Donald Passman is a top music industry lawyer, and his guide, All You Need to Know About the Music Business (Simon & Schuster), has been required reading since the 90s.  Part of the reason for the book’s success is simple accessibility – Passman, a Harvard-educated attorney – brings a conversational, wise-cracking approach to an oftentimes heavy and plodding subject matter.  And, in the process, overcomes some of the disinterest that creative types invariably display for business and legal matters.

Passman just released his seventh edition of the book, and the shifting nature of the business demands regular updates.  In the 90s, those changes took the form of shifting deal structures, newly-passed laws, and other modifications to an otherwise steady business and legal structure.  But in recent years, all of that has been tossed out the window, and Passman now faces an incredibly difficult challenge.  Namely, how does anyone write an authoritative book on a business that is in the middle of a tornado?

One answer is to simply describe the latest legal details and developments, as they stand at the time of the book’s pressing.  And, that is exactly how Passman approaches the problem.  In this 2009 edition, Passman dives into a range of new arrivals, including digital and mobile formats, 360-degree deal structures, and shifting rules from Capitol Hill (like Copyright Royalty Board decisions).  But what happens in 2010, when the ink starts drying on newer deal structures, fresh precedents emerge, andmore digital formats appear?

Actually, that is a problem that Passman quickly identifies in the current edition.  Before delving into a range of different digital formats (p.163), Passman warns that there’s “no guarantee this won’t be out of date fifteen minutes after I finish the book,” a half-joking disclaimer that underscores the problem.  But can the reader – an artist, executive, fellow lawyer, manager – truly be confident that certain details are up-to-date?

Well, it really depends on the specific issue.  For example, Passman devotes lots of attention to publishing, team-building, touring, and merchandising, areas that are steadier elements in the storm.  More boldly, Passman also discusses the latest in 360-degree deals and digital formats, though these details represent the best information available at this time – ie, late 2009 – and should be treated more as a guidepost than rule of law.

Either way, All You Need is hardly a lightweight reference, despite the lightweight tone of the author.  This is an incredibly complicated business, and few have the capability to offer such a comprehensive guide without writing a Brittanica companion set.  And, at $21 (on Amazon at least), this is an easy investment decision.  In a few hours, the book offers a fantastic top-level, and at the same time, delivers a great reference for future problem-solving.

But perhaps ahead of the eighth edition, or in lieu of it, Passman might consider a totally different approach.  Why not develop a more dynamic, online guide, complete with up-to-date revisions and developing sections – in other words, a living, breathing reference that changes in real-time, as needed?  Maybe the online reference could coexist with the print edition, and even require a subscription fee for access.  Passman would undoubtedly have to experiment with monetization approaches (buy the book, get a free online account, etc.), though the online guide (or companion)might help to create a more complete and authoritative ‘industry Bible’ for modern times.

Paul Resnikoff, Publisher.

Tags: Copyright Royalty Board, Music Industry

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