Rediffusion is a joke, just like Contour Records and other English Companies that used to surface whenever necessary. There are companies like this used all over the world. Hamilton and Pickwick are Dot by-products that artists do not know about when signing a contract. Known for selling cheap records quietly behind the doors and no-one gets paid. As a matter of fact no one gets paid even while the doors are open.
The publishers and writers on many of these albums are mixed up. Research needs to look closely at all English and Australian released albums. Writers with ASCAP and BMI along with original publishers can be falsified by making deals in different countries. Publishers and writers are sometimes not even listed on these albums. Dot Records and Roulette have released many albums without this information. A&M did the same thing. Artists getting paid for record sales almost do not exist.
Jimmie Rodgers was never paid from Dot or Roulette his whole career
The companies always claimed that recording cost were not recovered by Jimmie Rodgers and there fore he owed them money. A&M did the same.
Because of the Jimmie Rodgers vast coverage all over the world with all his albums and singles there are vast amounts of money that were never collected.
Artists are put in the position that the cost to fight the companies when the books can not be found is over and above what they might receive. Consequently the artist is usually forced to give up. If he fights the companies in question, that will guarantee that he will never get paid.
In the 50s and part of the sixties Jimmie Rodgers and Elvis Presley had more records in the top ten then any other artist. Rodgers did his own research of Cashbox and Billboard magazines by gaining access to the files. Records shows that Rodgers sold more records than the rest of the Roulette artists combined, yet like the other Roulette artists he was never paid.
Elvis died young and I was found mysteriously badly beaten, left to die in my car. Buddy Holly’s career became more important after he was killed.
In the early days of rock and roll, if an artist did not have smart attorneys he was screwed from the start. It was also dangerous to fight back. The word on the block was you get hits or you get hit.
It’s time for me to get the record set straight. With the advent of computers and modern technology, music can be traced and artists who are not protected by old contracts or the need for new contracts can find the help he or she needs.
I have traveled the world and entertained thousands from erected stages in the streets and venues that seat thousands of people. The money I made was for performing, not from record sales. When you go abroad and realize you can knock on any door and people know who you are, it’s from the records they have listened to for fifty years. Radio makes more international artists than TV or Movies. Radio goes into every nation.
I recorded “Honeycomb” and became a national star in three weeks. Many TV stars in America were not seen or heard around the world because of equipment people did not have access too. Fifty’s artists were big sellers and I was at the top with a fistful of number one records my first year following that with films and National TV shows.
Many wonderful artists were destroyed by greed that has shaken the music business for years. Artists need capable and honest music attorneys that will spend the time to uncover what has been stolen from them.
We want nothing more then what is owed to us for our work.