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Martin and Billy are back for another episode of The Apollo Audio Podcast, talking PRS, set lists, songwriting royalties, Dolly Parton, Mr. Brightside, demos, Madonna and the difference between singles and albums.
The conversation starts with how songs earn money when they are performed live, why venues need PRS licences, and why independent artists should understand metadata, publishing and the money they may already be entitled to.
They also talk about Dolly Parton, the songwriting behind I Will Always Love You and Jolene, and how a song can take on a life far beyond its first version.
That leads into Mr. Brightside, the power of a great first idea, and why demos can be more than rough sketches. A demo can help a band hear transitions, test arrangements, find hooks, and sometimes capture something that is hard to recreate later.
The main album discussion focuses on Madonna’s Ray of Light, produced with William Orbit. Martin and Billy talk about Madonna’s career, her 80s and 90s pop dominance, why Ray of Light still feels like a proper album, and how producer collaboration helped create a sound that was different from what people expected.
Topics include:
• PRS, live set lists and songwriting royalties
• Why metadata matters for independent artists
• Dolly Parton and I Will Always Love You
• Mr. Brightside and the power of a first song
• Why demos are useful before recording
• Madonna’s 80s and 90s career
• Ray of Light and William Orbit
• Producer collaboration and artist reinvention
• Singles, EPs and albums
• Why albums and singles do different jobs
Find Apollo Audio online:
apollo-audio.co.uk
The Apollo Audio Podcast is hosted by record producer Martin Lumsden and musician and studio owner Billy Hills and is recorded at Apollo Audio Hertford.
Each episode offers insight into songs, records, and the creative process, drawn from real-world experience in studios and making music.
Also available to watch on YouTube and Spotify
📷 Instagram: @apolloaudiopodcast
📧 apolloaudiopod@gmail.com
A Froody Music Production. Production and editing by Martin Lumsden.
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