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Topic History of: Tip Sheet and the BPI
Max. showing the last 5 posts - (Last post first)

Author	Message
JK2006	It was my friend Derek Taylor's office on Sunset in Hollywood.
Scruffy Man from Dorking	So the JK9000 Rolls Royce was just a nice little bonus on top of doing what you love to do! BTW, what is the significance of the 9000?
JK2006	Yes - and that was fine by me; it wasn't done to try to "beat" the majors - just to break great music and talent, whether the artistes were living or dead, signed or unsigned. We'd pick the new release by the biggest artiste in the world if it was the best record we heard that week. The Tip Sheet made virtually no money. We weren't there to get rich. Luckily I'd already made money through my own hits and productions (and none of those were made to make money either).
Scruffy Man from Dorking	I see; so the big labels' priority was to get their own products marketed and aired, no matter how awful the music was, whereas TS just wanted its readers to hear and read about artists it considered to be good and worth listening to. But didn't the big players always win in the end, by snapping up those unknown bands once the public had decided they liked them?
JK2006	Yes; that was how we got around the problem; by adding a spoken logo to each track, they became unplayable on radio. The very same big labels were, of course, giving free promotion copies to those very radio stations. We only charged labels. Unsigned or indie tracks went on for free. What execs hated was; we chose the featured tracks, not them. So they had no control over their priorities. And, as a result, often featured tracks they didn't want pushed. As on No Limits - we frequently used music by dead people (like Eva Cassidy). Our sole rule was - if it was good, we played it.