Uploaded June 2019 | Updated September 2026, 1 hour ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Spot the Difference: replication, rights and the musical work
Dr Dai Griffiths, Dr Jan Butler, Dr Jennifer Skellington
Oxford Brookes University, Music Department
/// ABSTRACT
In 2010 the rock band Squeeze issued an album entitled Spot the Difference. This consisted of new recordings of tracks that were originally recorded between 1978 and 1993, attempting note and production perfect reproductions of the originals in order to reclaim lost copyrights of the original tracks. Spot the Difference raises many interesting questions, not least about the nature of the musical work, and is quite separable from, for example, tribute acts, re-recording for the purpose of better technological quality, or other kinds of re-packaging or re-issue. This panel will set out the findings of our ongoing research into this exceptional album, with Dr Dai Griffiths discussing the overall context of the re-recordings in terms of Squeeze’s career and of the popular music work in general, Dr Jennifer Skellington outlining the rights histories of the tracks as they travel from publisher to publisher and Dr Jan Butler and Joe Turner discussing the transformation of the recordings over time through multiple formats, re-releases and remasters. The evidence presented will include findings drawn from our research interview with Chris Difford himself, and other key personnel who participated in the creation of the album, to illuminate particular complexities relating to the (re)production of recorded music, copyright and the nature of the musical work.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Spot the Difference: replication, rights and the musical work
Dr Dai Griffiths, Dr Jan Butler, Dr Jennifer Skellington
Oxford Brookes University, Music Department
/// ABSTRACT
In 2010 the rock band Squeeze issued an album entitled Spot the Difference. This consisted of new recordings of tracks that were originally recorded between 1978 and 1993, attempting note and production perfect reproductions of the originals in order to reclaim lost copyrights of the original tracks. Spot the Difference raises many interesting questions, not least about the nature of the musical work, and is quite separable from, for example, tribute acts, re-recording for the purpose of better technological quality, or other kinds of re-packaging or re-issue. This panel will set out the findings of our ongoing research into this exceptional album, with Dr Dai Griffiths discussing the overall context of the re-recordings in terms of Squeeze’s career and of the popular music work in general, Dr Jennifer Skellington outlining the rights histories of the tracks as they travel from publisher to publisher and Dr Jan Butler and Joe Turner discussing the transformation of the recordings over time through multiple formats, re-releases and remasters. The evidence presented will include findings drawn from our research interview with Chris Difford himself, and other key personnel who participated in the creation of the album, to illuminate particular complexities relating to the (re)production of recorded music, copyright and the nature of the musical work.
