BBE have been slightly lazy in the past regarding licensing but have improved, it would seem they did license this in good faith from what you are saying. I don't usually discuss business like this but they made good with a license i owned and paid promptly. Coming to a gentleman's agreement may be a more mutually beneficial way to move forward. With licensing old records people make mistakes, sometimes you have to pay two people for one license. Everything is not always black and white, labels think they own stuff when they dont have any documents, artists or writers think they own stuff when the label has documentation showing they dont. It can be a minefield and most stand up labels will help each other or come to an agreement when confusion arises. This can be disappointing if work has been put into something but that's life. Long term its better to get along with people and work in a mutually beneficial manner, even if you know some people are not working quite as hard on their paperwork. It took me some time to learn this btw, i used to battle.
Heavy.[x] I was here.
Don't want to stand up for anybody here, but that whole "diggers exploiting third world patrimony without giving money back like it shoud be" tirade is ridiculous and hypocritical as hell. Every in-the-field diggers have one day or another faced the fact to take advantage of people selling records for no good reasons. Correct me if I'm wrong, but the kind of behaviour like on high fidelity movie scene with the woman former husband collection don't reflect the reality AT ALL, 99% of us would bought all of the collection for cheap in an instant, no matter where you are on the planet. Don't start with this all of you or it would just show how racist and colonialist-minded you are, by differentiating poor/average people from Africa and the same from your own country..
It's very clear how serious that quote was meant.In any case, I have many times freely mentioned that I used to hate Disco.Like for example hereOr on numerous posts on this very forum.I get into new types of music every now and then. Sometimes I'm surprised myself. It's fun.You got some great 2-digit post zombies coming out of the cobwebs for your support Kon.Have the stage for yourself or what's left of it.I've had my say and my fun and I'm out of here.
I have never posted here before but was alerted to this thread by some friends--1. A little while back Samy Benredjeb asked DJ Frank to take a few tracks off his blog/podcast that he (Samy) had properly licensed for reissue on Analog Africa. Frank told him to fuck off. To this day there are tracks on the blog that are properly licensed by Samy.2. Going to west Africa, telling local people that their records are only worth small money, then flying back to wherever and Ebaying them for hundreds-- this is pure colonalism.3. A question: Don't real diggers find their own records? Or is it OK to pay small boys a buck to find stuff for you?4. DJ Frank really should care about what people on the scene think. There's only a handful of people involved, and Frank, though he is a newbie, has managed to create a dangerously bad rep for himself.
Yes, I bought all the records from Good Records or yourself for this record...soo fucking what? that makes me less of a digger??
1. A little while back Samy Benredjeb asked DJ Frank to take a few tracks off his blog/podcast that he (Samy) had properly licensed for reissue on Analog Africa. Frank told him to fuck off. To this day there are tracks on the blog that are properly licensed by Samy.
In this case of the disco track, obviously it would be better for the composer/producer if it was released a bunch of times. DJ Frank wants to be exclusive and cool, but he's depriving the old Nigerian guy of money. Which is really mean, considering how big and rich DJ Frank is and how poor the older musicians in west Africa are.
I think it's bad to go to a small country with limited internet access (ghanaians have no idea that these old records are going for up to 800 Eur)
Another example: I work with the great Ghanaian guitarist Ebo Taylor. We are helping him compile a Best Of comp. Since the labels are now defunct, Ebo (along with the producer) has the full copyright to a lot of the tracks. Some good labels are interested. Only, Uncle Ebo doesn't have clean copies of his own records. The only people who surely do are Miles, Samy, DJ Frank etc. None of them have been forthcoming to help the old man out, let him license his own music so he can make a bit of money (they tend to pay around 300$ a track) to get through the year in the village. I haven't asked DJ Frank yet, by the way.
I haven't asked DJ Frank yet, by the way.
I've never met him.
Plus he helped my friend Nico (Pax Nicholas) get a reissue deal.
Frank has a terrible rep here in Berlin (no comment on soulpusher and the soul explosion franchise)
"I think it's bad to go to a small country with limited internet access
(ghanaians have no idea that these old records are going for up to 800
Eur) and lie to the people about the value of their product. In normal
business there are regulations, but in this case, it's just mean and
exploitative. On the flipside, the only record dealer in Accra thinks
all his records, no matter how bad the condition is, are worth 50 bucks
because "that's what the tattoo man (DJ Frank) pays"..."
How is this not a good look? If Frank put those tracks on his podcast, then presumably he owns copies of the o.g's, right? So, how does that infringe the terms of Samy Benredjeb's license (as opposed to outright ownership of the sound recordings, I'm presuming)? Is Samy going to step to every DJ who plays an o.g. of those songs in a club or on the radio (which is, effectively all a podcast is) and ask them not to play them because he obtained a (possibly non-exclusive) license for them?It'd be a different matter if we were talking about Frank posting a rip of Samy's comp. Then we'd be talking about a product Samy owned the rights to, and he would be completely within his rights to ask him to pull it. If the o.g. label/rights owner, rather than the licensee, asked Frank to take the songs off his blog and he told them to fuck off, then that would be The issue between Frank and BBE/Kon & Amir is essentially about competing products (at a massive stretch) and who has the proper licenses, and ultimately it's about who gets there first. Samy Benredjeb seems to think licensing a master means he can stop people from broadcasting the record, and I doubt his rights extend that far.I found myself in the middle of similar kinds of beef in my days clearing samples - people calling up and asking me not to grant approval to a song that uses the same sample as something they're trying to clear, or asking for six-month periods of exclusivity so nobody else can get a sample of a particular song approved during that time. This tends to happen a lot in the world of cheesy dance-pop, and I know a bunch of people who've had their ideas and concepts stolen because they've been slow out of the block or simply haven't got the proper clearances. I once spent the best part of an hour talking to some guy who claimed that a massive Europe-wide dance-pop hit was his work, and he'd been ripped off. He'd recorded this tune, pressed up a bunch of white labels, headed out to Ibiza and gave copies to as many key DJs as he could, dropping the rest off in the main record stores on the island. Within weeks, it was getting played everywhere. Unbeknownst to him, a bunch of likely lads had heard his track and asked around about it. Upon finding out it was an anonymous white label, they got hold of a copy and shot back to England to do their own version of it. Where they stole a march on our hapless hero was that they cleared the huge sample use in it (even got a bit of the publishing on it too), which he hadn't even thought to do. I had to tell him that, even if these lads had ripped him off (which they've obviously never admitted to), his track was effectively a bootleg or an infringement of the sample owner's rights, so he didn't have a leg to stand on. All he could say was, "But it was my idea..."Anyway, back to our regularly scheduled programming...
At first I thought I'm an evil exploiter who buys records for cheap and now I'm evil for messing up prices so you can't buy records for cheap yourself?
I know that Samy has signed some Ebo taylor material. This was why I told Ebo when I was on the phone with him last January while in Accra that I can't license anything from him because people have been licensing from his old record label and I don't want to sign stuff from him because the label techincally owns this stuff and even owns some master tapes, I think.
I also know that Ebo Taylor is only a short time away from becoming a very wealthy man. So don't worry about him too much. He's going to be more than alright.
I would not hesitate to give you recordings of any of Ebo's records. I have clean copies of all of them and I have given records to people for re-mastering before. For example two super rare 45s that were included on Mile's Ghana box set.
My bad rep in berlin is with people who for years were jealous of my party Soul Explosion. They got even madder when I moved away from Berlin 5 years ago and subletted the party to my friend who still to this day runs it very successfully. The party is now in its 10th year and still has an average crowd of 400, at the new venue in Kreuzberg recently even more than 700. Not bad for a funk 45 party I'd say. Why do people go there for 10 years now if I have such a bad rep in Berlin?
If you've really been to Africa as much as you say you have, and you really were with regular people, then you know only very young people actuvely use the internet, and then just Facebook and Myspace. Ebay is impossible and anyway, the old musicians do't have a clue about that kind of stuff.