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Topic History of: Keith Harris: "Sir Cliff cost us copyright battle"
Max. showing the last 5 posts - (Last post first)
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Michael |
Buy-outs are still very prevalent in Africa, where even the featured artist would much prefer the cash in hand than a contract - "oh yeah, like you'll pay me in six months". On the one hand, it's a very simple situation to administer. Everyone knows where they are. But it actually hinders overall growth, as neither the artist nor the manager has any vested interest in making the record a hit. So it's hard to get "the team" pulling together.
In America, this is called "work for hire" and is prevalent in movie scripts, for example. |
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DJones |
Even "featured" artists were very often on buy-out-deals in the 50s & 60s. |
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JK2006 |
All of my session musos were on total buy outs (and made fortunes from all the flops I don't mention!). |
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zooloo |
SS wrote:
Don't forget performance royalties...session musicians would get these.
Not necessarily, much more likely a flat session fee.
I don't know of any examples either way but in the 50s and 60s there were far more jobbing "day" musicians, they'd turn up, record, go home. Often it being the one and only time they saw the music - unsung heroes some of them.
JK may be able to shed light on this, at least regarding his own early recordings. ( ?)
(PS. I am wondering when Keith Harris made the statement if he was using Orville or the money?) |
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SS |
Don't forget performance royalties...session musicians would get these. |
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