The legal deal- entertainment legal issues.

The Legal Deal

The Right Attorney Can Open Your Eyes
by Lisa Donini


Lisa M. Donini is a New York City based entertainment attorney who is admitted to practice in New York, Connecticut, and the District of Columbia.

 

Think you can’t afford to hire an entertainment attorney?

If you intend to pursue a career in music, you can’t afford not to hire an entertainment attorney.

Entertainment attorneys are key players in the music industry, and are privy to more deals than most music industry professionals. Because of the sheer volume of deals that they see, entertainment attorneys have more knowledge about the terms and compensation available for their clients, and are not operating in a vacuum when negotiating on your behalf. In addition to negotiating contracts, and providing legal advice and representation in connection with copyrights, trademarks, and other intellectual property, entertainment attorneys help to mold and structure artists’ overall business lives and careers.

Just a few clicks of the mouse and you will come across hundreds of stories about artists who didn’t get a fair deal, or who were tied to extraordinarily long bad deals, despite having made their record label and/or manager, as the case may be, tons of money. Nonetheless, record companies are, for the most part, a necessary evil, unless of course you’re Ani DeFranco. The key to a “successful” career as an artist is in finding the right fit, knowing and protecting your rights, and getting the best deal possible.

Finding The Right One

In order to get the best deal possible, and not give away the farm as the saying goes, it’s important to consult with an attorney. When I say an attorney, I don’t mean your cousin’s uncle, the ambulance chaser, who fancies himself a rock historian simply because he has a box full of old concert ticket stubs and can still fit into his 1979 Van Halen “World Vacation” tour concert t-shirt. Find an experienced entertainment attorney who possesses knowledge of the recording industry and has some sort of a track record, or at least the dedication and intelligence to get the job done, and get it done correctly.

The Search Is Over

How do you go about finding, and what should you look for, in an entertainment attorney?
In the entertainment field, legal education is only a small part of the equation, although it does have some relation to the attorney’s acumen for more complicated legal matters and issues of law. However, more important in this business, is an attorney who has the right connections in the industry, who stays up to date with hot legal issues, technology, and of course, current music.

Even though an attorney may be a member of a large firm, and has a slew of clients whose names read like a who’s who of Rolling Stone, before you sign the retainer, confirm that the attorney you intend to hire has the time to personally give you the attention that you need, and that he doesn’t simply relegate your file to a junior attorney, paralegal, or intern.

 The attorney you choose has to be accessible, regularly take your calls, or at a minimum return your calls within a reasonable amount of time. When you get him on the phone, you shouldn’t hear a stopwatch ticking in the background, you should feel like he is listening or advising, and not trying to rush you off the phone. He should be able and willing to take the time to explain things in plain English, rather than legalese. It is important that he isn’t abrasive or condescending and that his personality be complimentary to your own. He should understand the direction that you envision for your career, and should always keep your goals in mind when negotiating on your behalf. After all, you are putting a lot of faith in his ability, and it’s crucial that he is on the same page as you. He should be sufficiently aggressive to represent your interests and secure the best deal possible, while still maintaining relationships and not blowing the deal, i.e. a healthy balance between good and evil. The worst position to be in is one where you’ve hired some hard ass who is unreasonable and who holds out for what amounts to a comma, and the delay or difficulty ends up blowing the deal. Remember, you are trying to build a career and not alienate everyone who is going to be working with you.

An Arm And A Leg

As for the fees charged by entertainment attorneys, they run the gamut, and may not be indicative of the attorney’s experience, especially if he is an associate at a large firm. Most attorneys bill either on an hourly basis plus out-of-pocket expenses; or, they charge a percentage of the deal, usually in the 5 to 10 percent range. It is important that you are aware of what you are being charged for, and that you ask for an estimate of what it will cost you, where possible.

The bottom line is, when pursuing a career in music, don’t wait until you have a deal on the table and a record label or manager pressuring you to sign, before finding an entertainment attorney. Do your homework, ask other musicians for referrals, research the attorney’s reputation in the music community, and then go out and interview them. Most attorneys are willing to meet with you for a short consultation free of charge or for some minimal fee. There is no excuse for settling for an attorney who is not the right fit for you, or who was recommended by the person or entity that you are negotiating with. Worse yet, signing a legal document which has long lasting ramifications without the benefit of having a non-partial party properly review it and explain it to you, makes little sense.

 

http://www.beyonddrumlessons.com

 

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Micky Dolenz rock n roll drummer

 

Micky Dolenz Up-Close

Nearly 40 years ago Micky Dolenz raided

America’s television screens as the

drummer for the new pop sensation the

Monkees.

To capitalize on the pop culture of the mid-

1960’s, a T.V. pilot was proposed for what

was to become television’s first rock ‘n roll

series.The Monkees auditions were similar

to that of casting a musical. Requirements

included playing an instrument or singing,

as well as acting and improvisation. Micky

had been a professional actor at the ripe

old age of 10, playing Corky in NBC’s

“Circus Boy”from 1956-1958.He also sang

and played guitar, beginning with classical

guitar training before moving on to folk

music. Prior to the Monkees he started a

rock ‘n roll band called “Micky and the

One-Nighters.”These talents combined

with his outlandish comedic ability won

Micky the role.

This set the stage for some of the most

popular music of all time, with Micky pro-

viding one of the most distinctive singing

voices in pop. Just listen to “Pleasant Valley

Sunday.”Put the top down on the convert-

ible, turn up the radio, cruise down the

Boulevard and enjoy!

Whether or not you’re a Monkees fan,

there’s no denying that many great songs

were written and recorded because of the

Monkees’existence. The songs were played

by professional studio musicians, and

within a short while, by the Monkees

themselves. On the concert front, the

Monkees silenced their critics.They played

competently in a garage-pop style that was

raw and appealing, certainly of a caliber

with the zestful energy of the early Kinks

and Beatles in concert. Without question,

their music as well as their T.V. series, had

a major impact on American culture of the

‘60’s and earns Micky a rightful place in the

annals of pop history.

VDM: Micky,how old were you when you

were cast as the drummer on the Monkees

TV show?

Micky: I was twenty years old. This was

1965.

VDM: Did you play drums at the time you

were cast?

Micky: No, I played guitar. It wasn’t until

after I was cast for the part,that I learned to

play the drums. I had played around on

drums a little, but had never taken formal

lessons until being cast as the drummer for

the Monkees.

VDM: Where you immediately given les-

sons?

Micky: Yes, I took drum lessons for a solid

year from a few different teachers in the

Los Angeles area.

VDM:What was the first drum set used on

the series?

Micky: The first set promoted for the show

was a (champagne sparkle) Gretsch kit. I

by Billy Jeansonne

had those drums for years and when I

moved,I didn’t take them with me.I wish I

still had that set. The black Rogers drums

were also used on the show.That is the set

I took on the road. I still have the black

Rogers kit.

VDM: Micky, at what point did you begin

playing on the Monkees’studio albums?

Micky: The first album that we did all the

playing on was “Headquarters.”Originally,

they didn’t want us to play on any of the

albums,but we revolted and won the right

to play and record all our own stuff. I do

not consider myself a studio drummer. I

play what I play and I do it okay, but I’ve

never played drums on any studio sessions

other than the Monkees albums. Jumping

ahead a bit, after the Monkees, Frank

Zappa called me up and wanted me to join

The Mothers of Invention,but I couldn’t do

it because I was under contract with

another record company. Right from the

beginning we were playing on some of the

Monkees albums.Mike Nesmith was insis-

tent about playing

on the albums. He

wrote a song on the

first album with

Carole King called

“Sweet Young

Thing.”But it was

very difficult to get

the opportunity to

play on those first

albums. All they

wanted me to do

was sing.

VDM: Did Hal

Blaine play drums on the earlier record-

ings?

Micky: Oh yes, the Wrecking Crew not

only did a lot of our early stuff, but played

on the Beach Boys,The Byrds,The Mamas

and Papas,and many more groups’albums.

I learned a lot from Hal in the early days,

not formally,but I picked up a lot from Hal.

VDM: Did you do most of the singing on

the albums?

Micky: Me and Davy did all the lead vocals

on all the singles.Mike did a few songs that

were album cuts. Peter did a couple of

tunes.But I had the majority of the hit sin-

gles.

VDM: Aside from Europe,have you toured

other foreign countries?

Micky: Yeah, back in the 60’s we toured

Japan. Davy and I toured all the Far East

countries.We went to Singapore,Malaysia,

Korea,Taiwan, and Japan. We even toured

Australia.

Live in Japan courtesy of Micky Dolenz

- 18 -

The Monkees were great to work

with! We made some good records

with them. They were certainly

another feather in our cap.

Hal Blaine

Legendary session drummer.

VDM: Do you still play drums on tour?

Micky: Well, when the four of us toured

England in 1997,we reconfigured the orig-

inal Monkees setup. I played drums and

sang lead,Mike was on guitar,Peter played

bass and keyboards, and Davy played

percussion and acoustic guitar.When Peter

left the group originally, Mike, Davy, and I

went out on the road (in 1969), it was not

practical to play as a threesome,so we had

other sidemen (Sam & The Goodtimers).

On tours where Davy,Peter,and I went out,

we had double drummers. Sandy Genero

and I played drums, but I only played on

some of the tunes. Over the years, people

wanted me to be more out front, since I

sang all the leads. It is a little boring visu-

ally for an audience when the lead singer is

behind the drums all the time.Davy sort of

convinced me to come down from the

drums because he was out front doing

background vocals and it didn’t really work

well with me being behind the drums.

VDM: Does Sandy Genero still play drums

with the band when you are on tour?

Micky: Sandy is one of our first calls. Max

Weinberg from the E Street Band played

with us back in 1986.

VDM: Were you influenced by any drum-

mers when you began playing?

Micky: Cozy Cole. Buddy Miles used to

come to our house and give me some

pointers.I suppose Ringo had an influence

on me because I was such a huge Beatles

fan. I still think to this day that Ringo is

probably the best rock and roll drummer

ever.He is not the fanciest drummer but he

had such a feel for the song.

VDM: What is your favorite Monkees

song?

Micky: I have a few,but the one that I tend

to keep coming back to is “Pleasant Valley

Sunday.”A Carole King tune. It just seems

to stand up real well over the years.

VDM: Did you write any of the Monkees’

songs.

Micky:Yeah, but I never wrote any of the

big hits. None of us did. Most of the hits

were written by Neil Diamond, Gerry

Goffin & Carole King,and Tommy Boyce &

Bobby Hart.

Micky is currently starring in a rock musical

on Broadway called Aida, written by Elton

John and Tim Rice. For information on

Micky’s live concert schedule and Aida,

visit www.mickydolenz.comand www.micky-

dolenz.com/aida/.

Cover photography by Billy Tompkins

www.billytompkins.com

212-249-2067

Gretsch drums supplied by John Sheridan

Micky was a wild,

madcap, zany kind

of guy. Always very

nice, very fun; a

great guy!

Bobby Dick, with

“The Sundowners”

who toured with

the Monkees

http://www.classicdrummer.com

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Interview with producer Ken Scott

Ken Scott – Interview

Ken Scott knows music. Having worked with some of the most iconic names in the industry it’s hard imagining any fan of music in the past 40 years who hasn’t heard a song he’s produced. Now having been reunited with 5 of the original drummers from his illustrious career Ken has teamed up with Sonic Reality to release Epik Drums. Epik Drums is a virtual instrument/plug-in that provides an assortment of drum samples and audio grooves that will allow the engineer to practice the art of mixing real drums without wasting valuable studio time. Accompanying  Mr. Scott was Rod Morgenstein, a good friend and one of the featured musicians on Epik Drums. At the Winter NAMM show Ken and Rod sat down to talk with us about the creative process that went into this new recording software, and the direction they feel music is heading in today.

 

http://www.drummerconnection.com

 

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LOUIS HAYES INTERVIEW

 

Popular with many leading jazz players, Louis Hayes has recorded with John Coltrane, J.J. Johnson, Phineas Newborn, Wes Montgomery, Lee Morgan, Sonny Stitt, and Cedar Walton, among others. A dynamic yet sensitive drummer in the classic hard bop tradition, Hayes carried forward what Art Blakey and Philly Joe Jones had started, with an infectious “on top of the beat” feel that never lacked in energy and enthusiasm.

Hayes’ drumming career began in the Detroit area, where he was born, though he later worked with a host of different bands in the south. Louis recalled his early influences during a mid-’80s MD interview: “I listened to Kenny Clarke really well. I mean I listened my buns off. I was paying attention. And that’s how I developed my cymbal beat. I also heard Max [Roach] on records…he has a very intelligent mind on the drums. Those two people were my basic influences.”

Hayes’ career began to take root in 1955 after joining Yusef Lateef’s group, a setting that brought him to the attention of jazz pianist Horace Silver. After Hayes joined Silver in ’56, the band established itself as one of the seminal groups of the hard bop movement. In 1959 Hayes joined what many considered the hottest jazz group in the country at the time, the Cannonball Adderley Quintet. Hayes was the perfect choice for the drum chair, which he held for seven years. “I had total freedom with those groups,” said Hayes. “During all my years with Horace and Cannon, there was never anything like reading music for me. It was, ‘Louis, this is the way it goes. Now play what you want to play.’ They just gave me the format, and I did the rest.”

In 1965, Hayes replaced Ed Thigpen in Oscar Peterson’s trio, continuing on and off with the pianist for the next five years. A stint with Freddie Hubbard kept him busy for the next several years, and in 1972 Hayes organized his own quintet, which later featured Woody Shaw and Dexter Gordon. By 1975 he was co-leading a quintet with Junior Cook, which toured throughout Europe. Hayes has continued to front his own groups, and to perform with other prominent jazz artists over the years.

 

http://www.moderndrummer.com

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Interview with Walfredo Reyes Sr.

 

Father Reyes Speaks Out

Walfredo Reyes Sr

Born in Cuba and raised in New York City, Walfredo Sr. (father of percussionists Walfredo Jr. and Danny Reyes) has worked with many of the greatest names in music both in the US and abroad including Julio Gutierrez, Cuban bassist Israel Lopez (Cachao), Zoot Sims, Denny Drew, Philly Joe Jones, Tito Puente, Tito Rodriguez, José Fajardo, Sammy Davis Jr., Paul Anka, Jerry Vale, Milton Berle, Bobby Darin, Liberace, Wayne Newton, and the list goes on and on. I caught up with Walfredo at the Modern Drummer Festival for this interview and found him an extremely interesting personality. I think you will to.

 

TB (Tiger Bill): Who were your greatest influences when you were first starting out in the business?

WR (Walfredo Reyes): When I started playing in New York City at the age of 14, the big band drummers like Louis Bellson and Buddy Rich were my favorites.

 

 

TB: You’ve worked with so many great musicians over the years, I know it’s impossible for you to discuss all of them but is there any single gig that stands out in your mind as a great experience?

WR: I worked on the staff orchestra for Channel 4 in Havana, Cuba from 1954 until I left Cuba in the ’60s and during that time, I got the chance to back up many of the great Cuban artists, Mexican artists, Spanish Flamenco dancers. Many, many great musicians.

 

 

TB: Do you feel the drummers of today have the same opportunies you had when you were growing up?

WR: The music scene is quite different today. The players of today don’t have access to all of the live music that we had. We used to walk down 52nd street in New York and hear Joe Morello and Philly Joe Jones and so many great players at the many clubs that had live music back then. There isn’t as much live music happening today. But on the other hand, we didn’t have access to the electronic music and drum machines that the drummers of today have. I’m very proud of the young drummers of today. I feel that they are extremely talented.

 

 

TB: You have two sons who are also percussionists and because of my own experience trying to teach my own two sons, did your sons always listen to what you were trying to teach them?

RM: No, they didn’t listen to dad. They do respect me and they’ve very good kids and very good musicians but I let them go their own way and let them think their way. If you do that, they’ll pick up right things and wrong things but you just have to let them try things out and think for themselves.

 

 

TB: It must have been a terrific experience to work on an album with your sons. How did the album San Rafael 560 come about?

WR: It was Danny’s project. He handled everything. In addition to Danny, Walfredo Jr., and myself playing on the album, we also have cousin Rafael De Los Reyes from New York singing and drumming. Kamar de los Reyes, a star on One Life To Live, is on it too.

 

 

TB: Did you write any original tunes for the album?

WR: My uncle wrote one of tunes but most of the others are free jamming improvisions. I pioneered that type of music in Havana. The music becomes very free and you’re not bound by a click track or anything like that.

 

 

TB: Speaking of click tracks, what do you think of working with a click track?

WR: You need a click track when you’re playing in a big orchestra for a movie soundtrack but most Latin music, the Clave is the click track.You must learn to follow the Clave. I feel that it’s okay to rush the tempo a little or hold back in certain places, according to the music. That’s what gives the music feeling.

 

 

TB: You’ve done so much in your career and you’ve worked with so many great artists. Do you feel that there’s anything left for you to do?

WR: I constantly listen to world rhythms from every country and I’m always learning something. I feel that drummers and percussionists are in a planet of our own, with our own language. When we play together we don’t care about ethnic background or anything else. You’re a human being, period. When you talk through your drums, no matter if you’re playing a drumset or hand drums or whatever, that’s your expression. If we had more percussionists in our political world, the world would be a better place. I’d vote for a drummer for President anytime!

TB: So would I!

 

TB: Do you have a favorite musical style?

WR: I like to always keep pushing the envelope and challenging the normal ways of playing, like the great Tony Williams did, always changing and trying to add something new. Young drummers of today are picking up the folklore from each of their countries and that’s what makes today’s music so challenging. And it’s what makes the young musicians coming up today so great.

 

TB: Do you have any tips for up-and-coming drummers?

WR: Yes. Travel a lot. Go to other parts of the world and meet other drummers and study their ways. Not only their musical ways but study other cultures of the world. It makes you a better person as well as a better player. Go to Africa, Brazil, South America, and anywhere you can. When you get together with other drummers and musicians, it’s like you’re all speaking the same language no matter where you’re from. That’s why I say if everyone in the world would do that, we’d all be better off. Practice and study other instruments, not just drums and percussion. Learn to play piano and study harmony. That’s my advice. Oh… and listen to your father!

 

End of Interview

Walfredo Reyes Sr

Following the interview Walfredo was explaining how the Salsa dance developed from the mating ritual of the chicken and rooster. Unfortunately, I didn’t have my tape recorder with me for that interesting conversion, but I promised I’d get him to discuss it in detail next time!

Thank you Walfredo, for sharing a small portion of your vast experiences with us.

Until next time: Stay Loose.

 

http://www.tigerbill.com

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Gavin Harrison of Porcupine Tree Interview

Gavin Harrison is an accomplished drummer who started playing at a young age and now a member of two British progressive bands, Porcupine Tree and King Crimson. Harrison was born on May 28, 1963, in Harrow, North London. While a young child, Harrison listened to many jazz records his father had collected. These records influenced him to start dreaming of becoming a drummer one day.

Though Harrison was an active drummer since his early teens, his major break through came in 2002 when he joined Porcupine Tree an English progressive rock band founded by Steven Wilson in Hemel Hempstead, Hertfordshire, England. The group mostly plays a mixed genre of rock that involves traditional rock, psychedelia, and metal. Harrison had a close association with the band even before becoming a full time member. He joined after their drummer for eight years, Chris Maitland left the band.

The first major work Harrison did with the band was recording of an album that had been deemed to be a major hit then. The album was called In Absentia. This wasn’t the first major one undertaken by Porcupine Tree, though in a way it was after they were joined by Harrison. They had earlier produced Star Die: The Delirium Years, 1991 -1997, a few months after Harrison joined them. This album was mostly a collection of major songs the band had produced in those years.
In Absentia was a collection of 30 songs which Steven had written in the two years before its recording. Recordings were done in New York and in London and they contacted a renowned sound engineer Paul Northfield and sting arranger Dave Gregory to work with them in bringing the album together. What came up after the final mixing was done by Tim Palmer in Los Angeles, was a master piece. The album was released in September 2002 in USA and 2003 in Europe. The album went on to top charts in most countries in Europe. It also became the band’s greatest grosser of all time, selling over 100,000 copies within a year of its release.

In 2004, the band released a new version of the album, a 5.1 surround sound version. This version was mixed by Elliot Scheiner a respected producer who has also won a Grammy Award as a producer. This version not only realized huge sales, but also won an award for best 5.1 mix at the 2004 Los Angeles’ Surround Sound Music awards. The group took a four phased promotional tour to promote the album. The tour took them to Europe and North America. In one of these concerts, they performed with Opeth, a famous Swedish metal band. Their tour culminated in a homecoming concert in London Astoria. The concert that was held on November 30 2004 was all sold out, as enthusiastic fans longed to hear success song of the band.

In 2007, Harrison joined King Crimson a musical group founded in 1969 by guitarist Robert Fripp and drummer Michael Giles. This group plays basically progressive rock but they also incorporate other styles like jazz, classical and experimental music to psychedelic, New Wave, hard rock, gamelan and folk music.
Harrison is an author of two books, Rhythmic Illusions and Rhythmic Perspectives. These books offer rich insight to methods of playing drums. He has also released two instructional DVDs, namely Rhythmic Visions and Rhythmic Horizons. He has been voted “Best Progressive Rock drummer” by the readers of Modern Drummer Magazine in 2007, 2008, 2009 and 2010.

http://www.vicfirth.com/artists/harrison.php

 

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