From Rolling Stone Magazine.com:
https://www.rollingstone.com/music/m...s99q6pZuyCSNxY
From Rolling Stone Magazine.com:
https://www.rollingstone.com/music/m...s99q6pZuyCSNxY
I'm 100% with Fripp on this.
Sleeping at home is killing the hotel business!
Agreed.
Hunt Sales has been quoted recently on this page as saying the estate were 'fucking crooks' and is supposedly 'working on' a power of veto.
https://stevepafford.com/bks40/
It's clear what "Featured Player" entails on the artistic end, but I wonder what it entails on the business end. Would it mean an automatic royalty per-sale or per-play, as it does for vocalists - but not instrumentalists - on commercials?
Damn that Pure Prairie League!
Eno sent the Bowie people a letter supporting Fripp. You can read it over at DGM.
I want to dynamite your mind with love tonight.
Tony Visconti did the same.Originally Posted by polmico
Someday a future Crim album will have a piece called something like Coda: PPL 1990.
Yeah, I've read Fripp's statement, Visconti's statement, and Eno's statement, but I'm still none the wiser as to what exactly a "Featured Player" actually is, how and where one is recognized, and what benefits FP status has.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
After reading the three statements I asked myself the same questions, and especially what are the financial benefits (if any) for an artist to be recognized as a Featured Player ? (never heard that term before)
If it worked for Clare Torry...
I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.
Wasn't she seeking (and eventually received) a co- writing credit on "The Great Gig in the Sky"?
Is Fripp seeking retroactive co-writing credits on any of the Heroes or Scary Monsters material?
Pretty sure that is not the dispute...
Indeed it is not!
All the facts here!
https://www.dgmlive.com/news/ppl-and-the-bowie-estate
I don't get it ... it doesn't work quite that way in jazz...
What about Scofield on Miles albums, Pat Metheny on Joni Mitchell albums (Shadows and Light) etc, etc..
David Bowie (the star) invited Fripp on Bowies gigs and compositions...Fripp probably got payed for his participation, which indeed was significant for that album but also for Fripps career. He didn't co-write anything to my recollection.
Last edited by Zeuhlmate; 09-26-2019 at 02:46 PM.
And here I thought it was an abbreviation for "people" as in "Fripp versus The People, and the David Bowie Estate".
I was just making the point that she won a dispute where she wanted greater status as a contributor to the recorded output than a mere "guest artist."
I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.
Very much the other way, according to the above DGM statements it appears to me that IT IS the main point:
...The centre of the dispute is the credit and payments that musicians are meant to receive for airplay and other uses of recorded music (such as, for example, the regular use of "Heroes" at the London Olympics in 2012). There is a huge injustice in the way that current rules are applied to historic recordings. In particular to those who would now be called "other featured artists" - outside artists who made defining contributions to recordings. This would include Robert Fripp's performances to David Bowie's albums, but could also extend, for example, to Eric Clapton on While My Guitar Gently Weeps, or Duane Allman on Layla...
Last edited by Mr.Krautman; 09-26-2019 at 03:09 PM.
I have serious doubts that "greater artistic status" was her sole motivation to sue Pink Floyd...more than 30 years later ! Actually the settlement awarded her 50% of the credits as a co-composer of TGGITS, which considering the massive worldwide success of DSOTM (4th best-selling rock album ever with 40+ millions copies sold) shouldn't be a paltry amount.
Last edited by Mr.Krautman; 09-26-2019 at 03:42 PM.
I'm afraid I'm woefully ignorant in these type of legal matters but I am curious. If featured player wasn't a term in use at the time, then I'm guessing one could not have been hired as such back in the day? If that is the case, how doesW one argue such a case. I would imagine it would help Fripp's case if he had been granted a larger percentage or different payment considerations than the other musicians that played on those records? I really don't know. I suppose I should read the letters.
I've still got my vinyl copies of Heroes and Scary Monsters, purchased around 1982. Fripp is listed just like the other musicians, or so it looks to me. I mean Zappa was pissed at Bowie when he hired Belew away from his band. Would Adrian be a featured musician on an album like Stage then? Genuinely curious.
I lollered
One has to wonder about all those albums billed as So and So featuring Blank. Did Blank (whoever they were) take down the lion's share of the royalties for those album sales?
He was pissed because Bowie had pulled a Miles on him. Miles Davis was notorious for poaching musicians from other bandleaders, sometimes in the middle of an engagement or tour or whatever they do in the jazz world. In the case of Bowie and Belew, Bowie offered Belew the gig right there, in the wings, during the Zappa show in Berlin. I think that's what Frank was upset about. He probably thought Ade was gonna hand in his resignation right there and then, that night.
But I seem to recall Frank ended up firing the entire band at the end of that tour, anyway, so if Ade hadn't accepted Bowie's offer, he'd have probably found himself unemployed very quickly. Probably not for long, but when you're a mostly unknown musician, you take the jobs people offer you. Ade probably reckoned that he was keeping himself employed, and perhaps getting his known by more people. I mean, I suspect it was through Bowie and Eno that Ade ended up getting the Crimson job, so it was a good move for him, even if it did piss Frank off.
Well, what I meant was that he lost credits as a "featured performer", not co-credits for song writing, wich he never had. The song Heroes was written by Bowie and Brian Eno.
It´s a mess for sure, as the "featured performer" did not excist back in the days, and if you are not credit for such on the album, its lost according to the new rules by PPL.
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