Royalties

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Royalties

Postby nickbug » Wed Dec 22, 2004 9:01 am

Partly initiated by the current thread about worst cover versions etc and the likes of Boney M not crediting the Melodians. Sorry if this has been discussed before. I was just wondering what things are like these days as far as original artists receiving royalties. Obviously there are going to be inconsistencies. And some labels are going to be better than others. But I was just wondering what happens particularly with some of the big hitters like Trojan. They are obviously putting out shed loads of old stuff from the 60s and 70s but do any of the artists who are still alive or traceable make anything out of it? I read somewhere recently that Lord Creator managed to buy a house on the strength of royalties received from UB40 doing Kingston Town. It's to their credit that they make sure dues are paid etc. But what about royalties for original recordings?

I've got fed up reading about singers and musicians who have created fabulous music yet have ended up living and dying in poverty.

I know about all the historical stuff but what happens nowadays?

Nick
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Postby His_Imperial_Measurements » Wed Dec 22, 2004 9:20 am

While Sanctuary are certainly not running a charity at Trojan records, it's interesting that Tappa Zukie chose to licence his back catalogue through them and not through Blood & Fire. Many other famous names from the past seem happy to renew their association with the company (see the Trojan site for names and faces visiting their offices).

I imagine from the ammount of repeat business that Pressure Sounds do with people like Channel One, The Rasses and the estate of Augustus Pablo that they must at least be playing fair. My guess is that the same applies for the other re-issue labels, Auralux, Makasound, Moll-Selekta.

With the wheels seemingly having fallen off the Blood & Fire bandwagon I suggest that Auralux is now issuing the best, most interesting and most exciting releases of any of the afore mentioned companies.
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Postby Chocolate Soldier » Wed Dec 22, 2004 9:22 am

< I've got fed up reading about singers and musicians who have created fabulous music yet have ended up living and dying in poverty.

I know about all the historical stuff but what happens nowadays?

Nick>

Take a guess!

With few exceptions , most labels big & small are not together on the royalty side of things with anyone, let alone the strange and mysterious world of the reggae music business..

FWIW - by all accounts BAF goes the extra mile to do the right thing.
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Postby Chocolate Soldier » Wed Dec 22, 2004 9:28 am

Re some of the reissue companies with significant $ resources on the scene - one could well conjecture that they are able to pay out bigger advances on the front end, thus pulling in business - which doesn't say much about what happens with eventual accounting & royalties..

Whereas its known that BAF actively searches out persons, even 'officially' not entitled to $ (eg: say when a 'producer' owns and licences the works, not the vocal artiste) to share the joy at a later stage..
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Postby Jackie Pablo » Wed Dec 22, 2004 10:00 am

re: 'Rivers Of Babylon'

This is a very old traditional religous hymn.

The Melodians had nothing to do with writing this song.
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Postby Mr B » Wed Dec 22, 2004 1:15 pm

Does Auralux have a website?
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BAF vs. Trojan

Postby David » Thu Dec 23, 2004 8:14 am

I think producers like to make deals with Trojan because they would be paid better because of one single reason: they dont have to share with the singers or players of instruments, but take all the cash for themselves, as they did back in the 70ies. So BAF problably is not paying less, but paying everybody involved in the creative process. I guess for example that the man Prince Alla very much prefers his Stars-records coming out on BAF instead of Trojan.....
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