Edito de PhiladelphiaMainMan background: The unique culture and philosophy of MainMan was developed by Defries based on his experience in securing and protecting creative rights for photographers, designers, writers, composers, producers, performers and others in the mid-60s. MainMan sought to balance the control and creative needs of the artist and the work with commercial expectations and realities of the market, media and fans. Examples include using selected in house or staff photographers and restricting press and photo access as a policy that permitted control over artist images. In 1971 Defries was working with Stevie Wonder, David Bowie, Iggy Pop and Lou Reed. His involvement with these artists made an enormous contribution to their subsequent careers. At this time Iggy Pop and David Bowie were virtually unknown in the US. Iggy was introduced to Defries by Danny Sugerman at the infamous Max?s Kansas City Club in New York. A penniless, homeless and largely unclothed Iggy was sleeping on Danny?s sofa while in a methadone recovery program for heroin addiction. Defries rescued him, extracted him from his Elektra contract, made a new deal with Clive Davis at CBS and moved Iggy and later the Stooges to the UK to create the Raw Power album. Albums developed by MainMan for these artists and Mott the Hoople in ?72 jump-started their careers: The Rise and Fall of Ziggy Stardust: David Bowie released 1972 All the Young Dudes: Mott the Hoople released 1972 Raw Power: Iggy Pop released 1973 Transformer: Lou Reed released 1972 In the early ?70s, Defries assisted Stevie Wonder in securing creative and financial control of his work and future career from Motown. The hit songs and albums that were a direct result of Stevie obtaining control included: Signed, Sealed and Delivered album and song released 1970 Where I?m Coming From album released 1971 If You Really Love Me song released 1971 Never Dreamed You?d Leave in Summer song released 1971. Technology and Media: Rapidly evolving media internet technologies have allowed the major labels and independent companies to distribute music often unlawfully and without adequately consulting or rewarding the rights owners. The same platforms can be used by legitimate rights owners to reverse the situation, recover lost revenue and create new packages. This requires an expert view since the individual rights background is complex. MMRX will provide a RMO for MainMan and other rights owners in need of help. Bootlegging is embedded in music and media culture. Many artists have taken advantage of bootlegs to increase their fan base, maintain creative control or simply generate revenue outside of the major labels. Examples: The Grateful Dead, Dylan, Iggy Pop, Frank Zappa. Mott the Hoople: Mott had attempted to tour the US as a supporting act for major bands on many occasions but failed to get in front of an audience. Luck and circumstances kept preventing them or the tours they joined from performing. The band consisted of five members practicing individual group democracy leading to many disagreements. The band had finally decided to break up when bass player Pete Overend Watts approached Bowie in an effort save himself and them. David was already a fan of Mott but knew he could not rescue their career without professional help and asked Defries to check the band out at a local gig. After some meetings and discussions MainMan agreed to make arrangements to manage and record the band. Mott refused the first song Bowie offered them but accepted All The Young Dudes. Everyone immediately recognized this would be a huge hit. Defries persuaded Chris Blackwell of Island Records to release Mott from their Island recording contract in exchange for retaining their publishing. All The Young Dudes (single and album) was recorded May-July 72 and Defries made an independent production deal for MainMan and Mott with Clive Davis at CBS in June 72. A massive US/UK and global hit with a US headlining tour and the road to fame followed. Timeline of MainMan Artists Activities & Recordings in this period: This is only a small part of the events MainMan and Defries were involved in during the time frame concerned but suggests the frantic pace needed to maintain momentum for all of them. David Bowie: The Rise and Fall of Ziggy Stardust ? recorded 9/71-1/72 Mott the Hoople: All The Young Dudes ? recorded 5/72-7/72 Save the Whale Concert, Royal Festival Hall - London ? 7/8/72 (David Bowie and Lou Reed) Lou Reed: Transformer ? recorded 8/72 Iggy Pop: Raw Power ? recorded 9/72-10/72 David Bowie: Alladin Sane ? recorded 10/72-1/73 Spinal Tap: Dale ?Buffin? Griffin was physically the smallest member of Mott and as the drummer always seated behind the rest of the band. He felt overshadowed by the other members and demanded a higher drum riser so the audience could see him. MainMan were one of the first companies to produce their own dates with local promoters and introduced the practice of including contract riders to identify everything needed at a venue. The list of stage requirements specified the exact height and other details of required equipment. A Mott contract rider contained a typo that mistakenly read 40ft for the drum riser height rather than the standard 4ft. The promoter thought the request was serious and called to cancel the show since the venue did not even have 40ft between the stage and ceiling. This story helped to inspire a classic Spinal Tap moment in the 1980?s cult movie. This release features tracks recorded live at The Tower Theatre in Philadelphia on November 29th, 1972. Previous unauthorized release as Open Up and Bleed on Bomp Records. Lire la suite