Discussion in 'Music Corner' started by Scott Davies, Apr 27, 2018.
It sounds fantastic...and the music is, of course, great!
Discs arrived safely today! Can't wait to give them a spin. Mahalo nui!
I ordered and received the Visage cd - aside from the music itself, which sounds great, I wanted to mention the professionalism of the label, Rubellan Remasters. The website ordering was seamless and the shipping was fast. The physical product itself is very nice in terms of artwork, etc. If you at all have an interest in early 80's electronic/synthpop music, you must pick this version up. Highly recommended.
I need to get this. The label issuing "Trees" for the first time on CD blew me away. Heck, if that wasn't enough they added the unreleased 2nd album. WOW! I thought I would never, ever see this on CD. Thank you Rubellan.
This question probably has been asked and answered but I don't have the time to go through 200 posts.
Is the Visage CD available at CD stores?
My apologies to those annoyed by this asked-and-answered question.
My thanks in advance to the kind person who answers.
The answer is some physical stores and many online stores. My distributor currently has all of my available CD's and I've been informed by some people they've seen my releases in stores in California, Colorado, etc. It comes down to the store choosing to add my titles to their inventory. If you don't find them in a local store, they should be able to get them pretty easily for you.
Holiday Sale on now! I've had some people contact me disappointed to have missed out on the Black Friday sale, so I've decided to be festive and do a TWO WEEK holiday sale starting now! All prices reduced by at least $2, which is reflected on my Store page. Spread the word and don't miss out on this additional opportunity to save on these limited edition releases at www.rubellanremasters.com
I've also just started using my Twitter account for those who don't do Facebook - Rubellan Remasters (@rubellan) | Twitter
Currently enjoying the Visage CD a lot! Great job
What are the chances of a reissue of The Sisterhood's Gift EP? Hasn't been available on CD for 25 years...
Probably slim, if for any reason because I've recently been back to gritting my teeth and questioning again why I've been putting myself through all this nonsense. To be honest, my 2019 release plans are barren. Aside from my Danielle Dax reissue, I have no other confirmed upcoming releases, and here's some reasons:
Warners has run into some changes and are having difficulty getting anything that requires UK office clearance, which pretty much stalls all other pending requests I currently have with them.
Universal seems to be back to what it was like when I first started, which I really hoped would have changed at least a little after completing the 3 cleared releases of theirs that I have. Communication is virtually non-existent and information I'm told is forthcoming never comes. They have the most requests I've made and I've got nothing happening on any of them. I was also looking to license a couple more unreleased Trees tracks from them for an independent release idea. I was told I would be given the name of the person in licensing to contact regarding this inquiry. The name was never given after two inquiries, so I dropped the idea. Someone emailed me asking to find out how to license material on one of my releases for a podcast. I sent in the question and never got a response, so I dropped it. Oh, and the only way I ever get any of the updates I mention is by inquiring or following up. No one is coming out of nowhere saying "Here's what we found out..."
The Passions album I submitted nearly a year ago has been stuck with UK licensing, the final step before production, since April. Upon inquiries over the months, I've been told at least twice they would follow up and let me know. It's been crickets each time. The band are ready and willing to assist with the contents of the booklet but it's not budging.
The Torch Song album I requested back in October 2017 hasn't gotten anywhere. The last update I got a couple months back was "IRS catalog rights issues are difficult". So, what the hell does that mean? Is this overlooked catalog off limits as well as the rest of the IRS catalog? EMI didn't have a problem figuring it out for third parties when they were still an entity. I even try to make things easier in various instances by offering them info that may help, such as referring them to review the Suburban Lawns release I worked on from 2015 to see if that offers any helpful info on how the rights are to be handled for IRS catalog. Nothing.
My first additional Visage request was made back in August and I haven't even gotten the initial deal memo. I've been told that no timings in their database match the release so they need to pull it, time it and enter the data. That was a couple of months ago and a recent inquiry has gone unanswered. I even provided them a screenshot of the necessary master tape from their own database list so they would know exactly which one to pull but got no form of acknowledgement, or anything for that matter.
I've got 5 other requests in their hands that they haven't even looked at in the time that I've submitted them. What really sucks is that the initial deal memo is the quickest part of the process, when the time is taken. It's only after I agree with the memo that it then begins the wait through legal and licensing. Unless some apparent miracles start happening, there in lies why there doesn't look to be much upcoming from my label in 2019.
The only possible bright spot is I've recently had correspondence with an indie label who holds the rights to a catalog I want. We've had some positive exchanges and hopefully something can be knocked out soon into the new year, but time will tell.
So there's a more detailed behind the scenes into the challenges of this whole process. Perhaps it was my mistake submitting requests cautiously so as not to get a ton of clearances that maybe I couldn't afford all at once. Maybe I should have sent in twenty and then cherry picked as finances allowed.
So frustrating! I wonder if the tape archives might have a better grasp as to the legalities of who owns what? That seems to be one of the sticking points you keep coming up against. The EMI archive know their stuff, have you tried reaching out to them on Twitter?
I have not. The impression I'm getting is they are struggling overall to understand IRS catalog rights. I'm not sure what that means because EMI used to license IRS titles when they were still a separate entity. But who knows, most of the inquiries prior to that just returned with a "Contract not yet found" response. I can't imagine they are just going to throw their arms up and mark the whole IRS catalog off limits so someone needs to figure something out. I see some of these U.S. 3rd party labels releasing 20 or more titles a year and I can't help but wonder how they manage to get the responses to complete that many, not to mention the 20 a month Cherry Red seem to do in the UK. I understand that the majors are skeptical of inquiries until someone proves their seriousness. I think I've done that quite well but it's such a pain when information is said to be forthcoming and it never comes, so I dump ideas and move on to the next in hope that one may be more successful.
Nice job on the Visage CD, Scott. I'd put this up with the Trees release as my favorites from the catalog so far. I even enjoy the dance mixes of the songs, and normally I don't go for those. Too often it just seems like they have a generic club music sound, but here they still sound like the original tracks. "We Move" really borrows from Bowie's "Fashion", doesn't it?
Your package FINALLY arrived today after sitting in an Australia Post processing centre for over a week. I was getting a bit concerned that it might be returned or destroyed as no GST was paid on it upon import but it arrived today in perfect condition. Just spinning Visage now - and as others have said, it sounds fantastic.
A big kudos for the great packaging ensuring that every disc arrived with a non-cracked jewel case.
Now, how on earth did I order two copies of SPK's Machine Age Voodoo? Might help if I check my orders in future before I proceed to the checkout. So a bonus sale for you Scott.
Thanks for the great service!
Hopefully the 1980s albums that have *never* been released on CD? thread that I created might help you with a few ideas that might not require dealing with major labels so much, or might be easier to release. There's a lot out there clearly that's never seen a digital release and might be owned by smaller labels. It could be a worthwhile project for a label to work on such material, it might not sell the units (although it might become the only way to get certain content in time which will no doubt help) but in many cases it might not generate the hassle either.
Great to hear it arrived unharmed. I get concerned sometimes with overseas shipping, especially Sweden since I was informed they hold packages for a month for "processing". It seems the UK get theirs the fastest. And perhaps hold on to that extra SPK CD, it may get you some cash in the future. I just took inventory of remaining stock and SPK is the lowest right now, followed by Visage. SPK was only a pressing of 970 (Don't ask me what happened at Technicolor to the other 30 copies) and Visage was 1500.
Thanks, I have been browsing the thread. I think it was a good idea. I don't think any release will be hassle free. If it isn't trying to figure out who currently owns the rights, it's hoping things move forward without too much issue or interference. If the indie label I've been working with for a certain artists catalog comes through, it could be a start of full scale reissue campaign. I really hope it happens and I will be excited to announce who it is when the time is right.
I've taken a number of questions that have been posed to me over the last year and have created a new FAQ section on my slightly revamped website:
I have to say that it's a little disappointing to Google a few of my releases only to find a bunch of idiots offering my hard work on a variety of torrent sites, but I can't assume I was going to be immune to that. If indie reissue labels fail, give credit to these dirt bags.
I remastered the Danielle Dax CD over the past week or so and have to admit that it's come out so much better than the original CD, which could definitely be a bit shrill or thin at times. I will submit the final elements for production by the end of next week (all of the major labels seem to take the last 2-3 weeks of the year off), so hopefully will have stock by February or March. And then I'm going to get a little persistent with some of my other requests because I definitely would like to get a few moving. I've put together one special vinyl release that I really would like to do. It's a custom compilation and will be my first dabble into the vinyl world to see if it's the massive headache (of returns) that I fear.
And not sure if I mentioned it yet but I decided to start occasionally using my Twitter presence for those who don't do Facebook: Rubellan Remasters (@rubellan) | Twitter
I was originally going to be discreet about this, but after what happened yesterday I don’t care. Some of you may find this interesting from a legal perspective, even if not a fan of Mort Garson.
Some months back I reached out to Mort Garson’s daughter Day Darmet about possibly licensing the much requested Plantasia album, assuming she may own the rights since the indie label Homewood Records doesn’t seem to have existed for a while. I didn’t receive an immediate response. Then in October I got an email without a name asking me if I had the rights to the Garson music I already released. I replied that I licensed the albums from Sony and Universal. I was suspicious about the sender because I had read that some months earlier Day Darmet was having clips pulled off of YouTube that included her father’s work, claiming she was the rights owner. Not sure how she assumes that considering RCA/Sony released and owned the material. I Googled the email address it came from and sure enough it was her.
About a month after that, I received a message through my Facebook page from someone claiming to represent Mort Garson’s work and they wanted to respond to my inquiry about licensing Plantasia. I was momentarily excited about possibly being able to license the album, but also a bit suspicious considering their confusion on who actually owns the work. I responded and we set up a phone call to discuss.
Within the first minute of the phone call, the person informed me that Plantasia was not available because it’s been licensed by a label called Sacred Bones, and then they got to the real point of the call. They wanted to know how I managed my two CD releases because Ms. Darmet seems to think she owns them. I politely explained that I licensed them from Sony and Universal. We talked about the process and how these reissues go through a thorough legal clearance process before anything is approved and manufactured. The rep I was speaking to, who specializes in music law, didn’t seem to be aware of this process. I also informed him of the US online copyright database and how it shows the last entry for Ataraxia is a renewal from 1987 from RCA records. He replies that is not Sony. I told him Sony owns RCA and thus their catalog. He asked if I would send him pertinent communications with Sony and Universal regarding our deals. I agreed.
I sent the rep specific emails from Sony and Universal showing clearance and approval for release. I also notified both labels of this legal inquiry, which they both acknowledged, Sony confirming they were alerting their legal department. Then yesterday, I get a message from YouTube pulling a Mort Garson clip I had up for some time and telling me there is a copyright strike against me because Day Darmet Garson claims she is the owner of the music. I then had to spend some time going through YouTube’s help section to find out how to reply because I wasn’t just going to accept that I was now partially suspended, have to do some online Copyright course and then will regain full access in three months. I found the info I needed and promptly responded to YouTube’s copyright email address stating that Ms. Darmet has been claiming ownership of the recordings that I have officially licensed from Sony and Universal and I would appreciate they remove the strike. Now I wait.
What this comes down to is either this firm representing Darmet is just going to exploit the situation for a big fee on billable hours without any real leg to stand on. Someone seems to assume that two of the three biggest labels in the world must have faulty legal departments to have licensed out this material. But the burden of proof is on Darmet to show any sort of alleged ownership. Or, she just assumes since Mort is no longer around and the albums are so old, the rights just must have somehow fallen into her hands. Official copyright owners need to have their material officially registered with the U.S. copyright office if they expect any legal recourse. Nowhere in their online database does it show any sort of transfer of ownership to Darmet. So while this firm argues it with Sony and Universal, all the while billing Darmet god knows how much, I can guarantee any possible total profits made for these pressings of 1000 units of each of the Garson titles is well under any amount she has already paid this organization to investigate. But then maybe if Sacred Bones paid her a good sum of money for Plantasia, she is expecting to be able to also license them Ataraxia and Lucifer for another chunk of change. Whatever her motivation, I hope the major labels are able to provide her proof once and for all. But then again, they may not deem it worth their time if Darmet cannot provide any documentation to the contrary.
Just ordered three CDs because of seeing this thread.
Order received, thank you! I will ship it out on Tuesday since Monday is a holiday.
Wow, what a cluster **** of a situation.
I have some titles on Sacred Bones... they do some work with David Lynch-related titles (Julee Cruise, Chromatics, Thought Gang). I got into them about 5 years ago because they were putting out interesting titles on cassette, and it looks like they've moved on to vinyl/CD releases.
Well, I just placed an order for Ataraxia. Why I didn't buy both Mort Garson titles at once, I don't know. Black Mass sounds incredible, and I'm sure this one will too!
Just giving your Visage CD another spin this afternoon, after the exciting news Midge Ure will be featuring tracks from it - alongside the whole of Vienna - on tour this October. Can't wait!
@Scott Davies Any word on a Danielle Dax release date yet? Are you going to take pre-orders?
I'm probably going to do like I have been, not offering it until I receive it and verify everything is perfect with it. I'm hoping to have it in March. My Warner contact is away until next week and then I will find out if it's been set up in their system so I can send the printed artwork to Technicolor and hope production happens soon after.
The good news: Danielle Dax has been sent to production so it looks to still be on track for a March release.
The bad/sad news. Danielle Dax will likely be the last release on my label, as I’ve decided to pack it in for various reasons:
1. I mentioned in an earlier thread that I had shown interest in licensing the Lene Lovich catalog but it was a no-go at the time because the label wanted me to establish myself and then come back. I did that and talks resumed in the final months of 2018. We were very close to finalizing a deal to start with a 2 CD set of her debut album Stateless, including the original 1978 mix on one CD and the 1979 remix on another, each with bonus tracks. Many of the versions had never been on CD before. After Stateless I was going to redo Flex, the New Toy EP (as standalone release with a bunch of bonus tracks), and finally No Man’s Land, each containing mixes/versions not previously on CD. I was excited to do this catalog but when the label notified the artist of the plan, one of her band members, Jude Rawlins, started a fuss on the Lene Lovich Facebook group about how awful the rights owners have been to Lene and how rude they weren’t consulted before any finalized track list. It escalated from there and today I notified the label that I’m scrapping the plan after all the work I had already put into it. Typical of social media, some of the drones came out in support of Jude because he’s part of the band but they don’t know the whole situation. In the end, I felt I wasn’t going to invest the significant amount of money while battling with negative publicity about each release. Some people may remember Jude as the person behind the box set debacle of 2013 where he sent buyers CD-R’s without advertising them as such, and then kept a lot of money denying refunds for paid-for and then cancelled products. I made sure to remind him of that.
2. Universal has not responded to a single request I sent them in 2018 and will not reply to any email inquiries. There is one man who provides the deal memos required before the project can move through the clearance process, and I’ve found from others that he’s notoriously non-responsive to most inquiries. I’ve been told the fact that I got three Universal titles pushed through is amazing. It’s a shame they have the largest catalog on the planet and one man determines who he’s going to reply to. I’m not going to beg anyone to take my cash for artists or titles they aren’t interested in.
3. Warners is the most pleasant to deal with of the major labels, but I’ve been informed that all of the requests I have had pending require foreign office clearance and that process is changing. It’s been in that state for many months now and doesn’t appear to be changing anytime soon. So all of the Warner requests I’ve sent in 2018 haven’t even begun the lengthy process and no one knows when.
4. I hate to admit but all of the threads constantly circulating on this forum about how dead CD's/Albums are make me always feel like I'm trying to beat the clock to get my releases out before it turns out all the nay-sayers are true. There seems to be such disdain for the format by some people, either those who think vinyl is superior (??) or that streaming is going to continue to eat everything else. And while some of my titles continue to move well enough, a couple others will likely be buried with me. But it was a chance I was willing to take as I struggled to expand my footprint with new titles. But when the labels aren't particularly interested in patronizing third party requests and it remains an uphill battle for even a simple response after I've already proven myself a reliable client. It's just disappointing. I can't begin to tell you the stress and frustration involved in the various aspects of this process, but when months are spent on projects only to be scrapped because it becomes a battle with an artist, or the battle is just getting an initial response, it's just not worth it. I came late in the CD reissue game and I really wanted it to succeed and grow but there are far too many obstacles. In the end I'm happy to say I did it, and of the releases I have to show for it, but without label support there's little I can do. And when artists are more offended than appreciative by the plan to pay for a reissue of their dormant material because they don't have control of it (hey, they signed to contract), it's puzzling. I can't say there's been much of anything fun about the experience, other than the positive feedback from those out there who have been supportive of my endeavor. But you never know unless you take the chance, right?
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