Fairness vs Greed.

In 1980, a vinyl single cost around £1.25, which, adjusting for inflation, would be approximately £6.00 to £6.50 today. However, the earnings from music have drastically changed. In the past, musicians earned a direct income from physical sales, like vinyl records, while today, revenue primarily comes from streaming platforms such as Spotify, Apple Music, and YouTube Music.

Streaming platforms often pay artists a tiny fraction of a penny per stream, which contrasts sharply with the past, where a single sale of £1.25 could generate direct, meaningful income. For instance, Spotify pays around £0.003 to £0.005 per stream, meaning artists earn very little unless they amass millions of streams.

Argument: Fairness vs. Greed

The comparison between the cost of a single in 1980 and the current payout for streaming highlights a key issue in the music industry today: the disparity between what the platforms earn and what artists receive.

Fairness Argument: Streaming platforms, by nature, offer convenience and access to a vast library of music. The costs of maintaining these platforms and paying for licenses, server space, and technological development are significant. In this context, platforms argue that they are providing a service that benefits both artists (by offering exposure) and consumers (by providing affordable access to music).

Greed Argument: On the other hand, the payment structure is widely viewed as unfair to artists, particularly smaller independent musicians. While platforms like Spotify generate billions in revenue, the vast majority of it goes to corporate stakeholders who do nothing to earn it, leaving artists with a fraction of the revenue. The model benefits large corporations and major labels but leaves many musicians struggling to earn a living from their work. Given that the cost of producing music has also risen, with more expensive tools and studio time, the current revenue model seems disproportionate.

In conclusion, the current system where platforms profit significantly while artists receive minuscule payments per stream raises questions about fairness. It seems that the system is more in favor of corporate profit rather than providing adequate compensation for creators, which many would argue is a form of greed. Feel free to comment or just use some good curse words.

In 2025, the cost of producing a single depends on the recording method (home studio vs. professional studio), musician fees, and production quality. Here’s a rough breakdown:

1. Studio Time

• Home studio: Nearly free (except for equipment/software costs)

• Small professional studio: £30–£100 per hour

• High-end studio: £200–£500 per hour

• Total for 1-2 days (8-16 hours): £500–£5,000+

2. Session Musicians

• Standard rates (UK Musicians' Union 2025 estimate):

  • £50–£150 per hour per musician

  • £200–£600 per session per musician

  • More for well-known musicians

3. Producer & Engineer Fees

• Producer: £500–£3,000+ (flat fee or % of royalties)

• Engineer: £200–£1,000

4. Mixing & Mastering

• Mixing: £300–£2,000

• Mastering: £100–£500

5. Distribution & Marketing

• Digital distribution (Spotify, Apple Music, etc.): £20–£50 (via services like DistroKid, TuneCore)

• Vinyl pressing (1,000 copies): £2,000–£4,000

• Artwork & branding: £200–£1,500

• Promotion (social media ads, PR, playlisting, etc.): £500–£10,000+

Total Estimated Cost for a Single in 2025

• DIY (home studio, minimal costs): £100–£500

• Mid-range (small studio, some session players, proper mixing/mastering): £1,500–£5,000

• High-end (big studio, professional producer, marketing, vinyl, PR): £10,000–£30,000+

• I THINK IT`S TIME FOR A CHANGE ?

• All I ask is a fair price .

• And maybe, while we’re at it, a visa.So I can play my music, work, and just be near the people I love — on the same bit of Earth, preferably.

  I lived in Europe for 30 years. Paid my taxes. Contributed. Built a life. And when the rules changed, that life was taken away — no golden parachute, no safety net. Just a door quietly closed.

  Now? Two years without a home. Two years of being treated like a question mark instead of a person.

  All I’m asking for is a stamp. A stamp on a piece of paper for someone with no criminal record, who’s worked since the age of 15 — in coal mines and factories, through pain and strikes and a broken back.

  This isn't a sob story. It’s just a story. Mine.One I’d like to finish with a little dignity, a little music, and maybe — just maybe — a roof.

• Will you still need me. Will you still feed me , when I`m ...

• Wait a moment John ................ I`m already there.