Sonny and Cher, Peel and Love...
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An interesting point that I picked up on that film, which I do not know the answer to and I`m sure many others don`t either.
With Pirate Radio, being such a big influence on Brit acts breaking the world, and indeed Brit DJ`s ,three questions arise.
1;Was it illegal only because it had no BBC braodcast liscence?
2; Was it illegal because of a payola style system?
3; Was it illegal due to a royalty problem thing going on.

If the answer to question 1 is yes, how ironic that even back then everyone had to take a chance and do something naughty to get noticed.

They used a loophole in the law (just as there are loopholes now in the global law for the Internet) - since they were based in International Waters (just) nobody could prosecute them.
The British Government swiftly (not THAT swiftly!) passed a law banning them from broadcasting but the damage was done - three years or so of the Pirates totally transformed the world and brought Great Britain in more income than any Government has ever managed before or since.

Without Pirate Radio there would never have been World Domination by British Music.

And the good news is... we're at EXACTLY the same point now.

and some tori-politicans.

They argued about "free markets" etc. against the BBC-Monopol.

There was a great book (about 10 years ago):
Selling The Sixties by Robert Chapman (highly recommended).

The pirates broke the "needle time" restrictions of the BBC and opened up the airwaves for the MAJORS (who also had great influenced at the BBC) but also for the independents, as long as they could pay for play.

JK, could you please comment on the impact of the pirates on the majors vs. the independents? Thank You!

The next big players are not really apparent yet.
I have said before I-Tunes, but with my recent research I am actually thinking that MTV will take it(again) currently.
It was also interesting in this film, how you mentioned that a lot of the hopefuls in the 60`s became megastars in the 70`s. I forgot to point that out in the earlier post, and I make no apolgies for re-quoting what Peely said to me.
"These things can take time".
This is important for any new bands and younger managers posting tips on boards like these.
The work has only just started.
The record comes out, then ditto.
So many acts I have touted over the years, sit back and rub their hands, and they call me up and ask "how`s it`s going?"
I have a stock reply now,"I`m working as hard as I can, what have you written this week, and how are rehersals?"
You would not believe how many "eerrrrrrrrm.." replies I get to that question.
Of course the most upsetting examples are acts that have the dedication to both subjects and get their own gigs, stay in touch daily and are actually, not very good.
We dropped a lovely bunch of guys last year for this very reason. Sales were low , but we got it into major stores, it was then we decided we did not want the feedback.
It`s a thankless job! Give me a boat, I`m going back on the radio!

Well I never paid for play and neither did Decca and we got massive exposure.
There really were no "independents" then DJ; it was Chris Blackwell and Chris Peers BRIT RECORDS which inspired me to start UK RECORDS in 1972 and the only other I remember before me was Andy Oldham's Immediate.

Branson, Wright/Ellis etc followed my lead (Virgin, Chrysalis etc)... even Seymour Stein copied my blueprint with Sire.

The "majors" were just little labels in those days - tiny budgets, small costs and overheads.

2007 will see the first huge TV or Radio success online - I guarantee it.

JK2006 wrote:
[quote]Well I never paid for play and neither did Decca and we got massive exposure.
There really were no "independents" then DJ; it was Chris Blackwell and Chris Peers BRIT RECORDS which inspired me to start UK RECORDS in 1972 and the only other I remember before me was Andy Oldham's Immediate.

Branson, Wright/Ellis etc followed my lead (Virgin, Chrysalis etc)... even Seymour Stein copied my blueprint with Sire.

I've got a Jethro Tull Chrysalis single released in 1969, (admitadly distributed by Island), but I think Wright/Ellis launced before you.

When they were managing Ten Years After (whatever happened to Alvin Lee) and I'm sure Jethro Tull were on Island until they started Chrysalis - surely long after UK Records in 1972?

I'll do a Google check (wonderful thing this Tinternet).

Well Dixie I've Googled and it never quite clarifies whether the publishing and logo were just a part of Island (as I'm sure they were) or a proper indie label... I'll have to call Chris Wright on this and will let you know!

Don't worry JK. I just remember collecting records on Chrysalis whilst at school, and I left school in 1972.

But though the logo on the label was Chysalis, the catalogue sequence and prefix were Island's. E.g. Singles were WIP and albums ILPS.

So, maybe you were right. They were just labels, not Record companies.

Have a good weekend.

And the same to you Dixie... I've left a message for Chris so expect we'll have the finite answer soon!

Apart from Island and Joe Meeks label all the 60s UK-independents were formed by artists managers.

I think the reasons for this was, that the big four (EMI, Decca, Pye, Phillips) were quite happy with what they got and had no real vision.

Any opionions on this?

Chrysalis / Island: There was a deal between Blackwell and the management company Chrysalis and after reaching certain goals they got their own label.