Lastly some of these artists benefit beyond whatever mechanical royalty they'd be due from these mixes. I think that's the intent of the mixer and to overlook it is really missing the forest for the trees.
I disagree. That's why I said
Yeah, but he's still some broke midwest dude and now known to what? a few Europeans dudes and soulstrutters?
Their record gets known, if they have quantity they can get that off, perhaps their record gets licensed for something bigger than a smalltime mixtape???
I mean what do YOU think the artists should get, or would you prefer that they rot in obscurity?
uh...aren't those dudes still in obscurity?
of course...clearly no one's going to get rich as a result of these comps, and even if something gets reissued i'm sure in most cases the artists aren't the ones with publishing rights. BUT I will say personally I have tracked down an artist from the C&BE comp and he was pretty thrilled to hear that people still cared about the music he created as a teenager. I think situations like this are reason enough to justify comps/mixes/whatever like this. It's all relative, and if 500 people hear your shit for the first time, and 5 or even 1 calls you up to tell you how much it means to them, that's a good thing IMO.
Lastly some of these artists benefit beyond whatever mechanical royalty they'd be due from these mixes. I think that's the intent of the mixer and to overlook it is really missing the forest for the trees.
I disagree. That's why I said
Yeah, but he's still some broke midwest dude and now known to what? a few Europeans dudes and soulstrutters?
Their record gets known, if they have quantity they can get that off, perhaps their record gets licensed for something bigger than a smalltime mixtape???
I mean what do YOU think the artists should get, or would you prefer that they rot in obscurity?
uh...aren't those dudes still in obscurity?
exerpt from an article aptly titled Funk emerges from obscurity on 'Let My People Go'
After releasing the three legendary singles in the early ???70s as a hobby, Darondo spent the next three decades on a variety of pursuits, from starring in his own local cable-access TV shows, to traveling the world, and eventually going back to school and settling down to become a physical therapist. But the singer???s music brought him back full circle when influential BBC DJ Gilles Peterson hand-picked the tune "Didn???t I" for inclusion on this year???s Luv N??? Haight compilation Brownswood USA: Gilles Peterson Digs America.[/b]
Once that ball started rolling, it was only a matter of time for interest among the label???s tastemakers peaked enough to gather all of the Darondo music that could be found.
naw man...J spent hella years trying to contact Dorando and then didn't he bring the material to all of 'em at Ubiquity? and wasn't "Didn't I" already known?
and ubiquity gets permission for their artists on their comps, pays 'em etc....
Right, here's my point: Many people spent years trying to track Dorando. Nobody could find him. Gilles Peterson didn't find him or have anything to do with it when he was eventually found, but his mix created a demand for the record. I don't know if Ubiquity would've done the project had Peterson's mix never came out or never featured that track, but I am sure that the demand for the music would not have been as great. It wasn't like people woke up and were like, "oh shit Dorando". And it wasn't like everybody knew "Didn't I" from Justin's mixtapes like you and I did. I don't think Justin would contest that.
Did this band not reform, tour and start recording again, based in part on the notoriety gained by inclusion on Chains & Black Exhaust[/b]??
The fact that folks on this very forum - who actually make mixtapes - seem to have such a weak understanding of them is dissappointing to say the least
It is, absolutely, about the musicians and the music they created... but to completely disregard the artisitic and stylistic contributions of the assembler is absolutely absurd.
It is, absolutely, about the musicians and the music they created... but to completely disregard the artisitic and stylistic contributions of the assembler is absolutely absurd.
Now that the topic has completely changed, I guess the real question is how do you differentiate between the "bootlegger" and the "compilation artist/DJ"? Because in the eyes of the law its all the same.
I mean Rhino Records used to be a bootlegging operation, but it still took someone there to find the tracks comile them, design the artwork, and put it out. I am not saying that they were releasing obscurities or re-breaking artists, but where do you draw the line?
To me there is a bit of a snowball effect... If you let one mix go as more benefical to the artist than getting paid, what is to stop every compilation/mix from falling under this category.
granted this all just for discussion sake at this point.
Comments
that's right, Sir. You better get used to the
of course...clearly no one's going to get rich as a result of these comps, and even if something gets reissued i'm sure in most cases the artists aren't the ones with publishing rights. BUT I will say personally I have tracked down an artist from the C&BE comp and he was pretty thrilled to hear that people still cared about the music he created as a teenager. I think situations like this are reason enough to justify comps/mixes/whatever like this. It's all relative, and if 500 people hear your shit for the first time, and 5 or even 1 calls you up to tell you how much it means to them, that's a good thing IMO.
naw man...J spent hella years trying to contact Dorando and then didn't he bring the material to all of 'em at Ubiquity? and wasn't "Didn't I" already known?
and ubiquity gets permission for their artists on their comps, pays 'em etc....
Relax, no one's burning you at the stake.....yet.
SOUNDS OF STAKE BURNING
FE-39405
EXACTLY
Did this band not reform, tour and start recording again, based in part on the notoriety gained by inclusion on Chains & Black Exhaust[/b]??
The fact that folks on this very forum - who actually make mixtapes - seem to have such a weak understanding of them is dissappointing to say the least
It is, absolutely, about the musicians and the music they created... but to completely disregard the artisitic and stylistic contributions of the assembler is absolutely absurd.
Perfectly said
I mean Rhino Records used to be a bootlegging operation, but it still took someone there to find the tracks comile them, design the artwork, and put it out. I am not saying that they were releasing obscurities or re-breaking artists, but where do you draw the line?
To me there is a bit of a snowball effect... If you let one mix go as more benefical to the artist than getting paid, what is to stop every compilation/mix from falling under this category.
granted this all just for discussion sake at this point.