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>
>
> Not necessarily true. Accepting a paycheck does not automatically
> relinquish one's rights to future earnings from a recorded
> performance. The type of work must be agreed upon first. "Work for
> hire", which is probably the description of most if not all mellotron
> recordings would typify a buyout in perpetuity of the performance.
> Residual payment can be for the performance of a piece as well as the
> intellectual property.
>
>
> fd
>
>
> -----Original Message-----
> From: john barrick <astroboy@cinci.rr.com>
> To: newmellotrongroup@yahoogroups.com
> Sent: Thu, 21 May 2009 9:10 pm
> Subject: Re: [newmellotrongroup] Rights of Original Mellotron Musicians
>
> David - I know nothing, so what better subject for me to chime in on. I
>
> assume that all rights and claims were relinquished when they accepted a
>
> paycheck for the sessions.
>
>
>
>
>
> djacques wrote:
>
> >
>
> >
>
> > I am sure that this must have been discussed, but I am curious what
>
> > rights the original Mellotron musicians have/had when they recorded
>
> > the original tapes. I also wonder about sections of popular music that
>
> > used actual Mellotron performances (like the beginning Spanish guit
> ar
>
> > run in Bungalow Bill). The guitarist who performed this could say that
>
> > he/she performed on a Beatles song! This is obviously a different
>
> > story than the violinist who played one note for 8 seconds. I would
>
> > not expect these musicians to get credit for the Moody Blues or
>
> > Crimson songs⦠Where is the line drawn?
>
> >
>
> >
>
>
>
>
>
>
>
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