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Quote from: acgrundy on September 01, 2009, 06:45:27 PMI remember making a thread asking how it could be proved whether or not someone actually produced a song from back then. I remember some guy explicitly stating that Death Row was a well run business, where all employees made sure all contracts were correct, and made sure they got 100% credit and publishing for everything that they did. Haha, yeah ok bro. That "some guy" was me and that was nowhere near what I said. The context of the conversation was someone either saying or suggesting that Wideawake could just take Dre or Daz tracks and put someone else's name on it. I brought up the point of publishing because that's the road block. It's not about everyone getting fair credit or not. Here is one of my original statements on the subject from another thread:Daz and the people you named got fucked on the publishing. Whether the publishing records are accurate is up for debate but record companies always keep them so it's not like they can just take Dre's credit off a song and sign it over to Daz or someone else. Artists might go in the studio and party and what not but there is always paperwork. Dre was co-owner of the company so I'm gonna call it a safe bet to say that any track he ever touched in any way over there went through the legal clearances with his publishing company. If there weren't publishing credits for it, it wouldn't have ended up in the auction in the first place. If WideAwake has knowledge of what tracks Dre produced then trust me, Dre and his legal team do as well. It's one thing to take someone's credit when you are getting the publishing established but it's quite another to try and go back 15+ years later and try to steal it when the publishing credits are already legally established and have been circulated regularly. There's a reason why when you look at remixed Pac song credits, the artists and producers who appeared on the original track are still credited in the publishing even if their work is no longer on the track in question. Music companies are ruthless but nobody is an idiot. If someone produced a song for somebody else and they didn't get credit, it's probably because they signed a piece of paper waving whatever credit they would have got in exchange for money. You can't just outright steal somebody's work. If my vocals are on a song or my likeness is used in a movie or video, the company that is putting out needs legal permission to use it or I can sue their asses. The misconception here seems to be that you think I believe nobody that ever worked with Death Row ever got fucked on their publishing. I'm not saying that at all. What I was implying was it would be backwards and idiotic to try and swap or swipe credit on songs after the publishing is taken care of. I think with Dre, it would be even that much more of a problem because the guy was already one of the most sought-after producers when he went over to Death Row and as any producer would have at that point had probably been handed his share of lawsuits by people saying they did this and did that. Quote from: acgrundy on September 01, 2009, 06:45:27 PM Smoke enough bud was most likely either produced by Dre or Daz, and neither got credit, so I guess that completely throws your half ass theory out the window. Not including credits in the booklet doesn't automatically mean that the artist or producer didn't get credit on the publishing. It doesn't completetly throw anything out of the window. Not including publishing is one thing but listing false production credits is another.
I remember making a thread asking how it could be proved whether or not someone actually produced a song from back then. I remember some guy explicitly stating that Death Row was a well run business, where all employees made sure all contracts were correct, and made sure they got 100% credit and publishing for everything that they did. Haha, yeah ok bro.
Smoke enough bud was most likely either produced by Dre or Daz, and neither got credit, so I guess that completely throws your half ass theory out the window.
i know what you mean... i've already got 3 copies (original cd, and vinyl, and the other remaster).. but the videos and the extra tracks did it for me. i cant resist.
The DVD is actually worth the price alone for me.
Quote from: Jimmy H. on September 02, 2009, 09:58:51 PMQuote from: acgrundy on September 01, 2009, 06:45:27 PMI remember making a thread asking how it could be proved whether or not someone actually produced a song from back then. I remember some guy explicitly stating that Death Row was a well run business, where all employees made sure all contracts were correct, and made sure they got 100% credit and publishing for everything that they did. Haha, yeah ok bro. That "some guy" was me and that was nowhere near what I said. The context of the conversation was someone either saying or suggesting that Wideawake could just take Dre or Daz tracks and put someone else's name on it. I brought up the point of publishing because that's the road block. It's not about everyone getting fair credit or not. Here is one of my original statements on the subject from another thread:Daz and the people you named got fucked on the publishing. Whether the publishing records are accurate is up for debate but record companies always keep them so it's not like they can just take Dre's credit off a song and sign it over to Daz or someone else. Artists might go in the studio and party and what not but there is always paperwork. Dre was co-owner of the company so I'm gonna call it a safe bet to say that any track he ever touched in any way over there went through the legal clearances with his publishing company. If there weren't publishing credits for it, it wouldn't have ended up in the auction in the first place. If WideAwake has knowledge of what tracks Dre produced then trust me, Dre and his legal team do as well. It's one thing to take someone's credit when you are getting the publishing established but it's quite another to try and go back 15+ years later and try to steal it when the publishing credits are already legally established and have been circulated regularly. There's a reason why when you look at remixed Pac song credits, the artists and producers who appeared on the original track are still credited in the publishing even if their work is no longer on the track in question. Music companies are ruthless but nobody is an idiot. If someone produced a song for somebody else and they didn't get credit, it's probably because they signed a piece of paper waving whatever credit they would have got in exchange for money. You can't just outright steal somebody's work. If my vocals are on a song or my likeness is used in a movie or video, the company that is putting out needs legal permission to use it or I can sue their asses. The misconception here seems to be that you think I believe nobody that ever worked with Death Row ever got fucked on their publishing. I'm not saying that at all. What I was implying was it would be backwards and idiotic to try and swap or swipe credit on songs after the publishing is taken care of. I think with Dre, it would be even that much more of a problem because the guy was already one of the most sought-after producers when he went over to Death Row and as any producer would have at that point had probably been handed his share of lawsuits by people saying they did this and did that. Quote from: acgrundy on September 01, 2009, 06:45:27 PM Smoke enough bud was most likely either produced by Dre or Daz, and neither got credit, so I guess that completely throws your half ass theory out the window. Not including credits in the booklet doesn't automatically mean that the artist or producer didn't get credit on the publishing. It doesn't completetly throw anything out of the window. Not including publishing is one thing but listing false production credits is another. Pretty much bang on point.A fundamental "problem" with Death Row was that pretty much EVERY artist apart from Dr Dre was on Suge Publishing, they were never allowed to work with outside artists if Suge didn't either manage or profiit off the publishing for as it meant Suge wouldn't get paid for it.In fact, these kinds of publishing disputes are rife in the recording industry and Suge wasn't doing anything 'that' abnormal. He just knew the business.
So you are saying that it is impossible that employees at death row made beats, possibly busting out several beats in a night, while partying extremely hard, not ever touching a piece of paperwork, got the beats recorded, and that was that?How in the world can you prove who made that beat? Simple: You can't. Vocals is one thing, but the beats is another. You are going to tell me with all the crazy shit that went on at death row back in the day, Dre made sure the paperwork was done for every single beat that he did? Yeah right. This was 17 years ago. Dre was 17 years younger. He was a big partier and a lot crazier back then. I guarantee that paperwork was not done for every single dr dre beat on those masters.