Author Topic: McFarlane Led Zeppelin & Jimi Hendrix  (Read 3380 times)

Offline Nicklab

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #15 on: August 20, 2003, 11:23 AM »
It gets detailed in the book "Stairway To Heaven', by their road manager, Richard Cole.
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Offline Sems Fir

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #16 on: August 22, 2003, 06:38 PM »
This incident was filmed by Mark Stein (of Vanilla Fudge) and no I don't know where the footage is, or even if the footage has survived through time.  ;D

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Offline Morgbug

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Offline inadvertent imitation

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #18 on: October 10, 2003, 10:01 PM »
Wow, wouldja lookit that. Now the choice: delxue set, or basic?
don't you know there ain't no devil, there's just God when he's drunk

Offline Nicklab

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #19 on: October 10, 2003, 11:47 PM »
Whoa! Gotta get that!  I wonder if they might make basic versions of Mitch Mitchell and Noel Redding to add on, hehehehe!
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Offline Angry Ewok

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #20 on: October 12, 2003, 09:43 PM »
With this being Woodstock Jimi, I doubt they will make Redding and Mitchell - simply because there were (I think) 3 other guys on stage with instruments, too (the first Band of Gypsy's, and boy did they suck)...

The second Band of Gypsy's rocks though, download Hendrix/Gypsy's song 'Changes' if you don't know what I'm talking about.  :-*

Offline Nicklab

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #21 on: October 13, 2003, 09:41 AM »
Yeah, I think you're right.  I'm pretty sure Mitch Mitchell played with Jimi at Woodstock, but I think Noel Redding had left the band by then.  I think Billy Cox played bass with Jimi at Woodstock.  Still it would be sweet to have the entire Experience band as a set.

I'm also wondering when we're going to see the Led Zeppelin figures.  I hope they do the whole band, and don't just do Page and Plant.  That would just suck.

I've got most of Hendrix's catalog.  But don't be advocating downloading, Brad.  It is stealing after all.  And as a musician, I'm acutely aware of just how much money downloading costs artists who are just scraping by.
« Last Edit: October 13, 2003, 09:46 AM by Nicklab »
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Offline Angry Ewok

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #22 on: October 16, 2003, 07:09 PM »
Jimi is dead - it doesn't cost him a thing.

Offline Nicklab

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #23 on: October 16, 2003, 08:36 PM »
He may be, but there are lots of other musicians who aren't.  Sorry, I take the downloading thing very personally.
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Offline Sems Fir

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #24 on: October 16, 2003, 09:47 PM »
Actually, it's costing whoever owns the rights to the songs.  Unless ownership has changed doesn't 'Experience Hendrix' control the rights to Jimi's music and image?  Musicians make the money from the rights moreso than from touring and selling recordings.  While Jimi is no longer alive the party that controls the rights to the music are the ones losing the money.

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Offline Nicklab

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #25 on: October 17, 2003, 10:21 AM »
Actually, Jimi Hendrix's family finally regained control of his music within the past few years.  So, money from sales of any Hendrix music goes to his family.

And you are correct, Sems Fir.  The people who own rights to songs, called publishing rights in the music industry, are the ones who primarily benefit from the sales of music.  Yes, record labels also benefit from the sales of CDs, but CD sales are how a large number of musicians earn a living, and most of them are far from being rich.
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Offline Sems Fir

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #26 on: October 17, 2003, 07:12 PM »
Actually, Experience Hendrix is the name of the family-based organization that controls the rights to Jimi's music and image.  I'm not sure of the hierarchy but Jimi's half-sister Janie Hendrix was or still is the president and CEO of Experience Hendrix.  I use the term 'rights' as a song is copyrighted and other 'rights' are utilized.  The law terms a musical composition as a "musical work" which is copyrighted.  Publishing rights can be broken down into five general categories: performance income, mechanical income, print income, synchronization income, and foreign income.  While these five categories play a key part in the short term for an artist to generate a personal income, it's the copyright that generates the most income for an artist especially if the artist is successful for an extended period of time.
If an artist is relying on disc sales to generate a personal paycheck, the artist needs to expand out on how to use their personal works to make revenue.  A copyright is where the income is generated not by disc sales or touring.

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Offline Nicklab

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #27 on: October 18, 2003, 07:19 PM »
Wow, you know your music business!  Actually though, touring and ancillary merchandise sales are a large percentage of a musicians income as well.

As for the various types of royalties you mentioned, the performance one is for the actual performance on the recording.  This one pays on a per unit (disc, tape, etc) basis.  The typical major label  rate is $.08 to $.11 per disc.  Rather pathetic, to be honest.  Business models like Ani DiFranco's Righteous Babe records, a self owned label, have proven far more profitable.

The mechanical is paid based on airplay.  Soundscan, an independent monitoring company,  keeps track of how many times a given recording is played on radio, and broadcasters pay a fee per playout.  MTV, however, has managed to skirt around paying mechanicals since they term music videos as promotional material, and not a musical performance.  I've yet to see anyone take on MTV to payout mechanicals, and they probably won't for fear of being blackballed by one of the biggest forces in the music industry.  Ironic, since MTV made their name playing music videos, but barely shows them at all anymore.

Print income is for sheet music sales.  This is usually a partnership with a publishing house that will do the actually score printing, and take a percentage of the sales as a fee.  This is a very low percentage source of income.

Synchronization fees refer to film or television use of  a song in a given production.  Fees must be paid for rights to use the song.  In the case of every artist, it's imperative to hold onto these publishing rights, as syncing fees can bring in serious money.  A single track being put on a movie soundtrack and placement in a major motion picture can easily run a couple hundred thousand dollars for a low level band on a major label.  A band I know was set to appear on the "American Wedding" soundtrack, and they had negotiated a fee in the mid 100 thousand range.  Too bad the deal fell through for them.  :(

Additionally, merch and touring are big income draws.  Far bigger than most people realize.  It dwarfs the $.08 to $.11 per disc that most major label artists earn in their performance royalty.  Bands like Metallica (an extreme example) have made themselves rich for a lifetime because of touring and merch.
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Offline Sems Fir

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #28 on: October 18, 2003, 10:31 PM »
Touring doesn't make up a high amount as most people believe.  Alot goes into a tour, and everything costs money.  Limo rides aren't free and unless it's in a contract the artist will foot the bill.  Everything from the promoter promoting the gig, renting the facility to put on the gig, the concession stands, security, the road crew, and that's just the starters for who is dipping their hands into the money pot.  I won't even mention the budget to tour, travel expenses, packing any additional items needed for the tour, musicians for hire to play on the tour if needed, hotel accommodations etc.  8>)

Merchandising is another matter.  Materials used to create the products, getting the proper licensing to use various images on the merchandise if it's needed, artists for hire to create images get their share of the pie as well unless the image was created as a "for hire" basis also cost money.  Any leftover unsold merchandising that's still around at the end of the tour is in essence a loss of revenue unless another sales outlet can be utilized to move the remaining product.

For the performance income it's a requirement by law in the United States as well as most countries in the world that compensation be paid to the copyright owners for the public performance of their music.  This is where ASCAP, BMI, and SESAC come into play, as these organizations are the ones that collect the public performance income and then distribute it in proportion based on the success for each song licensed by the organization.  These three organizations are the ones responsible for "sampling" thousands of hours of radio airplay to generate a model of music broadcast on the radio.  Both ASCAP as well as BMI "sample" but BMI also uses the playlist created by the program director of the radio station or "logs" to get a broader scope of what is played since songs that are no longer hits or never were hits are also in the airplay lists for rotation.  This income is paid out in two varieties: the writer's share as well as the publisher's share.

Mechanical income is the revenue generated from the sale of the discs (album and CD), as well as cassettes etc.  Rates are used to pay this income and the rates are set by the copyright royalty tribunal.  These rates vary if stated in the contract.  Everything costs money and if an artist gets a cash advance they won't see dime one until the advance is repaid. Plus studio time, disc artwork etc. all cost money.

I agree on the print income it's not very much as the publisher earns the most in this segment of revenue, and the synchronization income while it can be a good source of revenue is a shaky source of income, although these days soundtracks to albums sometimes do better than the movie the product is supporting.

Alot has to be taking into account for revenue.  Touring will only generate money if the artist is successful.  If the facility isn't filled with enough paying customers the losses could be deep red ink, and merchandising gets affected accordingly.

The copyright is where the most revenue comes in.  From radio airplay, live performances, cover versions by various artists, sampling, licensing usage of performances is the best long term way to generate revenue.  The longer the artist is successful the more revenue will be generated.  This also is a disadvantage as the artist I collect Led Zeppelin just found out.  The licenses on Zeppelin's first five albums were up for renewal and the royalty rate is now roughly four times what it was when Zeppelin released the albums.  Zeppelin went to court to get a newer more modern royalty rate and lost as the court found the songs to be made for hire due to the copyright act of 1976.  While still at the old royalty rate generating millions in revenue the surviving members also lost millions.  There are rare occurrences where touring does generate big dollar income.  Zeppelin with their manager Peter Grant pioneered the 90 / 10 split for revenue generated by a gig.

Let's just say music is a hobby. 8>)

Robert
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Offline Nicklab

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Re: McFarlane Led Zeppelin & Jimi Hendrix
« Reply #29 on: October 19, 2003, 06:23 AM »
Thank God for Peter Grant!  I read about how he pioneered the change in how venues deal with artists.  It was a terrible arrangement until he told the venues to screw off, you can't have the artist unless you deal on our terms.

Music is also a major interest of mine, to the point where a regional tour and serious representation  may be on the near horizon.

As for the difference between mechanicals and performance royalties, I was always under the impression that the mechanical referred to airplay, and the performance was in reference to each copy of an album sold.  I'll have to consult a friend who works for a management company.  I thought I had that straight.
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