“…..I also need a detailed accounting of Hot’s 30% distribution fee. Martin agreed Hot would share the distribution fee profit with Blix, and that the distribution profit is generally one-third of the 30% fee. When you, Martin and I spoke about this in the recent three-way phone conversation, Martin confirmed this, but questioned whether or not there has actually been a distribution fee profit. In order to have meaningful discussion, I will need to go over these figures as well.”
“Almost immediately there was a massive increase in the sales and revenues of Eva Cassidy recordings. As [a Schedule for JV Accounting for July 1998 to December 2001] records, quarterly UK revenues rocketed from£466,392 in Q1 2001 to£6,350,780 in Q2 2001. Sales stayed at over£800,000 per quarter for the next three quarters. The sudden and massive success of Songbird in March 2001 triggered a number of events which are central to this case.”
“Well, it was how much we could have -- you know, you're looking for tax deductions. If you made a lot of money very quickly, if you have never had any money before in your life and you suddenly make a lot of money, then you want to get a tax deduction if you can.”
“In January 2002, Mr Jennings used£1 million of BSL company money to purchase Redlands, a run-down farm / country estate. Over the next approximately 2 years he spent in excess of£1 million of company money turning it into a modern country residence. The details of Mr Jennings’ cross-examination regarding Redlands are summarised above. His claim that he did this for the business is specious. It was plainly intended as a grand residence for himself, the outbuildings were disused farm buildings, which required complete rebuilding or conversion before they could serve as company premises. By far the largest building was the Grade II listed farm house, and it seems (looking at the estate agent’s specifications) that the majority of the£1 million refurbishment costs were spent refurbishing this.”
“Redlands had 63 acres of country land which had nothing to do with the business (and which the companies employed ground staff to tend to); that the main buildings, including the primary building, a listed farm house, were residential and not authorised for commercial use; that in fact Redlands was an unconverted deteriorated farm estate when his company purchased it; that he used Redlands to produce and sell hay; that he had work done on the lake; and that the companies applied for planning permission for a swimming pool apparently because “Big companies have all sorts of things don’t they?”
“With regard to your share of the albeit varying amounts in relation to the distribution venture, this remains locked within Redlands and Martin asks for your forbearance in dealing with this as a separate and distinct issue at a more opportune time in the future.”
“I would also dispute the inclusion of certain costs relating to “Redlands”…….. Due to the nature and size of these Redlands-related costs (totalling£371,393 ), in my view, they are capital in nature, being refurbishment expenditure on either the property itself or on the fixtures and fittings within the property, from which a benefit will be enjoyed over a significant period of time.”
“Based on the factual evidence this [the£341,135 ] was not a distribution expense on any view. It was money spent updating Mr Jennings’ country estate. As the Defendants now recognise, Mr Jacobs was correct to remove it.”
“It was agreed that the Distribution Profits “would be accounted for at some point of time during the Agreement”: see paragraph 29 [of the Defence and Counterclaim]. The Defendants thus accept that the latest time they could produce the accounts was when the Agreement ended (31 July 2006 ), which is less than six years before the claim was issued (8 April 2011 ).”
“such assets, including without limitation physical or electronic copies of the Recordings [ie EC recordings], were created for the purposes of the joint venture; the Claimants and the Defendants as parties to the joint venture were co-owners of those assets in equity and/or in law and/or assets of the joint venture; and to the extent that the Claimants (or either of them) have received any monies consequent upon exploitation of those co-owned assets, the Claimants received and held 50% of such monies as trustees for the Defendants, and are liable to account to the Defendants in respect of the same.”
“….and most of all, the creation of substantial assets by the Joint Venture, by way of four albums and the film-clip of “Over The Rainbow” which, at the end of the first chapter of my micro-management of the project in my territory, really did cause Eva’s resultant world-wide success. The evidence of this is well documented and in particular in the further information the Defendants have filed, the contents of which I re-affirm. The contributions that I made are shown in the attached files “Supporting Copyrights Claim 1 & 2 together with 4 Attachments.”
“Bill Straw, founder, Blix Street Records, compiled Songbird, Time After Time and Imagine”
“it is very, very important for -- when you are distributing outside your home territory, that your distributor be as involved and as invested in what you’re doing as possible”
“I have had a couple of good talks with Martin … as you said, mostly creative, but that is where it all begins and ends … get that wrong and there’s nothing else to talk about. It also gives us both a chance to remember each other’s true value as friends and creative contributors”
“Q. So the reason you are sending it to him is for further input in sequencing, isn't it? A. I am certainly not shy about sending these.”
“Q...... Again, I start in general terms: the compilation and sequencing of this album [American Tune] was something you and Mr Jennings did together, wasn't it? A. Once again, my process was the same. I realised that I was in the centre of it and I was consulting a lot of people and so it would be difficult, from Mr Jennings' perspective, to determine what influence he had or didn't have. But I certainly talked to him.” and “Q. So you would naturally be particularly interested in Mr Jennings' views on how the new album would play in the UK. A. I certainly wanted it to play well in the UK, as any place else. We didn't have the ability to necessarily tailor it that much because we were limited with what we had. But one consideration was the name of the album, and originally it was going to be True Colours and it became American Tune. And the debate really was, this was right during the thick of the Iraq war, and it was some question about how many people wanted to be reminded of American Tune. In the end, we went that way, but that was one of the main considerations. So that was definitely a UK consideration.”
“ ... we have this vast array of material and we always wanted to do justice to Eva’s legacy and what had gone before. So one of the biggest concerns was not to put a track on that fell below minimum standard. I would say the conversations I had with Martin, most probably had to do with that issue.” ”
“Q…….. You are seeking to minimise his role, aren't you, Mr Straw? A. I didn't always consult him at the end. I would ask questions of Martin that were Martin kinds of questions. But I spent hours putting together and listening down to things with a lot of different people and I wouldn't say that -- I would say that Martin's input wasn't ... any greater -- it would vary by -- every project is different, every song is different. My biggest problem was Chris Biondo, who had originated this stuff, so he felt an ownership thing. There was a lot of strong feelings. Everybody I named here, other than the engineers, who were truly at the end of the project, but sometimes brought some of the greatest input. Everybody had their particular kind of input. Martin was special in that he was a distributor, so I wanted him to be happy, so I would certainly talk to him from that point of view. But to say that ... the person who had the most influence would be Lois because she was there when we ran down every draft. Chris Biondo would have an effect on things -- everybody else's thing would have to do with their role in it. But I am not minimising Martin's role, but to say that he was more than peripherally involved in the sequencing of this stuff just isn't true. Q. We will have a look at that, Mr Straw. You referred to a "Martin kind of question", I think. What is a "Martin kind of question"? A. His biggest concern would probably be ... once again, it varies on every album, but he would have a strong feeling about a particular track, that would be the problem, would probably be the strongest Martin kind of question. Not necessarily where it goes in the sequence but it's on the album. Q. Can you remember any particular tracks he felt particularly strongly about? A. (Pause) You know, there's Wonderful World is a prime example of that. And I suppose that ... the areas that were probably -- that he would come into, there would be -- we had this vast array of material and we always wanted to do justice to Eva's legacy and what had gone before. So one of the biggest concerns was not to put a track on that fell below minimum standard. I would say the conversations I had with Martin, most probably had to do with that issue. And I think one track I can think of ... but, again, this is vague, would be the Stevie Wonder song I can only be me, where we used that track other people didn't want to use it at all. So part of what I was trying to do was get sounding boards and if the guy who recorded it, Chris Biondo thinks that track doesn't belong on that album then I think well wait a minute, number one Stevie Wonder was one of her heroes, so she put a lot into that song, she heard it in a film, and maybe he doesn't like the way he mixed it, but her performance gets through. So I would look for an ally in Martin on particular tracks and that may have been one of the tracks. I do not want to believe in this too much. Q. Out of all the people that you list in paragraph 128, Martin and Graeme at Hot are the ones with experience of putting out albums, sequencing albums, aren't they? A. Not Eva Cassidy albums, but they did their albums, yes. Q. You respected and trusted Mr Jennings' musical judgement about sequencing an album. A. I trusted his judgement if he agreed with me on a particular issue, so it was my responsibility, and at the end of the day I wasn't going to put out anything I wasn't happy with, so ... and I, you know, I had to ... I had a lot of -- I made a lot of people less than happy in that regard, but the loyalty has to be with the project.”
“Q. As regards track notes, what happened is you took Laura Bligh's material and converted that into the form of short one or two sentence notes for each track; isn't that right? A. No. No, that isn't right. Q. So you're saying – A. It isn't right, what you just said. Q. What did you base the track notes on, do you say? A. I knew some stuff myself and, you know, I believe I got the bits from Bill really. Or Bill got the bits and passed the bits to me that I didn't already have and then I wrote it down.”
“…What I’m planning to say about the album AMERICAN TUNE is that several of the songs come from rehearsal tapes, and that this means Eva was singing in a very relaxed atmosphere. Small wonder, therefore, that her vocal interpretations were so lovely. Some singers need an audience to bring out their best, but not Eva. She was in the studio that was essentially her musical home, surrounded by supportive friends, freed from any pressures of live performance. She had spent countless hours there – indeed, she had helped paint it, to glue acoustic tile to the walls, and so on. I am assuming that these tapes were made in Glenn Dale, not in Rockville, but I need to check that. It was Keith Grimes who brought these rehearsal tapes to Blix Street Records. Like Eva, he was a perfectionist, and he constantly analysed his own performances to try to find ways to improve the arrangements, the chords, his own guitar playing, etc. Since the band rehearsals were in a recording studio, Chris Biondo would often run a tape during rehearsal, which Keith would take home to self-critique…”
“Some singers need an audience to bring out their best but not Eva Cassidy. Freed from any such pressure, it was the recording studio that was Eva’s natural musical home. She spent countless hours there, even helping paint it and sticking acoustic tiles on the walls. Band rehearsals were held there and Chris Biondo was in the habit of running a tape whilst guitarist Keith Grimes, a perfectionist like Eva, would take the tapes home to study the perf’ces.”
“Some singers need an audience to bring out their best. Not Eva Cassidy. Freed from any such pressure, it was the recording studio that was Eva’s natural musical home. She spent countless hours there, even sticking acoustic tiles on the walls and helping paint it. Band rehearsals would be held there and Chris Biondo was in the habit of running a tape whilst guitarist Keith Grimes, a perfectionist like Eva, would take home the tapes to study the performances”
“it seems to me that the principle involved is this; that the engagement for reward of a person to produce material of a nature which is capable of being the subject of copyright implies a permission, or consent, or licence in the person giving the engagement to use the material in the manner and for the purpose in which and for which it was contemplated between the parties that it would be used at the time of the engagement.”
“However I do think that the court, where it thinks the damages are likely to be negligible or small, can use its case management powers to stop things getting out of hand. It can, for instance, require the claimant to put in a statement of case together with supporting evidence before requiring the defendant to do anything. The cost in money and time of that is likely to cause a claimant who in reality has little to gain to think twice. Again the court can order the trial of quantum to be on paper only unless a case for cross-examination is made out. Disclosure can be restricted or even done away with. A time limit for the hearing can be imposed. All these things are ways of case-managing the problem.”