Speaker 1: Wm n H will rip the knob off?
Speaker 2: What's that sound? What's that sound? Get out my way?
Speaker 3: O burns down Maxie, scream and shout, and I'll.
Speaker 4: Turn this town around.
Speaker 5: Stop and look this way. I made some insupicious. What
I say is what I say, And this is a travesty.
The earth is trying to now and you don't see
the tragedy. It's all blurring all it's one and dies
a blinded. We think it's typical, but that's just cause
we're so shallow.
Speaker 3: My dad, what's that sound? What's that sound? Get out
of my way?
Speaker 2: Oh burns down Maxie and scream.
Speaker 5: And shout, and I turn this town around, pe everywhere,
pivot your parts and nurture and to care for this
world of ice.
Speaker 2: I believe the earth will no longer fall apart.
Speaker 5: We can do little Bax cut and find a pistol
less forever.
Speaker 6: What's it sound?
Speaker 2: What's it sound?
Speaker 7: Get down my way?
Speaker 2: I burns down, Mixie and scream.
Speaker 3: And show pan outs on this town round. What's it sound?
Speaker 2: What's it sound?
Speaker 6: Get down my way?
Speaker 2: I burns down Bixie and scream.
Speaker 3: And shower pan outs on this town around.
Speaker 1: What's it town? Turn?
Speaker 5: This Town round?
Speaker 2: What's it sound?
Speaker 6: What's it sound?
Speaker 1: What's it sound?
Speaker 6: Down? Alway?
Speaker 7: I pun down.
Speaker 5: Basie and scream and shower head.
Speaker 3: I'll turn this well sound what's sounds down?
Speaker 2: Makes stream the shop?
Speaker 7: And how t is time?
Speaker 8: That is Turn This Town Around, the debut single from Lydia.
Ready here and this is Matt Connorton Unleashed. We are
live from the studios of w m n H ninety
five point three FM and Glorious Manchester, New Hampshire, and
of course you can stream the show from anywhere. Matt
connorton dot com. Slash Live. Jenny is here as well,
of course and joining us via Microsoft Teams. Let's see Lydia.
Are you there? Yes, Amia, Hello, Hey, welcome to the program.
Good to speak with you. Thanks for having me, absolutely
absolutely so. We love that song, very very catchy. Of course,
Turn This Town Around and this is your debut single, correct, Yes,
is very good? And where are you from?
Speaker 4: I'm from Blackburn in England?
Speaker 8: Okay, wonderful? Yeah, no, there's there's so much great music
coming out of that part of the world and I'm
curious too, So this is are you. I was listening
to a podcast of you being interviewed on another show. Now,
are you currently in school as well? Are you in college?
Speaker 4: Yeah, I'm in college, but we've just started some holidays.
Speaker 8: Oh okay, okay, very good. So you've got a lot
going on. You're you're obviously very busy, uh, you know,
with your education and the music career.
Speaker 4: Yeah.
Speaker 8: But uh, but it's cool that, uh, you know, you
come out of the gate with a very strong track,
and like I said, it's very catchy. But I also
I'm curious to know more about the lyrics because you know,
the first time when we first got this song, I
was listening to it and it's like, oh, yeah, it's
really catchy, it's fun and whatnot. But then the second
time I listened to it, I was paying a little
bit more attention to the lyrics, and it sounds like
there's there's a deeper meaning to this, you know, and
you're expressing some some concern about things. And I wanted
to ask you about about what the song really means,
because I kind of feel like it might not necessarily
mean what I thought it meant the first time I
listened to it, If that makes sense. Yeah, okay, So.
Speaker 9: The song is about making a difference the sound that
you hear about in the chorus is actually a metaphorical sound,
is kind of a call to action, and it's pretty
much shay in stop how you live your dead to
day life and try to live in a way that
will help the earth rather than hinder it.
Speaker 4: So that's kind of the message behind the song.
Speaker 8: Yeah, I like that, and I like that very much
and when you say that too. But so when you
say help the earth, do you mean in a general
sense in terms of what you put out into the world.
Are you talking specifically environmentally or maybe both or maybe
a myriad of things. I don't know, Like when you
expand on that, if you would a little bit, like
when you talk about helping the earth.
Speaker 9: Yeah, So when I originally wrote the song, I had
the idea of, like the lyrics, lights a blurring into
one and our eyes are blinded. That's kind of the
lights are lights from all this technology.
Speaker 4: Around us, and our eyes are being blinded.
Speaker 9: Because of that to the bigger impacts that living in
this way has on the earth. So it is mostly environmental,
but it's also thinking about how you can change in
ways that you may not think will affect the environment,
and just become more knowledgeable about the earth in general
and what's harm in it.
Speaker 8: What I think is interesting about that is because that's
a pretty serious message, but it's a fun, catchy song,
and I feel like that's that's a pretty effective way. Historically,
you see this in music where if you can, it's
almost a trojan horse because maybe somebody, maybe somebody thinks
they don't want to hear a serious, important message, but
then they hear a song that is catchy and kind
of infectious, and so they're getting the message without realizing
that they're getting the message, and they're you know, sometimes
you'll you'll hear you'll hear something that's kind of fun,
but but there's there's a serious message in there, and
and so by by it's sort of a I think
an effective delivery system for getting someone's attention and saying, hey,
here's something I want you to think about. It's in
It's in a package that's gonna get stuck in your head.
You know, you're gonna once you hear the song, you're
gonna be playing it over and over in your mind
because it's so catchy, but there's some pretty important information
here that you're also getting. If only on a subconscious level, right?
I mean, is that is that kind of your approach
to creating a song like this, or you're going into
it thinking, Okay, I've got I've got something important to
say here, but I'm going to deliver it in a
way that people are going to be open to receiving it.
Speaker 9: Yeah, that's very much far thought, because I'm thinking, Yeah,
like you said, there's a lot of times if you
think it's just gonna be all serious and you're not
gonna want to listen to it. So I thought, how
can I make this is a perfect mix between being
touchy being something that kind of make it so you
want to know more, which is why I kind of
did the whole what's that sound?
Speaker 4: You never really know, you never get the answer.
Speaker 9: It makes you want to find out more, which would
hopefully help the listener than want to engage in health
in the more because they've had to kind of work
to find out what the answer is in a way.
Speaker 8: Mm hmmmmm. No, I like that. Now, what's what's your
long term plan? Because I'm curious, obviously this is your
debut single. Do you intend to release more singles? Do
you are? Are you thinking about doing an EP or
an album or are you just kind of focused on
the moment, uh with turning this down around?
Speaker 4: So I have got.
Speaker 9: Other songs that are going to be recorded. I'm actually
in the recording studio next Tuesday and Wednesday, and I'm
recording content for my upcoming single the Way We're Rolling
on Monday. So I've currently recorded fight No, I've currently
recorded for including the one that's already out. So I'm
going into record fifth. Okay, it's going to be a
five track EP that comes out. That's going to be
my debut EP. There'll be three single singles on that
and then two that come out separately, and then following that,
I've got this big idea I'm going to do kind
of the Elements is EPs, so Fire, Earth, Water, and Air.
Speaker 8: Oh.
Speaker 9: Then, for example, Fire is going to be all my rocky,
angry songs. Water is going to be my sad songs,
and Earth is kind of going to be my kind
of togetherness songs. And I have got some more songs
about the Earth and that kind of thing. And then
Air I'm not sure it'll be calm without being sad.
And then I'm going to put them all into an
album with a few extra tracks called in my Element
very cool.
Speaker 8: So yeah, so when I asked you that question, I
didn't know. I didn't know, if you know, like I said,
because you're kind of just just starting out with this,
and plus you're you're also getting an education, so I
didn't know if maybe you were just gonna be like, oh, no,
you know, just kind of feeling my way through it.
But it turns out you've got a whole You've got
a whole plan, which I think is great. And I
think that that level of planning is going to really
help you succeed, you know, because so many people and
creative people, we tend to do this, will will kind
of throw some things against the wall and see what
sticks and just try to kind of feel our way
through it. But but I think to succeed in the
music industry, it really helps if you actually have a plan,
and you clearly have a plan. So I think that's
I think that's fantastic. Do you know, I mean, do
you have an ETA? And maybe you mentioned it in
there and I didn't catch it, but do you know,
like when we'll see the next or hear the next
the next bit of music that you put out?
Speaker 9: Yes, So Originally I had said I'll do it exactly
two months after the first song, but then I thought
that's in.
Speaker 4: The middle of the summer holidays, so no one will
listen to it.
Speaker 9: So'net release the first week that I go back to college,
which is I'm not sure on the day, but it's
the week commencing.
Speaker 4: I don't know, it's around the first September. It's that week.
I go back to college on the fourth.
Speaker 9: Of September, gotcha, So I'll probably release it on the
fifth because that's the friday. I go back on the Thursday,
so that'll be my next song. It's a similar kind
of vibe, but most people have played it to actually
prefer it to the first one, so hopefully everyone likes
that one.
Speaker 4: Cool, and then I'm just going to try to do
them every two months until.
Speaker 9: So for my next year, on my eighteenth birthday, instead
of having a big party or anything, I'm going to
put on a gig, a headline one in Manchester because
that's the nearest city to where I live.
Speaker 8: Okay, and yeah, I'm hoping.
Speaker 9: To have my first EP out and on the merch
est by then, so everything will definitely be out by
next April, probably with a few from the next EP
as well.
Speaker 8: Oh fantastic. Yeah, you really do have a plan. That's
that's excellent. I'm curious, by the way, what's your major?
Is it anything music related or performance related?
Speaker 1: Yeah?
Speaker 9: So I'm currently doing two A levels and a B Tech.
I'm not sure if you do them in America, but
A levels I'm doing English language and psychology, and then
from a BETECH I'm doing music performance.
Speaker 8: Okay, so it sounds like what what we would call
in America that you know, one is your major and
the other is your minor. So you're so you're you're
majoring and what did you say it was?
Speaker 1: Again, it's not.
Speaker 4: It's not really like that.
Speaker 9: You just kind of do the three and then it's
a university you specialize in something.
Speaker 8: Oh, I see it at college.
Speaker 4: It's all a bit different.
Speaker 8: But yeah, yeah, yeah, I'm kind.
Speaker 4: Of doing all all three equally. When I got from
the university.
Speaker 9: I'll start university next year, so this time next year
I'll be getting ready to go and I'm hoping to
go on to do PR and journalism.
Speaker 8: Oh good, good, okay, I get it. Okay, very cool,
very cool. That's that's excellent. Yeah. Yeah, And now in
terms of recording, uh, where did you where did you
record Turn this down Around? Because again, we live in
an era where you know, you can you can record
in so many different ways, as I know just from
talking to other guests who we've had, uh from over there,
that there's you know, no shortage of recording studios, just
like in America there's there's recording studios you can or
you can record at home, or you can do it.
You know, you can send tracks back and forth with somebody.
How did you record Turn This Town Around?
Speaker 4: So?
Speaker 9: Turn This Town Around was recorded at Clubhouse Studio. When
I actually recorded Turn This Town Around, they were in
the process of moving to a new studio space, so
at that time they didn't have a permanent studio, so
we actually recorded it in they're called Imogen and James.
We recorded it in a shed in their back garden.
That was their temporary studio.
Speaker 1: Oh wow, but she'd never know.
Speaker 9: Because you hear that compared to the other songs I've
got from them, and they all sound the same. Yeah,
but yeah, we recorded that one in a shed, but
then the other ones they've got their permanent place now
in Blackburn, it's absolutely incredible. They've got the studio that
they run, and then they're also hiring out another little
space to another recording engineer. That the people who have
recorded all of my brother's songs in the past for
years and years now, so we.
Speaker 4: Know them really well and they're really good at all
they do.
Speaker 8: Now, I didn't want to ask about your brother too,
because I was listening to a podcast that you were
on and you were talking about your brother. And it's
funny because when the subject first came up, my first
thought was, and I don't know if I'm the first
one to ever say this to you, but my first
thought was, oh, is this a Billie Eilish kind of
thing where your brother, you know, does a lot of
the production and plays the instruments and whatnot. But I
but actually, but then listening to it further, it sounds
like you work separately, right or maybe not? Is he involved?
Is he directly involved in anything that you're doing musically?
Speaker 9: So we don't write the songs together. But he is
a better guitarist than me. He can play bass, he
can do pretty much any instrument. He's a little bit
better than me. So he goes the recorded studio and
always records the instruments for me.
Speaker 8: Just bet that's cool.
Speaker 4: Apart from the drums.
Speaker 9: We have James who worked at the studio or he's
a professional drummer, so he always puts the drums on
my track.
Speaker 8: Is it helpful having your brother involved in the sense
that because you're sibling, you know, sometimes siblings have kind
of a an intuitive connection, uh when it comes to music.
I mean, do you do you do you find that
with him? Like, like, if you're trying to convey an
idea to him, is it is it easy for him
to get it because he's already kind of thinking, you're
kind of thinking on that same wavelength.
Speaker 4: It usually is quite easy.
Speaker 9: I'll just kind of sometimes I'll have something in my
head and it's to say. With some of my mates
who are musicians, I'll go, right, I want it.
Speaker 4: Stud like this, do do do?
Speaker 3: Do? Do?
Speaker 1: Do do do?
Speaker 4: And then they just play it on guitar and I'm like,
how did you do that? I can only play cards?
Speaker 8: Yeah, yeah, I know what you mean. But yeah, no,
that that's great though? That that now does he also
he also does his own music, correct he does? Yes, yeah,
what kind of music does he do. Is it more
of a kind of a rock thing or what.
Speaker 4: So for years he's been doing kind of indie pop rock.
Speaker 9: Okay, well, he's started university last year, so what he's
done is he's kind of taken a year off music
properly just to kind of get to Uni. But now
he's got two years after you in the and he's
properly going for his music again. He's on a music
management court and he's got the opportunity to manage himself,
so he can do a lot of it during his
last time as well. So he's decided to do a
new vibe of music because he's always kind of liked
his songs, but it's never been the kind of thing
he'd listened to.
Speaker 4: He was trying to appeal to an audience.
Speaker 9: But now he's decided to write the stuff that he
listens to, which is, oh so many random people, kind
of sleep Token, Bring Me the Horizon, Don Broca, and
Too Shakhari.
Speaker 4: He's saying that he's.
Speaker 9: Doing folk metal, which has never really been done before.
He's trying to merge those two genres. So it's kind
of frank ternery but also kind of metal, and it
sounds really, really cool.
Speaker 8: Oh I'm curious. Yeah, very interesting, very interesting.
Speaker 4: I've never heard anything like it.
Speaker 9: I've seen heard bits like it, but never anything like
that that he's come up with, so it's really impressive.
Speaker 8: Yeah, yeah, ccellent, excellent. Now are you are you again?
I know this is your first single, but are you
performing live at all? Are you? Have you done this
song live or is that is that part of your
playing down the road?
Speaker 4: So yeah, I have performed it live a few times.
Speaker 9: Earlier in the year, I played the after All Festival,
which is the biggest grassroots festival in Manchester, and that
was really cool. I didn't expect anyone to turn up
because I was quite early in the day as it
was my first ever set of all originals, but I
actually ended up having sixty to eighty people in the
room and quite a few people that I knew as well,
which was really nice who came to see me who
were doing their own sets later in the day.
Speaker 4: So I've performed there. That was the main one.
Speaker 9: But then also I get to do a lot of
college performances and various pub gigs. If they something I
usually stick to covers at pubs, but if they seem
like they'd be nice and let me do one of
my own.
Speaker 4: Then I'll stick that in.
Speaker 8: Oh that's cool. Do you so when you do that?
Do you do you do covers and then you you
also include this song? Or how does that work?
Speaker 4: Yeah?
Speaker 9: So I'd say the average gig is two forty five
minute sets. Yeah, so usually put one original in each set.
Speaker 8: Yeah.
Speaker 9: Well sometimes if you can tell it's one it's a
really hyper audience that just wants to hear bangrafter bang
of songs that they know that they can sing along to,
then I'll just call it the originals.
Speaker 8: Yeah, yeah, no, I yeah, I understand. Yeah that makes sense. Now,
by the way, is there a video for Turn the
Sound Around? Or is it just the single?
Speaker 4: No, there isn't a video for that one.
Speaker 9: We're thinking we'll get a video for one of the
songs from the EP, but I'm not sure which one yet.
Speaker 1: Yeah, I think I might.
Speaker 9: I might make a YouTube channel and do a lyric
video for it, or maybe just even record myself lip syncing.
Speaker 4: So there's something there, but nothing proper.
Speaker 8: I think doing a lyric video for Turn the Sound
Around is a really good idea, because again, that's that's
a way too Like I said, if somebody likes the
song and then they watched the lyric video and then
it's like, you know, like we were talking about earlier,
they're kind of getting the message. There's an important message
there being conveyed through a song that's that's kind of
fun and catchy. So I think that's great. So Lydia,
I really appreciate you joining us this morning. We'll let
you go in a moment, and I think we'll to
end the segment. We'll give turn this Town around another
spin for people who are just joining us. But please
tell us where is the best place for people to
go to keep up with everything that you're doing, so
they can keep an eye out for new music as
has come in. Like I said, you've got a lot
of new stuff coming up in the future, so we
want to make sure people know where should they go
online to keep up with Lydia Ready.
Speaker 9: So to see myself, I've got an Instagram, Facebook, and
TikTok all under Lydia Ready music ready.
Speaker 4: To spell r E D d hy.
Speaker 9: I do have a Twitter, but I barely have a
post on it, so maybe don't go on that understood?
Speaker 8: Gotcha? Very good? Very good? All right, Lydia, we will
let you go again. Thank you so much. We will
definitely do this again in the Yeah, we'll definitely do
this again in the future as you as you release
your music. So love what you're doing. And we will
close this segment with again we're gonna play turn this
Town Around, your debut single, and Lydia thank you so much.
Speaker 4: Thanks for having me.
Speaker 8: See you got it all right? Bye bye, all right,
that was Lydia ready and here it is if you
missed it again, this is called turn this town around?
Speaker 2: What's that sound? What's that sound? It out our way?
A burns down? Make see scream and shout, hand out,
turn this.
Speaker 3: Town around, stop and look this way.
Speaker 5: I made some use officials. What us see is what
I see, and this is a travesty. The earth is
Try to now and you don't see the tragedy. It's
a blurring al it's one and I is a blinded.
We think it's typical, but that's just cars.
Speaker 1: What's so shallow?
Speaker 6: Mine? Dad?
Speaker 3: What's that sound? What's that sound? Get out my way
or burns down? Mixie and scream and shout and I'll.
Speaker 2: Turn this town round. Peep everywhere.
Speaker 5: Pivot your parts and nurture, ant care for this world
of ours.
Speaker 2: I believe the earth will no longer fall apart.
Speaker 1: We can do.
Speaker 5: Little back to Cather and find a piece of less forever.
Speaker 6: What's that sound?
Speaker 1: What's it sound?
Speaker 6: O my way?
Speaker 2: O burns down, mixie and scream.
Speaker 5: And shout, pan out, turn this town round?
Speaker 2: What's it sound? What's it sound?
Speaker 6: And get out my way?
Speaker 3: Or burns down, mixie and scream and shout, pan out
on this town around?
Speaker 2: What's itun?
Speaker 1: Turn this?
Speaker 2: What's that sounds?
Speaker 1: It sounds sound?
Speaker 3: Puts down, bakesy and scream and shout. And also on
this town around, wells it sound? What's it sound? Moy
booms down, bakesy, scream and shout.
Speaker 6: And also on this town round.
Speaker 8: There it is? That is Lydia already turned this town
around a great track, and we look forward to hearing
more from her in the future. And sounds like yeah
like I like I said to uh to Lydia, you
know she's got a she's got a really detailed long
term plan, which is great. I was impressed because you
don't see that a lot. I love that song, you know,
in terms of oh yeah, absolutely, especially kind of knowing
realizing because like I said, I didn't I guess the
first time I listened to it, I didn't pay close
enough attention of the lyrics. And then I listened to
it again and I was like, Oh, this is something more,
something more going on here. But there's let's see, we're
gonna do I think a little more music news here.
If you are just joining us Matt connorton Unleashed. We
are live from the studios of w m n H
ninety five point three FM and Glorious Manchester, New Hampshire,
and you can stream the show from anywhere Matt connorton
dot com, slash Live. And we weren't gonna talk, so
I kind of had a different idea of what we're
going to talk about this segment. But then I realized something.
So you had mentioned, Jenny, there's new information regarding this
lawsuit Salt and Pepa versus UMG Universal Music Group, And oh,
I just got a text message. By the way, oh
the Stiff Tones are here.
Speaker 10: I shall.
Speaker 8: Our our three guests has arrived, so Jenny's gonna go
let them in. But yeah, Universal disputes Salt and Pepe's
termination rights claim says the rappers never transferred any recording
rights to their label. The reason I decided I wanted
to pivot to this story is because UMG Universal Music
Group seems to come up a lot on the show,
because it seems like Universal Music Group is constantly either
being sued or countersuing somebody. I remember months ago we
talked about the Olympiscuit lawsuit against UMG. There's always something
with UMG. Always seems to be something sketchy going on. Obviously,
the point of view that we come from with this
show is we always will advocate and support artists and
the rights of artists. And it is not an unusual
or rare tale to hear about artists getting screwed over
in the music industry, and very often it happens at
the hands of these big labels and Universal Music Group.
If you are gauging this based on the number of
lawsuits involving UMG, they might be the number one offenders
in terms of screwing over the artists that they represent. Now,
I understand the two sides to every story, or maybe three,
you know, they say this three sides yours mind and
the truth, and these things are not always as simple
as they might appear. But again, you know, on this show,
we have a specific point of view. This is a
very independent, artist centric radio show, so we have a
point of view that we will always defend and stick
up for artists and advocate for artists. And Universal Music
Group certainly doesn't need our help and support. So so
this is this is an update. This just happened. This
just went up on well, this actually went up on
an number of places, Billboard dot com and various sites.
But this just went up yesterday, so it says here.
Earlier this year, Assault and PEPA sued UMG, claiming that
the major label was refusing to allow them to reclaim
the rights to their nineteen eighties recordings, even though copyright
law allows them to terminate any transfer of rights after
thirty five years. The major now says there was never
any transfer of rights to terminate. So this gets into
the weeds a little bit. But you know, because again
sometimes artists, major artists, this happens. I mean, it can
happen with any artists at any level. But you know,
and again people outside the industry might not know this,
but you know, just because you create music and put
music out, release music, doesn't mean you own the rights
to it, and there's you know, there's publishing rights, and
there's your masters, your master recordings and various things. And
depending on what kind of a contract you have, you're
late might own the rights to your publishing. They might
own the rights to your masters. Sometimes artists will go
and you know, Taylor Swift, as a means of reclaiming
the rights to her material, actually went and re recorded everything.
Speaker 10: And now, who was somebody just bought back their whole catalog?
I thought that was her. I thought it was Taylor
Swift that bought back their whole catalgy.
Speaker 8: I think she was. She did something where but it
involved her re recording for her music. Yeah, so that
way she doesn't need the original masters. She just re
recorded everything. Def Leppard did something similar, like I don't know,
ten fifteen years ago, but that had something to do
with iTunes and that was a complicated thing. But so
this is what it says here. This is the update.
Universal Music has asked a US court to dismiss the
termination rights lawsuit filed against it by rap duo Assault
and Peppa. The major says that while US copyright law
allows creators to terminate a transfer of rights or grant
of rights after thirty five years. Salt and Peppa never
actually granted any rights in their nineteen eighties record deals,
which means there's nothing to terminate now. The relevant agreements
under which Salt and Peppa's recordings were created quote contain
no grant of copyright rights unquote from the rappers. A
new legal filing from the major claims a producer the
duo worked with did grant some rights in one arrangement.
I'm sorry in one agreement, but neither Salt nor Pepa
were directly involved in that part of the deal, and
a grant of rights. Universal adds as quote a fundamental
requirement of the Copyright Acts termination provisions unquote. That fact,
it says, was confirmed in a previous termination rights legal
battle involving Universal, in which the litigious artists were represented
by the same lawyers as Salt and Peppa. Those attorneys
may now have quote chosen to ignore that decision unquote,
it says, but there is still quote no basis for
any different result here. Quote. Unsurprisingly, Salt and Pepa an
are not impressed with Universal's arguments, a spokesperson told Billboard
quote the Copyright Act was designed to give artists a
chance to reclaim ownership of their work, which is precisely
what Salt and Peppa have been attempting to do, and
UMG continues to resist unquote the major's arguments, UMG, the
spokesperson added, quote are just what we expected, an effort
to avoid addressing the core issues facing Salt and Peppa
and so many other artists in these circumstances. But we
remain confident that the facts and the law are on
our side unquote. Salt and Peppa real names Cheryl James
and Sandra Denton, sued Universal in May after it knocked
back the duo's efforts to reclaim ownership of their nineteen
eighties albums by exercising the termination right. At the time,
they said that the major was employing heavy handed tactics
which might work on lesser known artists, but Salt and
Pepa quote would not tolerate any disrespect from UMG unquote.
It is true there are some complications relating to the
termination right under US law, which in music apply more
on the recording side than with publishing contracts if an
artist is employed. Okay, now this gets into the weeds,
but this is important in order for us to understand
what's happening here. So if an artist is employed by
a label on a work for higher basis, then the
label owns the copyright in the recordings by default, so
there is no transfer of rights. And by the way,
so that's that's no different than any employer that you
work for, or if you're freelancing, but you know, you
sign some sort of contract that might say this your
work product for that employer, you don't own it. Your
employer owns it. So in theory, anything that you create develop,
et cetera, for that employer like you, you don't get
to take that with you. If it's some sort of
creative work that's owned by your employer, you created it
under their direction. And you know, we can have arguments
about whether that's fair or not or whether it depends
on the situation, which it probably does, whether it's fair
or not, et cetera. But but that's basically it's it's
no different than that. So if you're employed by a
label doing whatever, you're a recording artist, or you're a producer,
or you're you work in a and R or I
don't even know what jobs exist at at these labels anymore,
because everything's changed so much. But but uh, I mean
I did some work for Artemis Records, but that was
a long time ago, so everything's different now. But anyway,
but the point being, you know that that label is
most likely going to own whatever you create for that label. Okay,
so things again, going back to the article, things also
get complicated where artists do deals with producers and then
producers do deals with label. So you're the artist, you
have a deal with your your producer, and your deal
with your producer is your deal, but they've got another deal.
And again, this happens. This doesn't just happen in the
music industry. This can happen in any industry, any type
of business situation. You've got a deal with somebody and
that's your deal with that entity, but that entity also
they have their own deal with somebody that might affect
your deal in ways that you don't know because you
don't know about the other deal, and you can't anticipate
how that's going to affect you.
Speaker 10: This is all confusing to you. What is it like
for the artist?
Speaker 11: You know?
Speaker 8: What it reminds me of. It reminds me of like
when I was a kid, if like I had a
friend and This is probably something that's happened to people.
I think people will find this example relatable. But I
remember this happening to me once, Like a friend borrows
a dollar from me because so they can get something
like a milk with their lunch or something. Right like
when I'm a kid that bars a dollar from me,
and then they tell me they're going to pay me back.
But then when I go to collect, when they say, oh, yeah,
i'll pay you back tomorrow. And then I go to
them tomorrow and they say, oh, yeah, I don't owe
you that because somebody else borrowed a dollar from me,
So now they owe you that dollar. You know what
I mean? Yes, like I'm not paying you back. No, no,
you have to go get the dollar from this other
person who I loan money to. Now they owe you
the money, which is such a BS way to do things.
But but you know, that type of thing would happen.
And then, of course, and then we don't know what
happens next. Right, you go to the person and then
they say, what why are you trying to get a
dollar for me? I don't know you a dollar? Why
why does your deal with this person affect me? And
so forth and you know. Anyway, Universal argues that these
things apply in this case in legal It's legal filing
runs through the complicated series of deals between James and
Denton and producer Asar, between the producer and Next Plateau Records,
and between Next Plateau Records and London Records, which is
now part of Universal. See, these things get very, very
very complicated by the way. This is an example too,
because things get so complicated. Remember when Limp Biscuits sued
UH and that's ongoing. I believe their lawsuit against UMG.
The I forget her name now her actual name, but
her YouTube channel is top Music Attorney, and she talks
about all this stuff. And I'm sure she has stuff
on her YouTube channel. I haven't looked at it recently.
I'm sure she has stuff on her YouTube channel about this.
She's an entertainment lawyer with a very successful YouTube channel.
And she says that UMG does something that is often
referred to as spaghetti accounting, where the accounting becomes so
complicated that you can't even audit it because it's so
and it's and it's by design, it's it's this is
done intentionally so that the label doesn't have to pay
you anything because they say, no, we don't owe you anything.
We still you know, there's still recruitment. You haven't your project,
your album whatever, hasn't made enough money, hasn't generated enough revenue,
so we don't owe you anything because you haven't your
your recruitment has not yet been fulfilled. And then you say, okay, well,
our lawyers are going to audit our account. And then
it's very difficult to do that because everything's a mess anyway,
but it's but it's an intentional mess.
Speaker 12: That's one of the things that's in the Jane's addiction
lawsuit is that there was money fronted to them for
the tour ah and now they got to give it
or for the album. The promised an album going to happen,
So now all that money has to be given back.
Speaker 8: Yep, yeah, yeah.
Speaker 10: So her name is miss Crystal with a case.
Speaker 8: Oh miss Crystal, thank you.
Speaker 10: Yes, the number one music business school for artists. I
never do this existed?
Speaker 8: Oh yeah, no, Miss Crystal. She has a lot of
great content. Again, it's kind of stuff.
Speaker 10: It's online classes and everything. We should get her on
if we can.
Speaker 8: Oh yeah, that's a great idea. Yeah, I'd love to
have her on Yeah, and she's again, if you really
want to get into the weeds with this stuff, she's
Her YouTube channel is great and she explains things in
a way that, you know, someone like me, I'm not
an attorney, I have no legal training of any kind,
but she explains it in a way that it goes
very in depth, so I can I can understand because
I'm you know, I like that kind of stuff. I'm
obviously very interested in it, but without it getting so
far advanced with legal lees that I can't comprehend it,
you know what I mean exactly. So that's why I
recommend her if you're interested in this kind of thing.
You know, obviously, I mean, I never had any interest
in becoming an attorney, but if I had gone to
law school, my goal probably would have been to deal
with contract law and uh or I'd probably would be
an entertainment lawyer. And I find trademark law very interesting
and anything to do with copyrights and oh yeah, intellectual
property all that's fascinating to me. So that's probably the
kind of law had I taken that path, that I
would be practicing. But but yeah, so I do recommend
her YouTube channel, Top Music Attorney on. Yeah, it's it's
pretty in depth, and I'm sure she has stuff about
this lawsuit on there. A little bit more to this,
it says, again, this is from the article. The whole
dispute pretty much swings on one line in a nineteen
eighty six agreement between James and Denton and Azor's Business,
which says that his production company quote shall be the
sole and exclusive owner of any and all rights, title,
and or interest in and to the master recordings recorded
here under, including but not limited to the worldwide sound
copyrights there and and the renewal rights thereof unquote.
Speaker 10: I think we should pass a lot that says everything
has to be written in English.
Speaker 8: Well, that's that's that's clear if you break it down,
I mean basically, I mean I can it's just the well, yeah,
but I can. But we can sum that up right.
In other words, Azor's Business owns everything, and that's what
that That's what that line says, that owns everything.
Speaker 1: That you are their.
Speaker 12: Slave, isn't that That's why Prince wrote slave across his
cheek yep when he was fighting.
Speaker 8: With his record And that's exactly the kind of thing
that if you have a really good entertainment lawyer, And
and you're presented with a contract like that, your entertainment
lawyer is going to say to you, I don't think
you should sign this. So it says here the question
is was that a simple statement of fact confirming Universal's
view that Azor's company was the default owner of the
sound recording copyrights created under the deal, or was it,
in fact a transfer of copyrights from the rappers to
the producer. Universal argues that other terms in the same
deal relating to their to other rights such as name
and likeness rights, include explicit language regarding the transfer of rights.
The fact that explicit language isn't that crucial, Uh, isn't
in that crucial term about the recording rights means no
transfer took place. It adds, we will see how the
court now deals with these arguments. If the judge does
ultimately rule against Universal, it has a second argument already
lined up that some of the key recordings under dispute
are remixes. See that gets complicated, and the termination right
doesn't apply to so called derivative works.
Speaker 10: So anything they can do to rip off the artists.
Speaker 8: So even if James and Denton had transferred rights back
in the nineteen eighties, the termination right still wouldn't apply
to remixes organized by their labels while those labels were
in control of the main copyright. The second argument may
or may not be relevant in this dispute, but it
could nevertheless be a cause of concern for other artists
in those genres where remixes are common and who are
looking to exercise the termination right, especially where it's a
remix that proved to be the biggest.
Speaker 10: Hit that's our I didn't even think about that.
Speaker 8: Yeah, yeah, oh yeah, it gets It gets very complicated.
It gets very complicated.
Speaker 10: Humans make it.
Speaker 8: So one other quick thing will do and then we'll
uh and then we'll play some more tunes. And if
you're just joining us live, of course we have the
Stiff Tones coming up in the third hour, and they're
already in the building.
Speaker 12: So in just in just a couple of minutes. What
do you mean, sort of not quite in the building.
They're at the building. Oh, they'll let me know when
they're ready to be in the building.
Speaker 8: Oh okay, gotcha, gotcha. This is from Digital Music News.
Speaker 10: Out Front.
Speaker 8: There is an actual well, it does say online that's
one of their uh have hearst will travel very good,
and they do very good.
Speaker 13: Uh.
Speaker 8: Country Music Festival issues full refunds after failing to launch,
latest in spate of country festivals getting mixed until I
saw this. By the way, this sound occurred to me.
You don't see a lot of country music festivals, like big,
large scale festival, contrasting with rock festivals and hip hop festivals. Yeah,
lots of metal festivals, county country festivals, it seems like
you don't see as many of them. And apparently there's
some weird lights, like their curse or something, it says.
Michigan's Country Roads Music Festival issues full refunds following a
twenty twenty five cancelation, but plans to revive the event
for twenty twenty six, it says. It says. After Faster
Horses Music Festival announced its cancelation in January, event organizers
aimed to fill the void with the Country Roads Music
Festival at the same venue, the Michigan International Speedway. But
now Country Roads has been canceled, with plans to revive
the event next year. So what went wrong? Quote, All
tickets will be fully refunded. You don't need to do
a thing. We'll handle it on our end and make
sure the money gets back to you as quickly as possible.
The post says, this community means the world to us,
and we can't wait to share something really special with
you in twenty twenty six. Oh I missed the first
paragraph of that, So the first paragraph of the announcement says, quote,
this wasn't an easy call, but we truly believe it's
the right one. Our goal has always been to create
something meaningful for this community, and we want to give
it the time and care it deserves. So that's from
the Instagram post announcing the tourist cancelation. Country Roads was
due to kick off on July eighteen, yesterday, at the
Groves of Michigan campground, but its cancelation was announced just
four days prior. Wow, just four days before the festival
they announced it was canceled. According to festival organizer Darcy Keys,
their team was simply not prepared to pull off a
festival in such a short amount of time, especially when
many potential attendees don't order tickets until the last minute.
By the way, so I've been involved in festivals. Festivals
take I mean a large scale festival with national artists
and the whole thing like what it sounds like they
were doing that can take like a year, a solid
year of planning. It really can doesn't have to. I mean,
it might only take six months, but it sounds like
they tried to do something quick here that they just
couldn't do.
Speaker 11: So.
Speaker 8: Keyes also said, quote, I don't think that we ever
got to that critical minimum ticket sales level. We probably
only had about three and a half months, and I
think in hindsight, it probably wasn't sufficient time to be
able to promote the festival. Unquote, yeah, three and a
half months is not enough time for a major festival,
but she isn't ready to completely throw on the towel.
Keys said that trying to put on the festival in
such a short time this year was a learning experience
and she looks forward to bringing the vision to life
in twenty twenty six. Naturally, fans who were planning to
attend have shared their disappointment on social media, but singer
Mikaela Prue, who was due to perform at the festival,
noted how such cancelations impact artists, especially lesser known ones,
and that relates to what we were talking about with
Jane's addiction. By the way, how you know, when things
get canceled, whether it's a tour or whether it's a festival,
it affects a lot of people, especially lesser known artists
like MICHAELA.
Speaker 10: Prue, who many people were lined up to open.
Speaker 8: Oh yeah, but also, you know, it affects everything, and
it has a ripple effect. And if you're not if
you're not super famous and rich, you know, you can
really take a hit financially. It can really screw things
up for you. MICHAELA Prue also said, quote, festivals are
obviously a major way that growing artists like me get
their name out there. It's also one of the main
ways that myself and my band generate income. Unquote. It's
a matter of hard times for up and coming musicians
compounded by hard times for potential attendees, an economic struggle.
As economic struggles make it more difficult for fans to
justify buying tickets to these events, more live music festivals
will undoubtedly see the acts, leaving artists who depend on
that income holding the bag. So there you go. So
another another festival, u down the tubes and more lawsuits
and more lawsuits. Yes, yes, yes, well so I think
we will. Uh, let's Uh, let's play something. If you
are listening live. We've got the stiff Tones coming up
in the third hour. Uh, but uh, I think we
should play I think we should play city Lights again.
We played it in the first hour. I think we
should play it again. City Lights into a single from
our friends Flair from all the way in the UK.
I love this song so much. And uh, and then
we'll show some love to our amazing sponsors. And then
when we come back with our number three, we will
have the Stiff Tones here with us in studio. And
I'm dying to get a I started to make a
pun without even realizing I was doing it. I started
to say, I'm dying to get a look at that hearse. God,
but I don't want I didn't even mean to do it,
but I realized as soon as I started the sentence.
I'm like, I'm dying to actually, but I am. I'm
dying to get a look at that hearse. The stiff
Tones are here in a hearse. All right, this is
city Lights Blair.
Speaker 1: But you do love me.
Speaker 6: Like I need you to know not.
Speaker 14: Don't take your macau how t money is a feeling
like a.
Speaker 7: Saf You ever need.
Speaker 14: Your other it's time staying with your Waiste came.
Speaker 6: Say my house, and I came said something I can
see you say to me known to drink.
Speaker 8: Can't be same.
Speaker 13: To try to quick you the jar ups no man
real to team are twenty from.
Speaker 14: House, mading lot to take can make you something jealousy
and use a pret like I'm as well for taking
out you all the time straining with you where you go.
Just have to see that he was proud of my
house and gamble shout somebody can see it and saying
they uther change You can't have speak same.
Speaker 7: I just have to see that the trying in my house.
Speaker 6: Some gable shout.
Speaker 15: Somebody to see it, says a rather change in the
teaching can be the same. Man time.
Speaker 13: The baby you're only high cas an sis tell fast
time sad.
Speaker 7: Can say.
Speaker 6: Jess have to say that something somebody say.
Speaker 7: Some dreams, so say.
Speaker 1: The same, say.
Speaker 6: God say.
Speaker 7: All this slide.
Speaker 1: Seems like a song.
Speaker 16: Sometimes it's loud, Caddy, what's going with also can't be skinny?
Speaker 17: What he say sound the inside, so it's like a joke.
We never men don't beat no strange.
Speaker 1: I singing my en and.
Speaker 7: Sing me high up.
Speaker 1: High asking men when you sign.
Speaker 16: Sig wound B sing you sound where rock all it's
light y'all song.
Speaker 7: As me high rock all that high stoun B.
Speaker 6: Sing your sound and round.
Speaker 1: It's like y'all song as me I to growl at.
Speaker 16: Beside you know round to sing loud B saying inside.
Speaker 1: Shoe shine, So do you get it?
Speaker 18: Holly love me?
Speaker 1: It looks like a magic.
Speaker 7: Out of the high you bud.
Speaker 1: Rabbit feel in the sky. He's just so majestic.
Speaker 4: Pas a beery.
Speaker 7: Sound eas side.
Speaker 16: Sun found pc you sounding round, It's like your song
as me the crowned foul P sing.
Speaker 1: You sounding loud.
Speaker 16: It's like your song as the eye on the grown.
Speaker 1: Every tide around the same.
Speaker 6: Loud P say your side sound side.
Speaker 17: Found, piecing your sound and round.
Speaker 16: It's like your song gets me high off the grown and.
Speaker 1: I found piecing.
Speaker 2: Your sound and you round.
Speaker 16: It's like your song gets me high off the grown.
Speaker 1: Every time you around, the sing loud P saying.
Speaker 6: You sound sound soun.
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