NOVEMBER 17, 2012

Young Jeezy's2008 song

"My President"reachedNo. 13 on

the rap chartand has sold

615,000copies.

copies, according to Nielsen SoundScan. Obamalater name -checked Jeezy during a White HouseCorrespondents Assn. Dinner in April.

According to Island DefJam senior VP of mar-keting Chris Atlas, Jeezy took it upon himselfto release "We Done It Again," and the song'svirality speaks to his connection with his listen-ers. "Jeezy has always been known for being at

the forefront in terms of streetculture and how it affects lifein general. This song is no ex-ception," Atlas says, noting thatthere isn't a plan in place toservice the song to radio. "Hisfans are really supportive of itbecause this is what they're ac-customed to: what Jeezy's doing,and being aware of what's goingon in the climate and culture."

On Nov. 7, Jermaine Dupri re-leased Carey's gospel -tinged bal- lad "Bring It On Home," writ-ten specifically for the president.

The song, posted on Globa114.com, was originallyperformed at a campaign fund-raiser for Obamaearlier this year. While Carey is yet to put "BringIt On Home" on her YouTube page, user -uploadedclips have tallied upwards of 60,000 hits.

Morning radio host Rickey Smiley, who's heardin 70 markets, says that despite the release ofseveral victory songs this cycle, he doesn't antici-pate a flood of new records since the excitementof Obama's first election has worn off. Smiley,who interviewed Jeezy on his show on Nov. 7, ex-plains that a victory song has to be of top qualityto succeed and that artists can't just rush out atribute. "The record has to be a hit," he says. "MyPresident,' for example, is a great song, the beatand the instrumental. You have to like the song."

Victory songs can often be viewed as oppor-tunistic, but Smiley thinks differently. "If you'rean artist, you get out here and make a song-yeah, it's promotional, because people want toplay it," he says. "But these artists are genuinelyappreciating what the president has done andwill do." .

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AS GOOD AS HE EVER WASToby Keith reaches a milestone on Top Country AlbumsToby Keith continues his impressive streak ofreaching the top 10 on Billboard's Top CountryAlbums chart, as Hope on the Rocks launchesat No. 3 with 48,000 sold, according to NielsenSoundScan. The set marks Keith's 20th top 10onthe tally. He's missed the top tier only once, withhis self -titled debut album, which peaked at No.17 in a 97 -week run in 1993-95 (and yielded hisfirst of 20 Hot Country Songs No. ls, "Should'veBeen a Cowboy").

Keith boasts the longest active top 10 streakon Top Country Albums. With three more, he'lltie George Strait for the longest top 10 run in thechart's 49 -year history; Strait linked 23 in a rowfrom 1987 to 2003. Buck Owens (1964-68) andElvis Presley (1973.77) follow with strings of 17consecutive top lOs each.

Since Top Country Albums adopted Sound -

Scan data the week of May 25, 1991, Keith isone of three acts with at least 20 top 10s. Straitleads with 26 in that span, followed by AlanJackson (23). -Gary Trust

WHAT'S HIS 20?Here's a look at Toby Keith's 20 top 10s on the Top Country Albums chart

Peak Pos.

(WeeksAt No.1)

No. 8No. 6No. 8

No. 5

No. 9No.1 (1)

No.1 (7)No. 5

Title

"Boomtown""Blue Moon""Dream Walkin"'"Greatest Hits Volume One""How Do You Like Me Now?!""Pull My Chain""Unleashed""The Best of Toby Keith:20th Century Masters-The Millennium Collection"

No.1 (13) "Shock'N Y'All"No. 2 "Greatest Hits 2"No.1 (7) "Honky Tonk University"No. 2 "White Trash With Money"No.1 (1) "Big Dog Daddy"No. 8 "A Toby Keith Classic Christmas: Volumes One & Two"No.1 (2) "35 Biggest Hits"No.1 (1) "That Don't Make Me a Bad Guy"No.1(1) "American Ride"No.1(1) "Bullets in the Gun"No.1(2) "Clancy's Tavern"No. 3 "Hope on the Rocks"

KELLY CLARKSON'SGreatest Hits arrivesthe day after the AMAstelecast on Nov.18.

POP BY RICHARD SMIRKE

Top OfThe PopsRobbie Williams scoresseventh solo U.K. No. 1 toset up ninth album

Eight years after he last topped the U.K. charts,

Robbie Williams is back at No. 1. "Candy,"the first single from Williams' ninth solo

studio album, Take the Crown, sold 137,000 first -week

units, making it the fastest -selling single by a maleartist in the United Kingdom this year, according tothe Official Charts Co. (OCC).

Co -written by Williams, Gary Barlow and TerjeOlsen, "Candy" is the 38 -year -old singer's seventh

solo No. 1 and his 14th U.K. No. 1, including hisyears as a member of British vocal group TakeThat, of which Barlow is also a member. Williamsfamously quit the quintet in 1995 and went on tosell more than 60 million albums as a solo artist,according to his label, Island Records/Universal.In 2010, he temporarily rejoined the group, whichhad successfully come back as a quartet severalyears earlier, to record a new studio album, Prog-ress (Polydor).

Released in November 2010, Progress sold more

than 2.3 million units in the United Kingdom, ac-cording to the OCC. Meanwhile, Take That's 2011Progress Live U.K./European tour broke BillboardBoxscore records with its multiple -night residen-cies at London's Wembley Stadium and the City ofManchester Stadium. The act is on hiatus, enabling

Williams to resume his solo career, which shows nosigns of slowing.

At press time, Take the Crown was set to debutat No. 1 on the U.K. albums tally for the week end-ing Nov. 11, beating strong competition from re-leases by Andre Rieu, J LS and the Military Wiveschoir. It's also selling strongly throughout Europe,where "Candy" has been a top five airplay hit inmost markets. The 11 -track Take the Crown, which

ROBBIE WILLIAMSwith new CD Takethe Crown and fans(inset) at HMV'sOxford Streetlocation in London.

was recorded in Los Angeles with producer Jack-nifc Lee and features guest spots front Owen Pallettand American folk singer Lissie, is Williams' firstfor Island Records following the culmination of hisprevious deal with EMI.

"When you have watched the success of some-one from the outside for the last 10 years, to thenget immersed in that world, you soon realize thatit is kind of untouchable what Robbie does," saysIsland Records U.K. GM Jon Turner, who calls Wil-liams a "true professional." He adds: "[There) arenot many people who work harder than him in theworld of music."

True to form, Williams embarked on a busy pro-motional schedule in the run-up to street week, be-ginning Sept. 10 wills an interview on BBC Radio2's "The Chris Evans Breakfast Show" where he pre-

miered "Candy." The single's video, in which the art-

ist performs a number of death -defying stunts, wasserviced online the same day. YouTube views have

now crossed 10 million. A four -date run of small -

capacity live shows in the United Kingdom and Ire-land immediately followed, which Turner creditswith "igniting excitement in the whole campaign."They were backed with a series of high -profile TVperformances in the United Kingdom and Europethroughout October, including the U.K. "X Factor,""Le Grand Journal" in France and "Skavlan" in Nor-

way and Sweden.To mark the album's Nov. 5 street date, Williams

appeared at a signing session at HMV's flagshipLondon store, which was restricted to 300 die-hardfans, according to the retailer.

"We have high expectations for Robbie's newalbum as one of the 'tent pole' releases for theseason that will keep selling beyond Christmas,"HMV spokesman Gennaro Castaldo says. Turner is

equally optimistic about Take the Crown's prospects

and points to the singer's three sold -out shows atLondon's 02 Arena (Nov. 22-24) as evidence of theartist's sustained popularity. "In his lane," Turnersays, "there's no one that touches him."

AND THE WINNER IS...Ke$ha, Pitbull, Christina Aguilera and more are poisedto benefit from American Music Awards performancesHalf of the 18 performers booked for the 40thedition of the American Music Awards are nomi-nees. The rest are taking advantage of the pro-motional opportunities the show offers for art-ists with fourth-quarter releases, from Pitbull toKe$ha to Kelly Clarkson.

Billboard has exclusively learned that thetrio behind "Everyday Birthday"-Swizz Beatzwith Chris Brown and Ludacris-will perform its2 -week-old single on the show, and Clarkson,whose Greatest Hits will be released the day afterthe Nov. 18 telecast, is promoting the album'ssingle "Behind These Hazel Eyes." An announce-ment of their participation is expected Nov.12.

Constraint -free when it comes to booking,AMA producer Larry Klein booked the "Birth-day" boys because he liked the song. "To me, it'sthe Rat Pack of the hip -hop world," he says. "It'ssomething I haven't seen before, so I wanted it."

In its first edition since the death of founderDick Clark this year, the AMAs will pay tribute tothe legacies of America's oldest teenager andthe AMAs themselves with clips throughout thethree-hour telecast. As usual, 17 or 18 perfor-mances will be the key focus while 13 or 14 of the20 AMAs are presented. Klein's goal is no differ-ent than Clark's was when the two did their firstAMAs together in 1973: putting on a pop cultureshow with wall-to-wall music.

"We give creative freedom to the artists," saysDick Clark Productions president Orly Adelson,who executive -produces the show with formerDCP CEO Allen Shapiro. "The challenge is to sellthat vision, transforming the stage so many timesto capture the different looks [of the artists].Nothing unifies them."

ABC has aired the show since its inception. In2004 it was moved to mid -November, where it

has become a significant platform for star actswith releases active in the holiday season. Fiveyears ago, the AMAs became the first awardsshow to move into Los Angeles' Nokia Theatre,which Shapiro says provided the producerswith more creative avenues. "Bigger audience,a bigger stage-that made the show feel big-ger," he says.

Taylor Swift, a returning nominee, is among themultiple performers promoting material releasedin the fourth quarter. P!nk is appearing on theheels of her new single "Try" being released toradio, Justin Bieber and Nicki Minaj have "Beautyand a Beat," and Carrie Underwood and NoDoubt are promoting their mid -October singles.The day after the awards will see the release ofChristina Aguilera's Lotus and the deluxe editionof Pitbull's Global Warming.

Ke$ha, whose "Die Young" is No. 6 on the Bill-board Hot 100, has new album WarriordroppingDec. 4. "When I had my first call about Ke$ha itwas months ago-I didn't know about a single orthe album," Klein says. "When I saw 'Die Young'blow up, my first phone call was to Ke$ha. Youcan't predict that kind of hit." -Phil Gallo

BUBBLINGUNDER>>>WHEN 'LOVE'TAKES OVERDance collective Rudimentalmade a splash earlier this yearon the Official U.K. Singleschart, debuting atop the listwith the soulful drum'n'basshit "Feel the Love," featur-ing John Newman. Now, thequartet (Piers Agget, KesiDryden, Amir Amor and DJLocksmith) is flirting withbreakout U.S. success, thanksto support from SiriusXM's 20on 20 and Hits 1 channels. Onthe horizon for the Big Beat/Atlantic act: a debut albumdue in February and a U.S.tour in March.

>>>LIZ LONGLEYSINGS HER 'SONG'Liz Longley, winner of the2010 BMI John Lennon Song -writing Scholarship Com-petition, bubbles under theFolk Albums chart with herself -released six -song EP, In-side This Song. The Nashville -based graduate of Boston'sBerklee College of Music hasopened for folk luminaries likeShawn Colvin, Nanci Griffithand Amos Lee, while JohnMayer praised her work as"gorgeous, just gorgeous."Longley's touring plans bringher to New York (Nov. 9), Bos-ton (Nov.14) and Providence,R.I. (Nov.15).

>>>ROPING A HITRookie duo One Night Rodeohas its sights set on Billboard'sCountry Airplay tally with itssecond single, "Real Good"(Fox Hill), which collectsspins at 14 of the 126 stationsmonitored by Nielsen BDSfor the chart. The Bradenton,Fla. -based twosome is receiv-ing its strongest support fromnearby WWGR Fort Myers, Fla.(69 plays through Nov. 4). Thepair-lead singer Cory Hildrethand Duane Allison-earnedattention last year by winningthe Great American Countrynetwork's "Next Big Star"competition.

>>>RIVA ARRIVESPuerto Rico -based Sean Rivasends his first stateside single,"Telekinetica" (Riva Entertain-ment), featuring Jadiel, to theLatin Rhythm Airplay chart atNo. 24, marking his first Bill-board chart appearance. Riva,18, began his career in Peruwith Negro Music act Los Insu-perables (a duo with youngerbrother Kevin) in 2010. "Tele-kinetica" tallied 46 spins onWVOZ San Juan, Puerto Rico,during the Oct. 29 -Nov. 4 BDStracking week.

Reporting by Keith Caulfield,Wade Jessen, Rauly Ramirezand Gary Trust.

NOVEMBER 17, 2012 www.billboard.biz 43

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44 BILLBOARD NOVEMBER 17, 7012

HaA WEEKLY ROUNDUPOF NOTABLE CHART

ACHIEVEMENTS

)..*44, 11'

ir

HOLI DAY 'VOICES'Ice* c

he Billbs albums. C

n's Magic Moment debut. 67 while Blake Shelton'rs, It's Christmas rises

. Fellow coach Christinaera ets In on the action

TAYLOR FOR THREE?'s

weeke, 70 a:

nextN

o.lwee

stry forecasters say. Theest debut on the chart w

come from NOW 44, wInd 100,000.

PLUMB HITS NO.

ian charts since 1997,b notches her first No.e genre, as "Need You(How Many Times)"Christian CHR. She hasloudly led Dance Club So

nd Dance/Mix Show Airplay.

CHART13 EAT

"Following his coronationas new artist of the year at theCountry Music Assn. Awards(broadcast live on ABC on Nov.1), Hunter Hayes reaps chartbenefits. "Wanted" bounds41-23 on the Billboard Hot 100with Greatest Gainer/Digitalhonors (74,000 downloads sold,up 80%, according to NielsenSoundScan) and debuts on AdultTop 40 airplay at No. 40. Asthe ballad topped Hot CountrySongs (Sept. 29), it marks thelist's first leader by a solo maleunaccompanied by another artistto cross to Adult Top 40 sinceKeith Urban's "Making Memoriesof Us" in 2006. (Jason Aldean's.Don't You Wanna Stay, withKelly Clarkson, managed the featlast year). Go to Billboard.com/chartbeat for exclusive video ofHayes performing "Wanted" live.

Read Chart Beatevery week

ci mkat ha r t b ea t.

`Red' Tops Again; Sandy, Stewart Make WavesTaylor Swift's Red hangs tight forasec-ond week at No. 1 on the Billboard 200,shifting 344,000 copies, according toNielsen SoundScan (down 72%). Lastweek, the Big Machine Records albumblasted in at No. 1 with1.2 million, marking thelargest sales week for analbum since 2002.

With 1.6 millionsold in two weeks, Redovertakes One Direc-tion's Up All Night (1.3million) to become thesecond -biggest -sellingalbum of 2012. Adele's21 is way ahead as the year's top seller,with 4.1 million.

Swift's previous album, Speak Now,also spent its first two weeks at No. 1,

moving nearly 1.1 million and 320,000in those respective frames. (It fell by69%in its secondweek.) Speak Now thenleft the top slot for five weeks, only to re-turn for four more straight weeks at No.1 between Jan. 1 and Jan. 22, 2011.

had it not been for Hurricane Sandy.The storm knocked out power andshut down retailers across the Mid -

Atlantic states after making landfall inthe United States on Oct. 29 -the day

before Dreams et Night-mares hit stores.

The album's twostrongest markets -Mill's hometown ofPhiladelphia and NewYork -are in the Mid -

Atlantic region and theirsales were affected by thestorm. The two marketsaccounted for 13% and

10% of the set's sales, respectively.Album sales in New York were down

37% for the week, selling an extraordi-narily low 261,000. The market hasn'tfallen that hard in a week since theframe ending Jan. 1, when sales weredown 46%. In Philly, albumvolumewasdown by a less scary 11% to 157,000.

One more New York point: Year todate through the week ending Oct.28, the market made up 6.9% of allalbum sales in the United States.Looking only at the week ending Nov.4, New York's share ofalbum sales fellto 4.8%.

Over TheCounter

SANDY SOFTENS MEEK MILL: Be-

hind Taylor Swift at No. 2 is rapperMeek Mill, whose debut studio album,Dreams el Nightmares, arrives with165,000 sold. That's a bit less than the170,000-185,000 that had been pro-jected by label sources on Nov. 2.

Mill's still -robust start might havebeen a bit larger (though not largeenough to bump Swift from No. 1)

THE STEWART SEASON: RodStewart's Merry Christmas, Baby de-buts at No. 3 on the Billboard 200 with88,000, giving the pop icon his 16thtop 10 set. Upwards of 20,000 copies

of his Verve debut were sold throughHSN. Not only did the network offeran exclusive version of the album (witheight bonus songs) but Stewart per-formed on the channel during an Oct.26 special. Notably, Stewart's sales areoverwhelming physical CDs, as down-loads amount to only 5% of its firstweek. Its 4,000 digital sales aren't evenenough for it to reach the bottom of the25 -position Digital Albums chart.

Stewart is one of two debutingChristmas sets in the Billboard 200'stop 10 this week, as Trans-SiberianOrchestra arrives at No. 9 with itsnew holiday EP. Dreams of Fireflies(On a Christmas Night) enters with32,000, buoyed by sales generated bya concert ticket/album promotion. Asnoted in this column on Nov. 3, theTrans-Siberian Orchestra holiday setwas one to keep an eye on this season.The act, always popular around the

(41

-ROD STEWAPT

-

Nlarket Watch A Weekly National Music Sales Report

Weekly Unit Sales Year -To -DateDIGITAL

ALBUMS ALBUMS'1)161tAl

TRACKS

This Week 5.446.000 2,072,000 21,427,000

last Week 6,257,000 2,432,000 21,083,000

Change -13.0% -14.8% 1.6%

This Week Last Year 6,169,000 2.063.000 20.893,000

Change -11.7% 0.4% 2.6%iDegnal album sales am also cote.. 4... album sales.

Weekly Album Sales (Million Units)30

25

20

15

2011

2012

10

55.4M

0 JFMAMJJ A SOND.1

tA,

holidays, has sold 8.1 million copiesof its Christmas releases.

SOCIAL SHIFT: Updates have beenmade to the Billboard Social 50 chart tobetter reflect the online music world'sever-changing landscape.

The Social 50, launched in Decem-ber 2010, has utilized fans and follow-ers, plays and page views data fromYouTube, Vevo, Facebook, Twitter andMyspace. Added to the mix this weekis data measuring artist followers onSoundCloud and Instagramalongwithpage -viewdata from Wikipedia.

Additionally, Billboard has addeda new category of artist engagementto the Social 50 formula called "Reac-tion" The first sources of data to con-tribute to this bucket are Facebook's"People Talking About This" (a mea-surement of conversation about an art-ist taking place on the social network)and YouTube thumbs (the "liking" ofa YouTube video).

Notable chart moves on the Social 50that resulted due to the chan ges includerock band Suicide Silence's debutat No. 5. The act's lead singer, MitchLucker, died Nov. 1 following a motor-cycle accident. In turn, Web traffic onthe band's Wikipedia page and conver-sation on Facebook pushed a 2,250%increase in reaction. Elsewhere on thetally, Rita Ora and Ed Sheeran enter atNos. 37 and 44, respectively, after activ-ity generated on Wikipedia. -

OVERALL UNIT SALESAlbums 255,456,000 245,851,000 -3.8%

Digbl Tracks 1.055.131,000 1.119.004.000 6.1%

Store Singles 2,042,000 2,949.000 44.4%

Total 1,312,629,000 1,367,804,000 4.2%

Albums w/TEA' 360,969,100 357,751,400 -0.9% i,1,c.Igeln=li=iecilent clown Sales(TEA)with 10 track downloads ectutvale,

DIGITAL TRACKS SALES

'11,, la.billion I'12 INIMEMESISALES BY ALBUM FORMATCD

Digtal

Vinyl

Other

168,947,000

83.410.000

3,042,000

57,000

145,845,000

96.293.000

3,561,000

149,000

-13.7%

15.4%

17.1%

161.4%

nielseni.FSEfti'E'liiiE4Eit-1":".2'.'ddr- sounds..

1011 (Olt (HUGE

YEAR-TO-DATE SALES BY ALBUM CATEGORY

anent 137,186,000 123,226,000 -10.2%

Catalog 118270.000 122,626.000 3.7%

Deep Catalog 92.911,000 97,953,000 5.4%

CURRENT ALBUM SALES

'11 137.2 million/'12

CATALOG ALBUM SALES

'12

dounddcan cauntz as Curran: only sales yrithin lh" first le monlhsof anNielsen

months are catalog. Deep catalog Is a subset of catalog for titles out mom than36 months.

Go to www.billboard.biz for complete chart data 45

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Data for week of NOVEMBER 17, 2012 I For chart reprints call 212.493.4023 Go to www.billboard.biz for complete chart data 47

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a, 5, GREEN DAY- -- REPRISEAVARNER EROS.

Luke Bryan (No. 29), Blake Shelton (No.

32) and Miranda Lambert (No. 34) bow

on the Social 50 due to the updated list

of data sources used to formulate the

chart's rankings (see story, page 45)

and impact earned from the Country

Music Assn. Awards (Nov. 1).

-14LAM

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After gaining in streams every single

week in its 11 -week (had occupancy,

the Lumineers celebrate their first top

10 on the On -Demand Songs chart as

"Ho Hey" experiences a 4.431 lump

in streams to rise 13-9 (645,000 total

streams for the week).

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Local Business

Everything Is Expensive

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Banks

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Landing On A Hundred

Skyworld

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118

The winner of the

Barclaycard Mercury

Prize (announced

Moy.1) eams its

first sales gain yet,

rising by 43%.

ID3The act's first studio

album in six years

also arrives at No.9

on Dance/Electronic

Albums, Wing

1,000 in its first

week.

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charting solo album

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House Of Groove

The Crossing

The Rules Of Dada

Allen Stone

To Keep Us Safe

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This Is ChristmasKatherine Jenkins

A Laurie Berkner Christmas A Laurie Berkner ChristmasThe Laurie Berkner Band The Laurie Berkner Band

It'z Just What We DoFlorida Georgia Line

A Laurie Berkner ChristmasThe Laurie Berkner Band

II=E21131 E=I EECIESECZ31

PROGRESS REPORT

The Saturdays, "What About Us"Recently signed to a U.S. deal with Mercury (Billboard, Oct. 27),U.K. girl group the Saturdays might soon make their AmericanBillboard chart debut with the single "What About Us." The tuneis percolating under the threshold of the Dance Club Songs tally. MI

Z7,cire,thery.alt -JAn Awesome Wave

Jake ShimabukuroGrand Ukulele

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Katherine Jenkins

TAhtea=:k!VrtMrsotisd

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Jonathan & CharlotteTogether

Chris MannRoads

StreetwizeFeelin' Sexy

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Data for week of NOVEMBER 17, 2012 For chart reprints call 212.493.4023 Go to www.billboard.biz for complete chart data 49

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Thee group doubles

its previous longest

reign -"Moves Like

Jagger," featuring

Christina Aguilera.

led for four weeks

last year. (Its other

No.1, "Makes Me

Wonder," ruled

for three weeks in

2001.1

After the band

performed the song

on NBC's "Saturday

Night Sae" (Noy.

3), it gains by 4% to

116,000 downloads

sold. passing 3

million in sales

since its release.

eys locks up her

irst top 10 on Hot

igital Songs (12-8;

4,000, up 25%)

ince "Empire State

(Mind," with Jay -2,

it No. 1 in 2009.

She hadn't reached

he chart's top10

n her own since

27 'No One" led the

ill for two weeks in

&ember 2007.

29

1

30

2

2

34

24

23

:6

13

42

39

16

46

47

47

50

51

43

53

54

50

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courtesy of a 42-38

lift on Hot Digital

Songs (39,000, up

1'0 and debuts

on Hot 100 Airplay

(No.14;16 million,

up 62',,b) and

Mainstream Top 40

(No. 34).

rnThe follow-up to

"Blow Me (One

Last Kiss)" (No.

10) returns after

spending a week

at No. S6 upon the

debut of parent

album The Truth

About Love atop the

Billboard 200 (Oct.

6). The new radio

single bounds 29-24

on Adult Top 40.

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ONCE 'MORE' FOR MAROON 5, PSY0 As Maroon S's "One More Night" and PSY's "Gangnam Style" spend a

seventh week in the Billboard Hot 100's top two, they're the first to place

at Nos. 1 and 2, respectively, for such a stretch since Rihanna's "We Found

Love" kept LMFAO's "Sexy and I Know It" at No. 2 for seven frames last

November/December (after which "Sexy" reigned for two weeks). "Style"

is the first to log seven weeks at No. 2 without rising to the top since Lady

Gaga's "Bad Romance" tallied seven (nonconsecutive) stanzas peaking in

the runner-up slot in 2009-10. -Gary Trustao

girL13E

50 Go to www.billboard.biz for complete chart data Data for week of NOVEMBER 17, 2012

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Data for week of NOVEMBER 17, 2012 For chart reprints call 212.493.4023 Go to www.billboard.biz for complete chart data 51

MEMS Billboard

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Rihanna ekiends her record for the most top 10s on the Mainstream

Top 40 chart, as "Diamonds" darts 12-9. The song marks her 22nd

top 10, pushing her further ahead of runner-up Mariah Carey, who's

banked 17. Usher ranks third with 16, followed by P!nk and BritneY

Spears (15 each).

Rihanna has rung up her record tally since her 2005 arrival-a

feat made even more impressive given the list's 1992 launch. She also

holds the marks for the most No. is (nine, a record she shares with

Katy Perry) and most chart entries (34). Rihanna boasts the honor of

Billboard's top artist of the chart's first 20 years (Billboard, Sept. 29).

"Diamonds" previews Rihanna's seventh studio set, Unapologetk

due Nov. 19.

Ne-Yo, meanwhile,

earns his eighth

Mainstream Top 40 top

10, as "Let Me love

You (Until You Learn

to love Yourself)" lifts

11-8. The song marks

his first top 10 as a

lead act since "Hiss

Independent" reached

No.10 in 2008.

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Kid Rock roars onto Hot Rod Songs at No.

12 with "let's Ride." the lead single from

his ninth studio album, Rebel Soul (see

story. page 22). The track launches at No. 8

on Rook Digital Songs (34,000 downloads

sold; see previous page) and pushes 24-23

on Active Rock and 19-11 on Heritage Rock.

I) ACTIVE ROCK -

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52 Go to www.billboard.biz for complete chart data Data for week of NOVEMBER 17, 2012

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ennessee natives

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n the Country

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147 36 NO ONE WILL EVER LOVEYOU Connie Britton 8e Charles EsteeT.B.E BURHErr,B MUER iS mte.vaN,J P.WHITE) 0ABCSTUDIOSAIONSGAITJOI6 MACHINE

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with 23,000 sold (up 12,000), according to Nielsen Sound -

Scan. Church performed "Springsteen" on the show-itspent two weeks atop Hot Country Songs this summer.Female vocalist and song of the year honoree MirandaLambert's Four the Record snares the percentage -basedPacesetter trophy, up 194% (9,000 sold). -Wade Jensen

Data for week of NOVEMBER 17, 2012 For chart reprints call 212.493.4023 Go to www.billboard.biz for complete chart data 53

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165,000 copies, according to Nielsen SoundScan. Unofficially,however, the rapper has visited the summit twice before as afeatured artist on Maybach Music Group Presents: Self Made Vol.1 (two weeks at No. 1 in 2011) and Sefr. Made 2 (debuting at No. 1

on July 14, 2012). Mill's presence has also been felt on Hot R&B/

Hip -Hop Songs, where his "Believe It" featuring Rick Ross debuts

at No. 38 (see opposite page), marking his 14th charting title in less

than two years. Following Kendrick Larnar's impressive 241,000.unit opening last week, Mill's

starting number of 165,000 marks the first time two albums have debuted back to back with morethan 150,000 copies on the chart in almost a year Drake's Take Care bowed with 631,000 copies

on Dec. 3, 2011, followed by Rihanna's Talk That Talk with 198,000 on Dec. 10.-Rauly Ramirez

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[23 18,i POETIC JUSTICE

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Singstressseotes

the Greatest Gainer/

Airplay trophy fora

fourth consecutive

week on INS

list while

momently posting

he third consecutive

top 20 hk on the

Nainstremn ROB/

HM -Hop dot

foloMng`Tai That Talk

(N112 peak)

and "Birthday

Cake" (No. 1,

three weeks).

Track, which has

now spent 11

straight weeks in

this chart's top five,

induding a (mo-

wed stint at No. I,Jumps 2-1 on Adufi

RAE, becoming

Niguers first No. I

on that 1st.

TITLE ArtistPRODUCER ISONGWRITERI IMPRINT / PROMOTION LABEL

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IIIREPUBLIC

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ARTISTImpRINT b NUMBER / DISTRIBUTING LABEL HIKE)

LIL WAYNE Tha Caner IVYOUNG MONEY/CASH MONEY 015548./REPUBLIC 113981

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The Manual

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VARIOUSARTISTS KanyeWastResentsGOOOMusicCruel Summer6.0.0.0/DEE JAM 017291/1D4M6

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FLO RIDAPOE BOY/ATLANTIC 526072/A6

The Man WithThe Iron Fists

Wild Ones

SOUNDTRACK

WEST'S 'CLIQUE' PROVES POPULARKanye West posts his 10th chart -

topper on Rap Airplay as hisG.O.O.D. Music track "Clique,"alongside Jay -Z and Big Sean,steps 2-1 with 42.4 million listener

,Z%impressions, according to Nielsen

B DS (see billboard.biz/charts).The double-digit leader count pushes West past Lil Wayne for

second -most in chart history, behind Drake's 14,

On Hot R&B/ Hip -Hop Songs, Big Sean also debuts"Guap," the first single off his upcoming Hall of Fame: Mem-

oirs °fa Detroit Player, at No. 31 with Hot Shot Debut honors,

-Rauly Ramirez

Data for week of NOVEMBER 17, 2012 For chart reprints call 212.493.4023 Go to www.billboard.bi2 for complete chart data 55

Billboard$ALES DATA

:11`NWREoar

niclscn niclscn17

2012

4) CHRISTIANSONGS-IN TITLE

ARTISTIMPRINTAPROMOTMLABEL

25REDEEMED

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MATTHEW WEST SPARROW/Ehl CMG

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26 LOSINGTENTH AVENUE NORTH REUNION/PEG

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19 NEED YOU NOW (HOW MANY TIMES)PLUMB CURB

17 ALL THINGS POSSIBLEMARK SCHULTZ FAIR TRADE

33 THE PROOF OF YOUR LOVEFOR KING 8. COUNTRY FERVENTAVORD.CURB

YOU ARE I AMmERCYME FAIR TRADE

CENTER OF ITCHRIS AUGUST FERVENTAYDRO CURB

9 YOUR LOVE NEVER FAILSNEWSBOYS INPOP

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7 TODAYNE'WWORIOSON E. A-INW.1 POP

COME TO MEJAmit GRACE GUT EE

Alt -rock band Flyleaf celebrates its

third consecutive No. 1 album with New

Horizons, which arrives atop Christian

Albums with 20,000 sold, according to

Nielsen SoundScan. The band's self -tilled

debut set spent 10 weeks at No.1 (2007),

and Memento &Mopped the list for one week in 2010.

11

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After debuting on Latin Pop Airplay in

2001, Tommy Torres scores his first No.1

as a lead vocalist with -Mientras Tanto"

(3-1). His only other chart -topper was as a

featured artist (with La Mari de Chambao)

on Ricky Martin's -Tu Recuerdo," which

spent 13 weeks at No.1 in 2006-07.

AMMEEIMIMIE1HERNANDEZ'S TWO SIDES

Behind Tierra Cali's No.1 opening on Top Latin Albums with Eniregate

moving more than 2,000 copies, according to Nielsen SoundScan, thestar of mun2's hit reality TV show Larrymania, Larry Hemandez,posts two new top 10 albums. His ballad -filled double -CD, Capazde Todo, comes in at No. 3 while his corrido-laden Larryvolucionbows at No. 6. The last artist to land two albums in the list's top 10simultaneously was Jenni Rivera on Dec. 10, 2011. -Pauly Ramirez

58 Go to www.billboard.biz for complete chart data Data for week of NOVEMBER 17, 2012

Billboard

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Data for week of NOVEMBER 17, 2012 For chart reprints call 212.493.4023 Go to www.billboard.biz for complete chart data 59

ZLOZ 1LI 13381,13/7ON 10 413.1, 101 Plea elep 17E,43 alaiclu703 .104 Zillup,eogioertAmm 00 09 09

SL 0010 '1H180 .4.17511.,5 010731149 .51441.*000

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EXECAffIVEmlINTABLESend submissions to: exec@blllboard.com

RECORD COMPANIES: Epic Records names Scott Seviourexecutive VP of marketing and artist development. He wassenior VP of artist development at RCA Music Group.

Universal Music Group promotes Yvonne Yuen to senior VPof international marketing for Universal Music South East Asia.She was VP of marketing.

Sony Masterworks U.S. names Chuck Mitchell senior VP. He

was VP of jazz/classical/adult at eOne Music.Sidewalk Records appoints Roger Fregoso director of

regional promotion for the West Coast. He was an assistant toRodeowave's Lori Hartigan.

SPEARS

PUBLISHING: BMI promotes Dan Spears to VP of licensing,industry relations. He was assistant VP, key accounts, licensing.

TOURING: Global Spectrum taps Mike Dyer as GM of Bangor,Maine's 8,000 -seat Cross Insurance Center, which is slatedto open next fall. He was director of the Bass Park Complexin Bangor.

VenuWorks promotes Tammy Koolbeck to senior VP andJohn Siehl to regional VP. Koolbeck was VP, and Siehl wasnational director of support services.

The Wolf Trap Foundation for the Performing Arts in Vienna,Va., names Arvind Manocha president/CEO. He was COO ofthe Los Angeles Philharmonic Assn.

RELATED FIELDS: The Country Music Hall of Fame andMuseum in Nashville appoints Michelle Sabo director ofmarketing. She was marketing coordinator.

-Edited by Mitchell Peters

GOODWORKSMUSICARES SETS UP SANDY RELIEF FUNDIn the wake of Hurricane Sandy, MusiCares has establisheda fund to support members of the music community affectedby the storm. The MusiCares Hurricane Sandy Relief Fundhas been created so music people in crisis can quickly get help.

Music people seeking assistance and individuals interestedin supporting MusiCares' reliefeffortscanvisitMusiCares.org,where they'll find a downloadable application, toll -free contactnumbers, a list of other resources and a donation link.

"This fund offers immediate resources for people who needthe help," says Neil Portnow, president/CEO of the RecordingAcademy and MusiCares. "And secondly, it provides a simpli-fied and fast -track application process so we'll be able to reactquickly and get people the aid they need."

Assistanceencompassesawide rangeofbasiclivingexpenseslike shelter, food, utilities and transportation, as well as medi-cal expenses, clothing, instrument and recording equipmentreplacement, relocation costs, home repairs and debris removal.

Portnow adds that a third component is in the mix: partici-pation in other fund-raising activities to bring in more funds."These activities can be something we mount on our own orin partnership with other organizations, artists and industrycommunities," he says. In the discussion phase is a potentialWest Coast fund-raiser that would involve the Grammy Mu-seum and AEG.

MusiCares was on the front lines in the aftermath of Hur-ricane Katrina and the Nashville flood, disbursing funds andotherassistance."MusiCares is able to take action to provide im-mediate assistance to members °four music family in times ofcrisis," Portnow says. "This instanceis no different. MusiCares'safety net of resources mirrors the generosity of the music in-dustry at large." -Gail Mitchell

ALICE IN WEMBLEY LAND

Some 40 years after playing his firstgig at London's Wembley Arena, rocklegend ALICE COOPER was recentlyhonored as the only internationalact to headline the iconic venue infive consecutive decades. FlankingCooper and his handprints in thearena's Square of Fame are WembleyGM JOHN DRURY (left) and marketingmanager ROB LIEVESLEY. MOM STUART WILSON

1FUSE WAS OUT IN FULL FORCE at NewOrleans' Voodoo Musics -Arts Experience on Oct.27 as part of Scope Mouthwash's "Encourage

Courage" campaign. Plugging into the CrescentCity scene are (from left) Fuse senior VP of nationalad sales JASON MILLER, news co-anchor JACKOSBOURNE, advertising account executive LIZPHILLIPS and VP of East Coast ad sales MIKEROCHE. PHOTO AUBREE LENNON/FUSE

2ERIN BON EME premiered her "In My Place"music video and performed tracks from herupcoming CD, What a Life, at Village Studios

in Los Angeles. Also in the house (from left): thealbum's co -producer ALAN CHANG and producerMICHAEL BUBLE with Concord Music Group chiefcreative officer JOHN BURK. PHOTO, TIM NORRIS

Additional photosonline this week at

To submit your photosfor consideration, pleasesend mason tobackbeat a billboard.com.

NOVEMBER 17, 2012 www.billboard.biz 61

CMA Awards:Toasting CountryMusic's Finest StarsIn addition to ushering in the46th annual Country Music Assn.Awards-led by big winners BlakeShelton, Miranda Lambert andinaugural lifetime achievement awardwinner Willie Nelson-Nashvilleprovided the stage for a host ofpre- and post -award celebrations.

* lr 4 -5- IP 4e -5- -

'V. 4 'V* *

Al

1HUSBAND AND WIFE duo Thompson Square became the onlyestablished married -duo act in the awards' history to win vocal duoof the year and also broke Sugarland's five-year winning streak in the

category. Celebrating the achievement are (from left) BBR ManagementVP SHAWN PENNINGTON, Thompson Squares KEIFER and SHAWNATHOMPSON, Dashboard Media president NATALIE KILGORE and BBRManagement associate manager LESLEY KALISH. Psom JAY JONES

2SONY MUSIC NASHVILLE'S post-CMA fete included (back row,from left) artists CASEY JAMES, KIX BROOKS, JERROD NIEMANNand TYLER FARR; Bush Hawg members SHAUN AMES, ALEX

WILSHIRE, CRAIG HAND, BEN HELTON and RUSS CALDWELL; artistCHRIS YOUNG; Bush Hawg's JIM PHIPPS, Sony Nashville VP of legaland business affairs ANGIE MAGILL; RCA Nashville VP of nationalpromotion KEITH GALE; Sony Nashville VP of sales CARYL HEALEY;Columbia Nashville VP of national promotion NORBERT NIX; and Loveand Theft's ERIC GUNDERSON and STEPHEN BARKER LYLES. In thefront, from left: Sony Nashville senior VP of finance and operations MIKECRAFT; Arista Nashville VP of national promotion LESLY TYSON; artistsJOANNA SMITH, KELLY CLARKSON, KENNY CHESNEY and MIRANDALAMBERT; Sony Nashville chairman/CEO GARY OVERTON; artistANGIE JOHNSON; Henningsens members AARON, CLARA and BRIANHENNINGSENS; artist KRISTEN KELLY; Sony Nashville senior VP ofmarketing PAUL BARNABEE, senior director of A&R LISA RAMSEY-PERKINS and VP of A&R JIM CATINO. PHOTO AI a tu P0i7NER

3LYLE LOVETT was presented with ASCAP's Creative Voice Awardduring the organization's 50th annual Country Awards. From left:ASCAP senior creative director MICHAEL MARTIN and president/

chairman PAUL WILLIAMS, Lovett and ASCAP senior creative directorLEANN PHELAN. PHOTO FacK Namo.

AHONOREES AND EXECUTIVES at BMI's 60th annual CountryAwards included (from left) BMI assistant VP of writer/publisherrelations CLAY BRADLEY, country songwriter of the year DALLAS

DAVIDSON, BMI president/CEO DEL BRYANT, Country Icon honoreeTOM T. HALL, country songwriter and country song of the year honoreeLUKE LAIRD, country song of the year honoree RHETT AKINS and BMIVP of writer/publisher relations JODY WILLIAMS. PHOTO JOHN RUSSELL

5 DOING THEIR OWN SHARE of celebrating at Universal Music GroupNashville's after -party are (standing, from left) Little Big Town'sKIMBERLY SCHLAPMAN, KAREN FAIRCHILD and JIMI WESTBROOK:

Sugarland's KRISTIAN BUSH: artists ERIC PASLAY and DIERKS BENTLEY;Lady Antebellum's DAVE HAYWOOD; UMG Nashville chairman/CEO MIKEDUNGAN; Universal Music Group Distribution president/CEO JIM URIE:UMG executive VP/CFO BOYD MUIR; Lady Antebellum's HILLARY SCOTT;artist ERIC CHURCH; and Little Big Town's PHILLIP SWEET. Seated, fromleft: artists LUKE BRYAN and DARIUS RUCKER with Lady Antebellum'sCHARLES KELLEY. onoto aiRiS How,

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62 BILLBOARD NOVEMBER 17, 2012

Hats off to 50 years!

Congratulations.From your friends at Bravado International Group.

HOW MUCHCAN YOULIVE BETWEENHEARTBEATS?THE NEWCONTI\ENTALGT SPEED

As powerful as it is refined, as breathtaking as it is sophisticated. The new Continental GTSpeed is the pinnacle of luxury and performance.

For more information, visit www.bentleymotors.comFuel consumption figures for the Continental GT Speed in mpg: City 13, Highway 20. Combined IS. EPA -estimated fuel economy. Actual mileage may vary.The name 'Bentley' and the B' in wings device are registered trademarks. 0 2012 Bentley Motors, Inc. Model shown: Continental GT Speed. BENTLEY