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So CMU's favourite boy band McFly have "parted ways" with their record label, Universal/Island Records, and will self-release their next album – out in July – via their own new independent label Super Records.  

"Parted ways with your label" is a much used euphemism in pop circles, of course, mainly for being dropped, though reports suggest it was actually McFly who chose not to re-do the deal with major record company Universal, rather than the other way round.

I am basing that mainly on a 'source' quoted in the Sun, who told the tab: "McFly are a huge money spinner for Island Records, so they were desperate for them to stay. They offered them better contracts with a bit more money, but the lads have grown up and realise the label don't want to take them in the same direction they do".

I'd question a little the suggestion that McFly are a "huge money spinner" for Universal/Island. While they are certainly a successful pop band, and have enjoyed considerable success in the singles charts, their album sales – where Island will make their money – are solid but not phenomenal. To be honest, I don't see losing Tom, Danny, Dougie and Harry causing too many headaches among the bean-counters at the major, even if it does mean the label no longer counts one of the UK's more successful pop bands of recent years on its roster.

But whatever, the other bit of that Sun source quote is actually more interesting. It's quite fashionable at the moment for established bands at the end of their recording contracts to go it alone, or do a deal with a company other than a label, mainly on the basis that the traditional record industry is in a bit of disarray at the moment, and some think that if you're an established band you're better off out of it. But if the Sun's source is to be believed, McFly have parted company with Universal/Island not because they feel the traditional record companies are all doomed (and it has to be said, if they are, Universal UK is probably least doomed), but because the label doesn't "want to take them in the same direction they do".

Now, what does that mean? Possibly that McFly – who have long vocally disliked being dubbed a 'boy band' – are desperate to be taken more seriously, while their (former) major label see more money to be made in continuing to market the band as an easy-on-the-ear, easy-on-the-eye teen pop band. 

I'm speculating wildly here of course, but that's because I've been wondering for a long time now if and how McFly – who have had quite a bit more longevity than I think most expected them to have – can successfully make the move from a teen band who make fine pop songs, to a national pop institution loved and enjoyed by all.

I'm being quite serious when I call McFly 'CMU favourites' – I really do love their music, and rate many of their songs as some of the best British pop of this decade – so really want that transition to happen. And if it does, I'm confident that the wider pop audience will realise there's a whole bunch of McFly songs that are a whole lot better than most people have so far appreciated.

But how to do it? Well, some McFly fans will point out that early pop bands like The Beatles, Beach Boys and The Who became more widely credible with time. Though whether the passing of time itself brought on that credibility, or whether the McFly boys will have to make an album en par with 'Sgt Pepper', 'Pet Sounds' or 'Tommy' to have their early work re-evaluated by the mainstream I'm not sure. More recently appointed pop institutions – most notably Kylie and Take That – managed to crossover simply through a well timed re-launch, a champion comeback single and, in Kylie's case, a killer pair of hot pants. Though McFly's product is more closely linked to those earlier examples, so I'm not sure Kylie or Take That are especially useful case studies.

So, what can Tom, Danny, Dougie and Harry do? Well, personally I'd suggest some clever collaborations and strategic gigging. An independent outlook label-wise might help too – but whichever band members and managers will be making the decisions in the new operation need to be clever. I hope they are, because I really want them to succeed. 'I'll Be OK', 'I Don't Know Why' and 'Too Close For Comfort' are pop classics, and I don't care what anyone else thinks.

Though if you've any thoughts on how McFly can make the transition – or perhaps you think it's never gonna happen – that I would be interested to hear...