HITS Daily Double
Several attorneys on the artist side claim us that some of the deal points in these revenue-sharing agreements are reminiscent of the infamous artist contracts from the ’50s and ’60s.


Sharing Is Overrated, Say Legal Eagles Who Have Examined the New 360 Contracts
By Rodel Delfin

Lots of chatter in weasel land recently about the so-called “new” artist contracts being implemented by numerous majors. We’ve touched upon this subject several times in the past. It’s a desperate—if necessary—survival move on the part of the majors, as they attempt to capture additional revenue from touring, merch and publishing, at the artist’s expense. But whether its Warner Music Group’s “360” concept or Sony Music’s “new world” initiative, several attorneys on the artist side recently shared with us that some of the deal points in these agreements are reminiscent of the infamous artist contracts from the ’50s and ’60s (i.e., “Hey, sign with us and we’ll give you this shiny new Cadillac!”). We hear that Sony’s legal department scheduled presentations with numerous law firms to introduce and discuss their new artist contract, but after receiving some extremely negative feedback, they’ve decided to hold off on further presentations until they revamp certain deal points. For some perspective, those who’ve had experience with previous Sony contracts described them as brutal to begin with. Nonetheless, these deals only bring in additional revenue if the new artist breaks and we haven’t seen a lot of new artist breaking lately… BACK TO THE NEWS: You probably wolfed down numerous pizza slices at that savory pizza joint outside of Arlene’s Grocery during all the showcase stops at the CMJ Music Marathon last week. We’ll report back next time on who was seen and who was there. In the meantime, we hear contract-renewal talks for a well-respected East Coast A&R player have commenced. Word on the street is that said executive has been groomed to take on a presidency position at said exec’s current label but, in a repeat of the last go-round, other companies are trying to entice the hitter to play on their teams. We’ll keep you posted… Buzz brewing on New Orleans outfit The Vettes, who recently returned from N.Y., where they did a round of label meetings. Expect more label folks at their L.A. showcase at the end of the month (see Buzz/Gigs)… Publishers are on the move in pursuit of artist/writer Alissa Moreno, who has penned songs for Rascal Flatts and Faith Hill. Sounds like a no-brainer to us… Finally, kudos to LA Weekly and Goldenvoice for a successful second-year run with the Detour Festival, which turned downtown L.A. into a mini-Coachella. Given the turnout, we expect the talent and the festival to keep getting bigger and better in the years to come. Festival highlights for us: Perry Farrell playing old Jane’s songs during Satellite Party’s set, the pirates at the Redwood Bar & Grill, being directed to the back of the bar at LaCita because yours truly and the semi-white crew we were rolling with were told that we did not look Hispanic enough among the Mexican ranchero crowd (brown folks shouldn’t discriminate against their own), and fantastic sets from Kinky, Moving Units and, of course, Justice. We’re in for next year… BUZZIN’: Mams Taylor and Cut Off Your Hands… Hit me up: [email protected]

Tues., Oct. 23, TBD, Mercury Lounge, N.Y.
Tues., Oct. 30, 6:30 p.m., Swinghouse, L.A.
Mon., Nov. 12, 8:00 p.m., Viper Room, L.A.