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Transcript of Sample Autobiography
The ID Historical Autobiography
Copyright © 1983 - 1987 All rights reserved.
David Lead Vocalist
Dee Bass Guitarist
Graham Lead Guitarist/Backing Vocalist
Keith Keyboardist/Backing Vocalist
Phillip Drummer
The ID, Littlehampton, West Sussex, England.
All compositions are furnished under a license and may only be used in accordance with the terms of such
license and with inclusion of the above copyright notice.
These compositions or any other copies thereof may not be provided or otherwise made available to any
other person.
No title to and ownership of these compositions is hereby transferred.
The information in this document is subject to change with notice and should be construed as a
commitment solely by The ID.
1 | P a g e
This Group was first formed in February 1983 under the original name VELVET HAMMER, starting with a basic
rock music style, which was rehearsed in a Garage.
This group was type cast by the preference of their first guitarist. Unfortunately for a while, the rest of this
band was held down/back by his style and arrogance.
However, other members in the band begun to challenge him with their tendency to experiment with
enhanced styles in their repertoire, such as, Modern Romance and New Wave.
This led to this band outgrowing his restrictive musical style and parting with its original guitarist.
By early 1985, this band experienced dramatic changes when both Dave and Dee moved away from the
original base where they rehearsed. Further failure to obtain a replacement guitarist and with limited
rehearsals brought this band’s moral to a low ebb.
Since this group appeared to show little interest at this time, Phil the drummer was offered to join another
band that had established itself with regular gigs.
When this happened, other members in this band auditioned guitarist number 2, whom played with them
for a while but having discovered that music was not a fast enough way to gain fame and fortune, left for
domestic bliss with his girlfriend.
This left Dave, Dee and Keith with picking up the remains of this band and began writing songs, which they
hoped would impress other musicians to complete this band’s lineup.
With the aid of a drum machine and rehearsal studio they began assembling a repertoire of songs to a
higher standard they had not produced before.
This they felt had given them the confidence to audition a drummer and guitarist to complete the band’s
lineup.
They invited Phil back to their rehearsal in hope he be impressed enough to rejoin. Phil impressed with their
keen attitude and improved repertoire, decided to give them another chance.
However, finding a worthy guitarist on the other hand was much harder to obtain.
After a few months, this band was keen to record a demo tape and discover their potential. They
persuaded their Rehearsal Studio Technician who agreed to make a test recording using the mixing desk he
recently installed. The outcome produced a reasonable demo tape.
They changed the band name to THE FORGOTTEN because they often forgot their original name when fans
enquired at local gigs.
Despite this advancement, the band was still in need of a guitarist.
After a month, Phil sought and checked several guitarists but they plagued
with own present commitments, he was out of luck.
Phil visited a former college music student, Zolton, in Chichester, who was a
keyboard player in his own band, to borrow a hi-hat for a local gig.
When he arrived, his former music student introduced him to his fellow band
members that was rehearsing in a converted cellar and homemade rehearsal
studio.
While their band took a break, Phil talked to his fellow guitarist Graham about
his band’s need for a guitarist and played him the demo tape to give him a
taste of this band’s music style.
Graham was impressed by both the music style and Phil’s ambitious outlook and two days’ later, Graham
phoned Phil requesting an audition for them to consider him joining this group.
The audition encountered a slightly nervous Graham, which was just a short formality and now this band’s
lineup is complete.
By the summer of 1985, this band lost their original Rehearsal Studio in Littlehampton and moved their
rehearsals to Felpham, east of Bognor Regis.
Gig Schedule
MELTING SAND
CHILDHOOD REFLECTIONS
RETURN TO THE SHOW
CONDITIONING
NEGLECT
THE CLOUD
THE SWING
BABA O’RILEY
GHOST
LIFE IN THE MODERN WORLD
THE RECONING
2 | P a g e
By now, all felt confident and ready to record a professional demo tape in a proper Recording Studio.
Graham recommended Real Time on a picturesque farm just outside Billingshurst, West Sussex.
Real Time’s weekday hire rates were unaffordable at £100 per hour but they offered this band an affordable
rate of £40 per hour at the weekend.
In July 1985, our band produced a professional and impressive studio demo tape, which now gave us the
opportunity to embark upon a much brighter future.
Graham seized this opportunity by applying for a Live Aid charity concert spot that was staged at the
Alexandra Theatre, Belmont Street, Bognor Regis, starting on Friday evening, 27th September 1985 and
ending the following day, Saturday, 28th September 1985.
He sent the organizer Pete, an old school friend of Graham, details about our band and latest demo tape.
Pete was impressed enough to offer this band a prestigious spot, last in the voluntary band’s lineup on
Friday night and only one in front of the last paid R&B band. Pete agreed to pay for one final act in case the
former voluntary acts could not care about their performance standard without payment and hadn’t
impressed the audience enough.
Graham though took carpe diem and saw the opportune breakthrough by insisting our band rehearsed
thoroughly until we become inch perfect for this venue; and prove that Pete’s paid act wasn’t necessary.
Not only did we perfect our act, we also rehearsed our stage setup, leaving nothing to chance.
Graham sold the philosophy to our band that even we wasn’t being paid for this gig, the audience did, and
we at least owe the audience who was generous to contribute towards a worthy charitable cause a
decent performed act.
Each band at this indoor Live Aid concert was allocated a 20 minute spot with
10 minutes setup prior and one song had to be a cover of a famous artist.
We chose Baba O’Riley from The Who, only we rehearsed this down to fine
details with only one minor difference in replication was the singing voice of
Roger Daltry.
Pete though had an incline we was going to be good since he offered our
band a dressing room on Friday night when we turned up around 9 PM.
While awaiting our turn, Phil become inquisitive yet anxious to peek at the
Bognor audience, whom spent the entire evening sat on the floor and politely
applauding the earlier acts.
At 10:50 PM we set our band’s equipment up on stage and completed a successful sound check with the
Mixing Engineer at the back of the hall sat beside Pete Macer.
The lights dimmed briefly and we burst into our first song, all were blinded by the stage lighting until we
finished our first song to be greeted by a roar from the audience and many were now standing in front of
the stage.
Graham peered back at Pete and saw him raise his arm and hand with a thumbs up approval.
Our second song though got everyone standing, dancing and punching the air, and caught Dave who
flung himself off the stage when he invited Graham to play a harmonious lead break.
Unlike the other acts, our band perfected every finale for each song professionally and got a rapturous
reception from an impressed and appreciative audience.
Our band ended our act playing our chosen cover song: Baba O’Riley and we got a standing ovation.
When Graham left the stage, he was greeted on the staircase at the left-hand side of the stage by an
anxious paid R&B lead singer for the final Friday night act who exclaimed: “How the heck are we going to
follow your act?”
Sat back down in our dressing room for a breather before departing, we heard a fast pace of footsteps
getting closer and louder in the corridor outside and then our dressing room door burst open from the kick
of this delighted Promoter.
Gig Schedule
Lost Horizons
Opaque Vision
Your Hidden House
The Gambler
Baba O’Riley
3 | P a g e
He introduced himself as Andy, who lived in Pagham. He is a Talent Scout and Publication Agent for Island
Records. He could offer us gigs at prestigious and larger venues.
In October 1985, guitarist Graham is offered a studio session position for a major record company, and this
gave us the opportunity in having our demo tape evaluated for greater potential. This appointment gave us
encouragement from the Producer he worked with and our future direction.
This Producer recommended we provide an Hour and one half of repertoire to become a lead or support
act for larger venues.
In November 1985, our vocalist is contacted by another Record Company Agency and promised us a
contract should we change our band name to something meaningful.
We conjured up the name GOLDEN CRYSTAL EXPLOSION or G.C.E. for short.
However, this Svengali did not reappear and we put this down to experience.
In January 1986, our lead vocalist Dave moves again from his home
in Worthing to Guildford.
Our group undertakes a tour along the south coast until our
London Publisher Andy organised our first recorded live gig as the
main act at Kings College, London on February 15th.
A little later, our group return’s to Real Time to add more tracks to
our demo tapes and gain further interest at a major Record
Company.
After a string of complicated band names to remember, we opted
for CITADEL.
In the summer in 1986, we lose our first sound engineer who
undertook his exam studies at University.
Furthermore, we sought an experienced Manager, since our gig
offers and repertoire falters because we consumed too much time
managing and promoting ourselves.
By chance, Graham at his workplace is informed about this
experienced sound engineer who originally mixed the band China
Town at venues, such as, The Marquay until they split up.
Sound Engineer Jim becomes our resident Sound Engineer.
Throughout the summer, we improve our repertoire in preparation
for the autumn gigs and place adverts for a Manager.
In September 1986, our band face a major setback when lead vocalist Dave announces with regret he was
leaving our band to pursue a University course and become an Optician.
Our band naturally placed adverts for a suitable lead vocalist replacement but following several failed
auditions, we agreed that our keyboardist Keith become our lead vocalist using headphones with
suspended microphone.
Furthermore, we finally established our band name as THE ID.
Our sound engineer Jim lost interest but we was introduced to a better promoter at Godalming, near
Guildford in Surrey where our band rehearsed at an unused Cottage owned by a nearby Pub.
Gig Schedule
Kids X
Opaque Vision
Freefall
Lost Horizons
Neglect
Head
Opium Haze
Another Day
The House where Jack died
Your Hidden House
The Gambler
I the Warlord
Hurt Gets Stronger
Broken Promises
Encores:
One of our Submarines
Conditioning
Hurricane
4 | P a g e
Despite these recent setbacks and fluctuation in
Management, our band soared to greater heights
musically.
In the latter days of our band’s life, we produced our
best and inspirational music compositions – a sample
of which we produced demo tapes at Real Time
studio.
Sadly, during the autumn of 1986, we did not get as
many gigs because the lack of a Manager and Phil’s
announcement he was leaving us disbanded our
group altogether in March 1987.
Epilogue
The Band once met up in 1988 at Littlehampton for an inactive reunion.
Dave went on to become an Optician.
Dee got married and started a family in Portsmouth.
Graham, worst affected by our band’s demise, went onto other creative pursuits.
Keith pursued his music writing talent by joining or forming his own band.
Phil went on to produce an album with another band based in London.
Citadel Manager Christopher
Publication and Promotion Agent Andrew
Citadel Sound Engineer James
Studio Production Real Time
Road Engineer Raymond
Art and Graphics Deborah
Makeup Marie and Fiona
Wardrobe Natalie
Full names omitted for online security purposes.
Gig Schedule
Tap on Ice (intro)
Ad Infinitum
Dark Embrace
Trick of the Light
The Last Will & Testament of Jonathon Tobias
Look Back
Victims of Circumstance
The Surreal
Out the Window
Lonely Journey
Fall Flat on your Face
Centrefold
Face to Face
Killer
Mary Celeste
Statuesque
5 | P a g e
6 | P a g e
7 | P a g e
8 | P a g e
Bognor Regis Centre
Belmond Street Bognor Regis
Telephone Bognor Regis
(0243) 865915
THE FORGOTTEN
LIVE AID BENEFIT: 27 & 28 SEPTEMBER
Dear Graham
Further to the recent meeting regarding the above event, we are now in a position to confirm more details.
Your set is scheduled for 11pm on Fri 27 Sept
Please note the following points: - they’re for your information and absolutely crucial if the event is to be successful.
1. To ensure that every band enjoys equal status your set must be no longer than 20 minutes.
2. The setting up time for your equipment including backline must be achieved in the 10 minutes allocated between the
end of the previous set, and the beginning of yours. If it takes longer your set will be curtailed to keep within the planned
running time.
3. Any technical queries you have should be sorted out before the day. Please feel free to contact Pete Macer, here at The
Bognor Regis Centre who will do his best to advise (0243 865915).
4. If you haven’t already sent a biography and photo of your band please do so by return. The Promoter are publishing a
special Live Aid supplement featuring all bands and we’d like you to be in it with everyone else.
5. A3 posters are available for display (sample enclosed) please let me know if you can display any in your neighbourhood.
6. If you want to buy tickets in advance please let me have your order. As mentioned at the initial meeting they’re £3 per
session or £5 if you buy for both at the same time.
This is probably the biggest ever Indoor Live Aid Gig ever staged, so it’s crucial that we all pull together to make it work –
and hopefully raise somewhere in the region of £3,000 for the Appeal.
Whatever you can do to cajole, encourage, stimulate and generate interest in ticket sales will be tremendously appreciated.
By the same token, we all appreciate the time and effort that you and your band are selflessly contributing to this cause –
Thanks, we’ll see you on the day.
Don’t forget, any problems – let us know in advance, then we can sort them out!
Best wishes.
Yours sincerely
Assistant Manager
for Bognor Regis Centre Manager
Leisure & Tourism
BOGNOR
REGIS
CENTRE Manager A.J. Hood, M.I.L.A.M.
Your ref
My ref When calling please ask for
Arun District Council Leisure & Tourist Department Chief Leisure & Tourism Officer A.R. Quinton D.M.S., F.B.I.M., F.I.L.A.M.
9 | P a g e
Bognor Regis SEPTEMBER
Friday 27 Saturday 28
Box Office: (0243) 865551 10 am – 8.30 pm on performance
days
Leisure & Tourism
7 pm till Midnight
including
Against the Grain
All that’s fiction
Backchat
The Beat
Merchants
Big Jim & The
Figaro Club
Bourzwah – Z
Captain Mysteron &
The Destinators
Citizen
Cordata
Deep in the mix
The Exploding Head
Band
Nomad
Feed the Fire
Messenger
The Forgotten
Noon till Midnight
Tickets £3
including
Jinx
Eyeless Dreams
He Crumpled up
From the Ashes
The Gatecrashers
Sneakin’ Suspicion
Termite’s Teaparty
Strange Occupation
Sweet Revenge
Raw Edge
Singled Out
Steppin’ Out
Vitamin Sea
Wraith
Zeus
Zoodoll
BOGNOR
REGIS CENTRE
ROYAL
HALL
10 | P a g e
11 | P a g e
The Studio
The Studio is 812 sq. ft. with rustic brickwork and beams, high and low ceiling areas giving live and dead
acoustics plus a large live booth, two Master stereo foldbacks and a good range of microphones. All areas of the
Studio and Control Room have windows offering natural daylight.
12 | P a g e
The Control Room
The large, comfortable Control Room (420 sq. ft.) has full air conditioning with ample seating and a Keyboard
Corner.
The equipment comprises the Soundcraft TS24 48 frame console with Master Mix, the Saturn 24 track tape
machine, Soundcraft 20 ½-inch and ¼-inch mastering machines, Sony PCM/501 digital mastering, an abundance
of outboard equipment including the Bel 2400 stereo sampler/delay, Tannoy FSM monitoring and Yamaha NS10’s.
The Roland MKS 20 Piano unit and the Akai sampler are also available.
The Control Room leads to a comfortable Coffee Lounge/TV Room.
13 | P a g e
tape shop
HIRE
We offer a range of recording equipment and accessories at competitive prices.
We accept telephone bookings but to guarantee availability you are strongly
advised to pay an advance on the full Hire charge. Hire periods have been
selected based upon customer demands and each “day” means a complete 24 hour
period, weekends, Bank Holidays etc., all form part of the Hire period.
Equipment is hired subject to our standard terms and conditions, prevailing at
the time of Hire, we require positive identification of the Hirer, including
retention of Passport by us during the Hire and a deposit of not less than
£50.00 which is refundable on the safe and complete return of the equipment
before the end of the Hire period.
All payments and Hire forms must be carried out by the Hirer and not any
nominated Third Party. All Hire charges must be paid for in advance. Delivery
and collection can be arranged at extra cost.
ALL CHARGES EXCLUDE V.A.T. which is currently 15% extra.
CASSETTE AND REEL-TO-REEL SPECIALISTS
6 Preston
Rd.
BRIGHTON
(0273) 672781
14 | P a g e
Tape Copying
Service
We can offer customers Open Reel or Cassette copying facilities providing the
recorded material is free of copyright or the copyright is that of the
customer.
Master tapes and cassettes must be prepared ready for duplication, that is, no
reversing of tapes etc., to put material into a different order. We can offer
a professional editing service but at an extra negotiated charge.
We have facilities for ‘Real Time’ copying (one to one) for high quality
copies on Normal, Chrome or Metal tape cassettes with or without Dolby B, C or
Dbx noise reduction. We also have facilities for ‘High Speed’ copying on the
latest GRAFF equipment which produces high quality cassettes at a lower price.
Using our standard Ferrite CUSTOM cassettes we can offer copies from C5 to
C95, alternatively branded type cassettes are available in standard lengths.
Listed below are our charges for copying cassettes and VAT should be added to
these rates. We regret we cannot copy or tapes supplied by the customer,
unless proof of purchase from TAPE SHOP is produced.
COPYING CHARGES ............... VAT to be added
REAL TIME HIGH SPEED Charge per SIDE Charge per Cassette
Cassette length 1 - 10 11 - 100 1-10 11-100 101+
C5 to C30 60p 30p 22p 19p 13p
C40 to C60 70p 35p 28p 25p 14p
C70 to C90 £1.00 50p 35p 33p 29p
C95 to C120 £1.50 £1.00 - - -
A charge may be made for preparing masters for High Speed copying.
Payment Terms: Cash or Cheque with order.
Audio, Video & Computer Magnetic Media
15 | P a g e
WEEK 3 DAY DAY
TASCAM £39 £26 £15
" £60 £40 £22
" £80 £60 £30
" £30 £20 £12
TEAC £25 £15 £10
" £30 £20 £12
" £15 £10 £8
REVOX £40 £25 £15
" £70 £50 £25
" £30 £20 £12
" £3 £2 £1
AKG £6 £3 £2
AKG/Beyer £8 £5 £4
AKG £12 £8 £6
" £8 £5 £4
" £3 £2 £1
ARIA £20 £15 £12
JVC £20 £15 £12
SOUNDTRACS £40 £25 £15
Dr.BOIM £35 £18 £12
MELOS £15 £10 £8
GREAT BRITISH SPRING £15 £10 £8
DIG II £25 £15 £10
JBL £35 £24 £14
PROMARK £30 £20 £12
Bang & Olufsen £20 £15 £12
Budget Monitor £15 £10 £8
" £10 £8 £5
MINIMIX £10 £8 £56 into 2 stereo mixer BATTERY/MAINS`
Dynamic microphones D320/D125/M67 etc.,
C451/CK1 condenser microphones
Power Supply for two C451's
34 Four-track open reel
4612 PA/monitor speakers 400 watts complete with stands (each)
38 Eight-track open reel
DX4D Four channel DbX unit
2A, 6 channel, 4 or 2 out mixer
C1 Professional stereo, 3 head cassette deck/Dolby B
V530X Semi-pro cassette deck Dolby B/C/DbX
B77 II open reel, ½ track, 7½/15 IPS
B795 turntable, linear tracking
Headphones
Dynamic microphone D80
Amplifier (subject to availability)
Speakers (TEAC) each
PR99 II ½ track, 7½/15 IPS, monitor amp
HIRE RATESM244 PORTASTUDIO
Reverb unit
Digital Delay up to 1024 milli sec
250 watt/channel stereo (MOSFET) power amp
¼ track stereo open reel tape deck
Microphone stands/Extension cables (each)
Graphic Equaliser 10 Band/Stereo
1635 II Semi-pro battery/mains stereo cassette
8/4/2 mixer
Digital Drums, programmable, tape dump/sync
Solid State (BBD) echo unit
16 | P a g e
Contracts
Blanket Songwriting Agreement
An Agreement made this ……………….. day of ………………………………………… 19
between ………………….…………………………………………………...………… (hereinafter called “the composer”) of the one part and ………………………………………………………………………………………………………….. (hereinafter called “the publisher”) of the other part WITNESSETH: 1. IN consideration of the sum of …………………….. (receipt of which Composer hereby acknowledges) paid as
an accordance upon all royalties and fees provided for hereunder the Composer agrees to compose and write music and/or lyrics exclusively for and during the period of this Agreement for and on behalf of the Publisher and/or its related and/or associated companies and hereby undertakes to assign transfer and deliver to the Publisher its successors and assigns the whole of the property title copyright and other interest for all countries of the world in and to such music and/or lyrics and also in and to all compositions written heretofore by the Composer and not assigned to any other person or corporation subject to the rights of the Performing Right Society Ltd (hereinafter referred to as “PRS”) but including reversion of the Performing Right in the event that such Society ceases to own the same. The Composer agrees not to render such services for any other person firm or corporation during the term of this Agreement without the prior consent of the Publisher first obtained and not to act in his own behalf.
2. THE Publisher shall be entitled to secure copyright and renewals and extensions thereof throughout the world and all other rights whatsoever nature existing for the full terms thereof whether such rights are now or hereafter known or conferred by law upon or in respect of compositions written by the Composer.
3. IN the event of the Composer collaborating with others in the composing of musical works the Composer shall then use his best endeavours to ensure that such other composers assign the Publisher the copyright for all countries of the world in such musical works.
4. THE Composer warrants that all compositions assigned by him hereunder are and shall be original works and shall not infringe in any way the rights of third parties. The Composer hereby indemnifies the Publisher in respect of any claims demands and expenses arising from any breach of this warranty PROVIDED THAT the Publisher will not compromise or settle any claims without first consulting with the Composer in respect thereof and having proper regard to the views of the Composer in the light of the Publisher’s knowledge and experience and in the light of legal advice received by it.
5. THE rights of the Publisher include the right to make alterations in and additions to the compositions the subject hereof and to provide new lyrics therefor and to make translations and new lyrics in foreign languages. The Publisher is also entitled to grant licences or authorise others to exercise its rights hereunder whether in whole or part and to assign in whole or part the compositions hereunder but the Publisher shall not be entitled to assign the whole burden of this Agreement without the prior consent of the Composer.
6. THE term of this Agreement shall be for a period of one year from the date hereof and thereafter may be extended at the Publisher’s option for two further successive periods of one year each, each of such options to be exercised by the Publisher writing to the Composer at his last known address prior to the termination of then current period, and paying to the Composer a further advance royalty sum of
7. IN respect of each composition the subject hereof the Composer shall upon demand execute a specific assignment in the form Schedule “A” attached hereto. The Composer shall further execute such forms as may be required by the Publisher for the PRS or other collection or copyright registration Society and Bureaux. The parties hereto agree to execute such further documents as may reasonably be required to effectuate the terms and conditions hereof.
17 | P a g e
8. THE Publisher undertake to endeavor to promote such of the compositions the subject hereof which in its discretion it considers capable of development it being agreed that after (12) twelve months have elapsed from the date of specific song assignment herein before referred to the Composer may thereafter enquire of the Publisher in writing by registered mail whether any promotion has taken place in respect of the composition in question and in the event that the Publisher is unable to provide evidence of such promotion the Publisher shall forthwith reassign to the Composer the copyright in respect of such composition. For the purposes of this Agreement the expression “promotion” shall mean production by or on behalf of the Publisher of a demonstration disc or tape or a printed edition of the composition or the commercial release of a record embodying the composition or the issue of a license in respect of sound film use of the composition.
9. ALL costs incurred by the Publisher in the development of compositions acquired hereunder by the Publisher including but not limited to the making of top line copies demonstration recordings, printing, promotion and advertising expenditure shall be at the expense of the Publisher and the Composer shall not be charged with the whole or any part thereof.
10. (i) The Publisher agrees to pay royalties in respect of the compositions acquired hereunder to the Composer as follows: a. Ten per cent per copy of the recommended retail selling price of printed copies sold by the Publisher and
paid for and pro rata in the case of collective publications; b. Fifty per cent of the net amount received by the Publisher of royalties in respect of the sale to the public of
mechanical reproductions, fees for miscellaneous use (except performing and broadcasting as specified hereunder) royalties from foreign affiliated and associated companies the Publisher of from persons firms and corporations authorized by the Publisher to publish editions of the composition.
10. (ii) General performing fees and broadcasting fees shall be divided by the PRS equally between the Publisher and the Composer subject to any allocation for orchestral arrangements or lyrics in accordance with the rules of PRS for the time being in force. The Composer hereby certifies that for the purposes of PRS Rule 1(o) the Publisher is to be treated as exploiting the compositions (otherwise than by publishing) for the benefit of the persons interested therein to the extent indicated in the said rule. If the Composer be not a member of PRS (or one of its associated societies) or if the Composer shall cease to be a member of PRS (or one of its associated societies or of its successor) then and in that case the performing rights in the compositions shall be administered wholly by the Publisher (subject to its membership of PRS) who shall divide the resultant performing fees and broadcasting fees (to the extent to which the Publisher shall have received the share appertaining to the Composer) in this paragraph.
11. THE royalty statements shall be made up to June 30th and December 31st in each year to include all receipts by the Publisher in that period and sent to the Composer within ninety days of such dates and shall be accompanied by a remittance for the amount shown by such statements to be due and payable.
12. NO alleged breach of this Agreement which is capable of remedy shall be or be deemed a fundamental breach hereof unless the party complaining shall have given notice in writing to the other specifying such breach or alleged breach and the same shall not be remedied within a period of sixty days.
IN WITNESS WHEREOF the parties have hereunto set their hands the day and year first before written. SIGNED by the said COMPOSER…………………………………………………………………………………………….
in the presence of:…………………………………………………………………………………………… SIGNED by the said PUBLISHER…………………………………………………………………………………………….
in the presence of:……………………………………………………………………………………………
18 | P a g e
This Agreement is made this …………..………… day of ………………………. 19 ………………………….
between …………………..……………………………………..… (hereinafter called “the Manager”) of the one party and …………………………………………………………………… (hereinafter called “the Artiste”) of the other party. WHEREAS the Artiste is engaged in the entertainment industry and is desirous of appointing a Manager as his sole and exclusive Manager in respect of his activities within the entertainment industry. NOW THEREFORE IT IS AGREED as follows:- 1. THE Artiste hereby appoints the Manager and the Manager hereby agrees to act as sole and exclusive
Manager to the Artiste throughout the World for the term of years from the date hereof, and thereafter as provided for under Clause11 and undertakes to use his best endeavours to promote the professional standing of the Artiste.
2. THE Manager shall manage the whole of the Artiste’s activities within the entertainment industry, including the arrangement for the making of recordings, songwriting agreements, public, television, broadcasting, theatrical and film performances, as the Manager shall deem necessary and advisable.
3. CONTRACTS arranged by the Manager in respect of the Artiste’s services may be with persons firms or companies associated with the Manager provided that they shall be upon terms which in the opinion of the Manager are usual within the entertainment industry.
4. THE Artiste hereby agrees and covenants with the Manager as follows: i. that he will devote so much of his time and talent to the entertainment industry as the Manager may
reasonably direct and act at all times in accordance with contracts concluded by the Manager on his behalf ii. that he shall conform to the Manager’s requirements as to the presentation of his act and to the content
thereof iii. that he will not act exercise or perform his talents for any person during the existence of this Agreement
other than the Manager, and shall perform no engagements within the entertainment industry without the prior approval of the Manager, and shall refer to the Manager all enquiries and offers of employment
iv. that he will arrive at all venues in good time for all engagements, and shall attend all rehearsals, Press calls, photographic and recording sessions and business appointments as the Manager may reasonably direct and will fulfil such to the best of his abilities
v. that he will at all times conduct himself properly and soberly. 5. AS remuneration for his services hereunder the Manager shall be entitled to be paid a sum equal to % of the
gross earnings of the Artiste from his activities within the entertainment industry, including but not limited to performance, appearance and acting fees, recording, film, writer’s and composer’s royalties and fees, payments for articles, books, scripts or reviews, advertising revenue and revenue from licensing or using the Artiste’s name on connection with merchandise.
6. ALL expenses shall be borne by the Artiste personally, but the Manager may agree to advance certain sums from time to time.
7. ALL sums or payments due to the Artiste from his activities within the entertainment industry shall be paid direct to the Manager.
8. THE Manager shall render an account to the Artiste for any sums received by him during each calendar month, within 14 days of the end of such month, accompanied by a remittance for the amount shown to be due to the Artiste, after deducting any advances made, and any expense incurred by the Manager necessarily on behalf of the Artiste and at his request.
9. THE Artiste shall from time to time produce to the Manager on request proof of such his earnings and income as have been paid to him directly, but are actually receivable by the Manager hereunder, and shall forthwith hand over the same to the Manager.
19 | P a g e
The Pros and cons of signing one these example agreements are set out in “Songwriting” samples, but the
following is a simplified version of the actual agreement, clause by clause, saying very basically what each
one means. Even the most frightening and complicated contract can become quite easy to understand
once each clause is analysed. The “Schedule A” mentioned in clause 7, by the way, is just a blank specific
song contract like the one reproduced.
(Thankfully for obvious reasons, The ID rejected such contract offers and produced their own).
AN AGREEMENT made this ………….. day of ……………… 19 ……. between ………………………………. and the Honest Music Pub. Co. Ltd in which the following is agreed: 1. PUBLISHER pays you a sum of money to write songs exclusively for him for a certain time. Publisher will have all
the rights in the songs except the performing right (P.R.S. owns this and pays you and publisher separately). If you want to give another publisher a particular song, you must ask first.
2. SIMPLY states again that Publisher has all rights to songs. 3. If you have a co-writer you must try to get him to assign his part of each song to the Publisher. 4. YOU guarantee that your songs will be original, and if someone sues Publisher because you’ve lifted someone
else’s song, Publisher will consult you before taking legal action. 5. PUBLISHER can have foreign lyrics written to your song or alter it around a bit (He’ll usually ask you first). He can
give your songs to foreign publishers in different countries, but he can’t sell your exclusive services for the next four years to another publisher, e.g., the Dishonest Pub. Co. Ltd., without asking you first.
6. PUBLISHER can renew the agreement before the first one year expires for another year, then another year after that. He may have to pay you in advance each time.
7. YOU agree to sign anything else necessary to ensure your songs are definitely assigned to the Publisher. 8. IF Publisher does nothing with one of your songs you can ask for it back a year after you signed the specific
contract for it. 9. YOU won’t be required to pay anything to Publisher to exploit your song. 10. i Simply states what royalties the Publisher will pay you – 10% of selling price of sheet music and half record
royalties and miscellaneous royalties in UK and half of what he gets from foreign publishers. ii P.R.S. will pay you your half of the performing fees direct if you’re a member. If not, then they’ll pay your half to the Publisher to pay to you.
11. PUBLISHER will account to you twice a year. 12. SHOULD you claim that the Publisher had broken the agreement (e.g. by not paying royalties until 91 days after
June 30th) he has another 60 days in which to remedy that before you can sue him. IN WITNESS WHEREOF etc. etc.
10. THE Manager shall keep separate books of account relating to the Artiste and shall produce the same to him or his Agent at reasonable notice.
11. PROVIDED that the total sums due and payable to the Artiste hereunder shall have reached not less than £ ,000 during the term hereof, then the Manager shall have the right to extend this agreement for a further period of years upon the same terms and conditions as herein contained by writing to the Artiste to such effect at his last known address prior to the expiry of the initial term of this agreement.
IN WITNESS WHEREOF the Artiste and Manager have hereunder set their hands the day and year first before written. ……………………………………………… …………………………………………………….. The Artiste The Manager