on 7/29/02 1:29 PM, Chris Selvig at selvig@sonic.net wrote:
A lot of the punk/post-punk recordings are paid for out of the band's pocket, the label pays for mastering and pressing, and then the band gets a percentage of the pressing to sell at shows.
As seeing any money for records goes, this is the best way for the touring artist. Who then can actually convert the currency -- on the spot -- to motel rooms, gas for the van, Grand Slams at Denny's (the road rats beacon in the night).
As the stakes get higher, the label typically shoulders more of the expenses.
Well, the premlimnary gamble is over at that point, and the band can actually demand something. Labels gamble on bands.
And even a cursory look at the history of any genre will show you that musicians get fucked over by labels big and small all of the time.
Less with big labels these days. The amounts of $ they throw around actually justify the expense of a lawyer. And anyone who goes into any kind of negotiation over thousands of $ without the benefit of council is purely studpid at this point. But hiring a lawyer to collect $500 isn't worth it unless you're really out to set a precedent.
Musicians get one over on labels once in a while, but not too often.
Except Zappa, who spent hundreds of thousands to get his work back, I'd love to know of whom you speak and I'd like to know how they won. THIS IS NOT FACETIOUS. Cases where the fat cats lose are generally buried. skip h