Posts by Simon Grigg
Last ←Newer Page 1 2 3 4 5 Older→ First
-
And the Bongos 7".
that was Propeller, I was really proud of that one but it only sold about 150 copies (great reviews though)....its just gone on to Amplifier as an MP3. The other great lost Ripper release was the Techtones home made album, TT23. And the last Ripper, The Spines 12".
-
"With a few demos under their belt and a 6 track EP on Reverberation Records behind them, ( We Three Brave And True - 2005) Children Collide have now signed with Flying Nun Australia, sister label to indie gods Flying Nun New Zealand"
if there is any indication that they just don't understand that is it...
speaking Propeller, got me hands on Doobie Do Disc on wax last week, bloody good condition too :)
ahhh...but the NZ or the Australian edition?? They are quite different.
-
I gather that Warners took the plunge and agreed to it going out with the music. great call.
I would the actual contractual ownership of much of that early stuff (and indeed a lot of the later stuff) is pretty grey anyway.A lot of it was paid for by the artists as was much of the indie stuff
-
A Propeller set was under discussion a while back but came to naught as FMR were kind of gasping for air at the time. A Ripper one would be interesting. Bryan had some gems in his catalogue (and like all of us, some tosh..Marilyn Waring doing John Lennon covers..what were they thinking). One of the great lost Ripper tracks was the Don McGlashan production of Otis Mace.
There were lots of other indies that predated FN too, the likes of Harry Ratbag's REM and Bunk from Wellington. The indie scene had been alive and thriving for two years before FN came along.
-
1. The Stones, Another Disc Another Dollar, plus their Dunedin Double side – WHY AREN'T THESE SONGS AVAILABLE ON C.D.? Way, way, way too good to be forgotten.
Its always amazed me that the Dunedin Double has never been on CD....if any record defined the early years of FN in the public mind. it was that one.
And I have to wonder if there wasn't a wee bit of subtle persuasion behind the scenes to convince Roger to include Garageland and a few other more recent acts in the box...
-
ha, yes, and right now the digital future is the shark circling RIAA and all.
It still comes back to what the hell is Judith doing running around after them at this stage in the game. I hold her as a person and an associate arts minister in some regard. I do recall when National's Minister of Arts (I think it was Ms Rich) was, at a thing to launch the new-quick-before-election-they-might-think-we-actually-care youth radio network in 1999, and was asked to name some NZ acts.. I think she got stuck at Split Enz and Kiri. I doubt if Judith would have that problem. She's everywhere and on first name terms with everybody. Which is why I'm so surprised.
-
I agree Jeremy, and thus when they cry poor, or try to enforce DRM or extend copyright, they can expect little sympathy.
-
The browse function is now working and i'm finding a interesting things, but so many, even music that I know is licensed for NZ, is "unavailable" for NZ
Faze Action is there which is very cool
-
The classic example in recording contracts is the label taking the artist out for dinner and drinks, then expensing that against the album production cost.
the classic record company item is payment on "net receipts", which means gross receipts less any expenses they want to throw at it. Its a scam but its virtually impossible to argue with it beyond trying to insert a limiting sub clause as to what expenses might be, or limit it to a percentage.
Having written more than a few recording contracts over the years and argued more than a few with majors, this one is one of the nastiest. that and leaving recoupability too vague...any costs encurred whilst recording (one act I know of was billed a business class airfare for a label exec to come and check out the recording sessions to no real purpose) etc
-
Jeremy, But technically the relationship between, say EMI and Coldcut, should be a profit sharing one. Both have a role in trying to extract a profit from the product or, as record contracts say, exploit the works. Artists are neither employees (contacts are quite specific about that) or customers but partners in the enterprise under agreed terms. Unfortunately what we have see historically is one partner, the one with the power, attempt to adjust the terms under which the partnership began, unilaterally.