You had a lot of inside showbiz experience as a musician and a producer.
I have several questions, to which you may answer at you will:
1)what is an average royalty rate for a band signed with one of any major labels ?
2)can record contract stipulate that band’s musicians will not paid on equal footing i.e. their royalties will be based on the number of songs written/co-written by the individual musician for a given album ?
3)If a musician serves simultaneously as a producer as you did, does that mean that for the extra work to be performed he can/may negotiate higher compensation then other band members ?
4)Roughly how many copies m i n i m u m a major record labels want to be sold so that a signed 5-piece band will be not dropped ?
5)Was it hard for you to be producer in Rainbow and DP ?
I have no idea what an average rate would be. My first contract, in 1965, gave us three quarters of one percent, which is ridiculously small. It really all depends on what the terms of the contract are or how exploitive the company. Usually, percentages are in the teens or more, depending on either what you've got to offer or how good your manager is. Record royalties are not divided based on who wrote what or how many songs they wrote. However, it is not unusual for writers to get paid differing publishing royalties (as opposed to record royalties) based on how much of the song they wrote. Working as both a musician and producer does not necessarily mean you get paid for both, it depends on how hard-nosed the individual or how greedy the band. I have no idea about what record labels require. As for producing Rainbow and Deep Purple, yes, at times it is difficult because as a band member you lack the objectivity and respect that an outside producer might have.
curious about how royalties work. My understanding
is the composer gets all band royalties from record
sales & other members of the band receive payment from
radio play & touring. Is this right?
At what point does one's input into the creation
of a song get them partial credit? Is it subjective
& up to the original composer to decide if your
input justifies sharing credit?
Not that this is likely to happen to me!- but
if one is asked by a big name artist to play on
their recordings, is it customary to pay
a flat rate & that's it - financial obligations
finished;or do you normally do it as a goodwill
gesture & perhaps receive radio royalties?
Any plans to come to Canada? It's nice here
in the summer - honest!
P.S. - I had a Rickie 4001 like yours - same
colour & everything - sold it 6 years ago & have
regretted it ever since!
Thanks! - As a bass player & musician, you are
an inspiration to me.
Thanks for the thought.
Musicians get royalties from various sources, both as writers and performers. Publishing royalties are probably the single biggest reason why bands break up.
As a band we don't really pay much attention to whom wrote what because we share everything (at least these days, and also in the early 70s) but in regular song writing circles it can be tricky. It is not unknown to divide the publishing pot up in fractions, depending on what the input was, and that can be a matter of opinion as much as fact.
Imagine someone coming up with an idea and someone else in the room thinking it's a bad idea and therefore it doesn't get used. Theoretically they both contribute to the eventual outcome â€“ in many ways a difficult situation to resolve - except when you decide to share everything.
I want to ask you something (that's why i'm writing this), i'm very disappointed, because, i've had noticed that deep purple were playing here in Mexico.......but then, for reasons, that i don't know, you didn't perform ?what happened??would you mind to come back someday? and, i know you are a very busy fellow but, i'll be SO happy if i get some answer, please that's all, it's been a pleasure to "meet you".
P.D. sorry if my English wasn't good but i get nervous, writing to a VERY good guy from UK
Whenever we are advertised to play somewhere and then it is cancelled, it is hardly ever anything to do with the band ? it?s usually promoter or agent maneuverings. We find these things out much like you do. There are some artists/bands who will cancel stuff on a whim but we are not like that. We have, I believe, a very good reputation with both the fans and the business. Unfortunately, it?s always the band that gets blamed. Oh, yes, I nearly forgot ? I cancelled a show once because there was no beer in the dressing room, I mean... enough is enough!
first thing is the everytime question, do DP have my country (Syria) on a near tour list or something i know you visited Lebanon in 67 i think with Episode Six, and in 97 with DP (which was my most hurtful memory 'cause i couldn'e be there though i had the money for the ticket and everything).
and i think you like blues and jazz so if you like that what the fav musicians in those tow styles. Well i don't know, sounds like silly question but i've been a very loyal fan to Purple since i've been a little boy, i have a oriental jazz band so can you give me some advices for my plant to record my first album (my heroes in this style are Ziad Rahbani and Aziza Mustafa Zadeh i think with an influence with some blues and rock like the doors, pink floyd and deep purple) if that's possible and i would be very thankfull. I know i talked too much but my last question is what would you say about Glenn Hughes, Jethro Tull and Pearl Jam.
Thanks for the question. We will tour anywhere that we are invited. It?s not as if we say to our agent that we would like to tour this or that country, it?s really a question of the tours being presented to us for approval and we along with our manager, just say yes or no (actually I can?t remember ever having said no!). We are just musicians and don?t make those kind of decisions.
Glenn Hughes ? a great talent.
Jethro Tull ? a one man band in many ways but some great musicians and very influential in the early days.
Pearl Jam ? I always preferred Soundgarden and Nirvana in days of grunge but they have stayed the course and have stuck to their guns, so I respect them.
Not to put too fine a point to it, it must have been midblowingly awful, especially when the guy that introduced him said he remembered one of his previous gigs and how grim it had been. He didn't quite mean it like that but couldn't imply anything other.
Are there such happenings that spring to your mind. I'm not after the journalists 'worst of' bits, just the reality of the memories of the episodes that us humble workers don't get to see.
By the way, thanks for the inspiration of the years - my son (now 18) treasures the RG plectrum that I caught at Harrogate last year.
All artists or bands have had to start somewhere and that usually means performing in front of a numerically challenged audience at some point – in my case that meant an Episode Six gig where there were exactly the same number of people in the crowd as on the stage, namely six! We even got to know their names. I do remember it as a great time, however.
There was also an embarrassing moment in Rainbow’s career when we were doing an in-store signing session in Pittsburgh during the Down To Earth tour. This large music store outside of town had advertised our impending appearance one afternoon, when we would be signing albums and posing for photographs. Despite the fact that Since You Been Gone was huge at the time, not one person showed up. Not one! It was pure Spinal Tap. There we were surrounded by the equally embarrassed staff, waiting for people to appear, which they didn’t in droves. No One Came indeed. It was only later that we were told that the Pittsburgh Pirates were playing a crucial baseball game that same afternoon and that all of Pittsburgh was otherwise occupied. All it needed was Artie Fufkin to beg us to kick his ass.
I was wondering what you feelings were towards the "Sonic Zoom"-series Purple Records are putting out?
I for one have been waiting for something like this for years and end.
Another thing i am curious about is your thoughts on Jon Lord`s idea of a very special one time perfomance by everyone still living who has been a member of Purple?
All the best
My feelings about bootlegs are both simple and complicated. Genuine tape traders are all about the music and not about ripping off either the band or anyone else. However, it is illegal to tape and then sell a live performance unless the band allows it, as some bands do. It is also an unenforceable law and so it goes on regardless, so I tend to take the view that as long as it’s not doing too much harm then it’s probably doing some good; most fans have bought more than their share of our legitimate albums anyway. When it comes to marketing a bootleg, it gets a little more complicated. Zappa was the first, AFAIK, to sell his own bootlegs; a bold and typically Zappesque move. We have attempted it but as I write we are stymied by certain legal restraints (I can’t say more). I haven’t heard the Sonic Zoom series; I don’t think they need our permission to release them although I’m not that up to date with the ins and outs. Generally, I’m philosophical about the whole thing, and much more concerned with the band as it is now, moving forward. On to the next gig!
While you're recording in L.A., would it be possible to stop by and say "Hi". I promise not to bring 100s of records along to be signed 😉
Also, are you planning any 'secret' club gigs while you're here? If so, I'd be forever in your debt if you could let me know.
That time has gone, sorry. When we are recording it is always difficult, if not downright impossible, to arrange meetings, lunches, drinks, coffee mornings, get-togethers, signings, chats, cocktails, photo ops, cups of tea, rendezvouses (!), picnics, appointments, trysts, t?te-a-t?tes, jam sessions, yard sales, gatherings, studio tours or just plain everyday encounters. I am usually too busy contemplating the fact that the number of strings on my bass guitar is the same as the usual count-in for most of our songs; an observation so profound that it leaves me speechless. As for secret gigs, yes we did loads but I can’t talk about them. Apologies Phil, I’m in that sort of mood!!
The answer is Wednesday evening, 2004. At least that's what the plan is. Thanks for the good thoughts.
Thank you for this opportunity ask you some questions!
I am wondering what might be the hierarchy in Deep Purple when you decide about recording, touring and so on? Is somebody trying to be the boss or do you decide things together where everyone gets to say his opinion (including new boys Don & not so new anymore-Steve).
Is it true that all the major things conserning DP's future have been decided in restaurants while drinking pint or two?
Thanks for all the music with , DP, solo & Rainbow! I love it.
Best wishes, Janne
It actually is a democracy, there is no leader (one of the few bands that seems to be this way, I think). Most decisions are a case of common sense. Everyone has an opinion and we argue our positions but I suppose ultimately, if there is a difference of opinion, Bruce or record company has their say. It is also true that many meetings have taken place in restaurants. "Group meetings" are something we try to avoid but when they have to be had, why not do it in a convivial atmosphere? Thanks for the kind thoughts.
Firstly, I'd like to thank you for many years of memorable nights out with Deep Purple, especially a tour of Australia a couple of years ago.
My question concerns stage production. How much, if any, input does the band get when it comes to stage production for a tour?
Whereas the sound and the music have always been exceptional, the lighting and other effects have often been less than appropriate for a band of DP's stature, especially in the last 5 years. This is particularly noticable when you are placed alongside bands such as The Scorpians and Lynyrd Skynyrd in the package scenario.
BTW, loved Snapshot. Good luck in the studio. Thank IG for me for a fantastic vocal performance throughout the UK Tour in September. Also, thankyou for always taking the time out to see your fans backstage, we appreciate it very much.
Thanks for the good thoughts. The band has as much input with regard to the stage set as it wants, which is, certainly over the last few years, not a lot. This is partly because back in the 80s and into the 90s, bands of a lesser musical nature tended to rely on stage sets to bolster their lack of talent. It became ludicrous; who could have the bigger, better, or more outrageous set. We decided to concentrate on the music and present it in as uncluttered a way as possible, and that has been our practice of late. The Bananas Tour may hold a few changes though, we?ll see.
Been a big fan since '72 when I first heard Machine Head. In fact that album made me begin playing bass and have done ever since in many bands. Saw the show at Bristol and Cardiff recently and you were all brilliant..thanks!
My question is "How hard does it get to keep touring so extensively...I've watched your schedule and you seem to keep going non-stop"..dont you ever get worn out...IS that what happened to Jon?
Looking forward to the new album....and please put "Pictures" back in the set..your solo is astounding.
Thanks for the kind thoughts. I love playing music. True, the travel can get to one from time to time, but for me, those moments on stage more than make up for it. How many other jobs have world travel as one of the perquisites? My friends think I've got the best job, I agree with them. You'd have to ask Jon the other question but I suspect that the answer would not be quite as simple as you might think. I'll mark down your vote for Pictures.
I would like to extend a warm birthday wish to you !! My question is, are you going to tour with your band from your latest album? I had the pleasure of meeting you at the Moon dance jam in Walker Minnesota this summer. You were so kind. Thank you for giving me a lasting memory.
I would love to tour with The Guilty Party and we are looking at the possibilities. However , it's dependent on two things; the business (it would cost money and I would need an agent and promoters to be convinced that we could generate enough interest) and time constraints (I am in another band right now). Time will tell. If enough airplay happens in the States then it would look promising.
if mr blackmore,lord,coverdaleand hughes got together and formed a band and wanted to call them selves deep purple how much right they got on the name (mostly rb &jl)
ps not trying to stir the shit
I can't remember the exact ruling, but I don't believe they could do it if there is an ongoing band. RB and JL might be able to, if the band had ceased operating, but I don't think DC of GH would have any rights on their own.
I saw on a Rusian website a picture from you playing a TUNE Bass. I have in Germany a little webstore selling only TUNE Basses (beside regular job). So I'd like to know if i can use this picture on my website with a link to your website. If you look at it you will see there is als Greg Lake playing a TUNE Bass.
Thank you very much and best regards,
(No one else influenced my bass playing as much as you)
Thanks for the good thoughts. Yes, you can use any picture. I have a couple of TUNEs and I used them a while ago, I thought they were a very cool looking bass. The company were very good to me and made me one with a tremelo on it, specifically for the solo in Fireball.
Well, this is not really a question. I just want to say that I really enjoy the way your site developes. Many interesting things coming up. Congratulations!
You mention plans about doing a Snapshot tour - that sounds great - but why only in the States? I am sure that we are quite a few people in Europe who will support you if you come around. Snapshot is definately one of my favorite albums - if you can call it albums nowadays.
Happy birthday, merry Christmas and a rocking new year!!!
Thank you for the Snapshot thoughts. J The site is coming along, there'll be a lot of changes along the way. I'd love to tour the world, arenas everywhere, but reality hurts. It probably would be clubs and smaller venues but finance is the thing; all the musicians on the album live in the States, so much less expensive to do, at least at first. If there is a good reason, ie. a hit album, then Europe, or anywhere else, could be a possibility. I would like that a lot and I know I'd see plenty of old friends in the audience.
Thanks for your time!
Most of the re-releases are nothing to do with us. I always felt that they (the old management) were plain greedy to be putting out stuff that was never intended for release. It felt like they were 'scraping the barrel' or ‘sucking everything out of the melon’ as you so daintily put it. Maybe that's because I underestimated the band's appeal, I don't know. I still feel uneasy about rehash after rehash, but having said that, the new box set is really good, it is well put together (apart from a few flaws) and although I don't know how much of the material was available before (I'm not an avid collector, as some people think), I found it entertaining. The 1969 Concerto was well done. And I am all in favour of the EMI anniversary series, then again, I'm biased.