Zappa.com

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You're probably wondering why I'm here
(not that it makes a heck of a lot of a difference to ya)

That New Maternity thing is one of those gray area releases from a radio show or something so that one isn't on the ZFT but the Road Tapes obviously is. Does anybody know the legalities of this stuff? Are the musicians entitled to anything from archival releases. Arthur Barrow brought this up about BeatThe Boots in his book. Rhino Records told him to call Gail about that issue and you can probably guess how that went. This happens all the time though so you would think there would be some legal precedent.

I believe generally speaking , it is in the will of the last owner, other than that a judge will decide.

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"I'm interested in the capitalistic way of life, and the reason I like it better than anything else I've seen so far is because competition produces results."

When the Old Masters 1 came out, Don Preston and others sued Frank. I never heard of a decision. I remember Bruce had to pull from the suit before he could join the last band. So around 87 it was not seetled. But I honestly don't know.

My guess is that they have no rights at all. They were hired musicians.

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"Everybody in this room is wearing a uniform, and don't kid yourself" - FZ

It all comes down to lawyers. Or money. Sometimes guns. (nod to W Zevon) And the original arrangement, of course.
Or Suge Knight's boys holding Vanila Ice by the ankles over the balcony etc...

I know of one case where a US Marshal was sent.

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dang. now that the ZFT has a deal with a (many) billion dollar company, I imagine this sort of thing could get worse.

Would love to know the sums to each person. I can't imagine it was more than 750,000 each. But who knows?

It works that way for classical orchestras, but for bands that would be a different matter, at least out here.

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Join the PackardGoose forum! Send me a PM!

Pretty much. The deal was done years ago. Whatever it was. Unless they have a brutally effective lawyer.

Sometimes it actually works out that you can rely on the generosity/fairness of the person or persons who are getting compensated.

Claire Tory got her damn royalties for Great Gig In The Sky (as a songwriter) but, the way I see it, she didn't legally deserve 'em any more than the guy who played Sax on Money. It's an increasingly shady area.

Check out the collection of magazine articles Save The Last Dance For Satan by Nick Tosches for some interesting tales from the early days of the rock and roll record business.

deleted because it was kinda stupid