Robbie
-
Joined
-
Last visited
Posts posted by Robbie
-
-
the act of ripping off (plagiarim) can be taken to court though, George Harrison famously got sued for "My Sweet Lord" sounding like "He's So Fine" by the ChiffonsRip-offs don't count. And they happen all the time. Even U2 ripped off their intro for Vertigo from an early Feeder track. Only direct samples and covers need royalties.
http://abbeyrd.best.vwh.net/mysweet.htm
-
most early U2 singles either charted too low or missed completely - quite how "I Will Follow" managed to miss the chart completely in 1980 is still a mystery to me. It even managed to chart in the US, albeit in 1984 (though it only reached #81).One Of my fave U2 songs, cant believe it charted so low! :angry:
-
-
-
-
Upfront Club Chart
Artist / Title
Mix
Label
1 7
SUPAFLY INC MOVING TOO FAST
(NORTHWEST/FREEMASONS/IAN CAREY/BEGINERZ/ORIGINAL MIXES) Data
2 5
ROCKEFELLER DO IT 2NITE
(BEATFREEKZ/HI_TAK/BRIGHT YOUNG THINGS/IAN CAREY MIXES) Spinnin'
3 18
CAFÉ GROOVE WHY U WANNA DO ME WRONG
HIT!
4 28
BASEMENT JAXX HUSH BOY
(BASEMENT JAXX/SOUL SEEKERZ/LES VISITEURS/HUSH SALSA MIXES) XL Recordings
5 1
AXWELL FEAT. STEVE EDWARDS WATCH THE SUNRISE
(AXWELL/BOB SINCLAR/CHRIS LAKE MIXES) Positiva
6 4
NUALA EL SOL
(LOS LADRONES/FLAWED MIXES) Caitlin
7 6
LA GRIFFE MAKE IT SHINE
(ORIGINAL/AZZIDO DA BASS/PHONICFOOD MIXES) Data
8 24
SEX MACHINE FEAT. SHENA FRIDAY NIGHT
(IAN CAREY/PLASTIC FUNK/KINGPINZ MIXES) Cayenne
9 21
PIRATES OF THE CARIBEEAN - DEAD MAN'S CHEST HE'S A PIRATE
(TIESTO MIX) Walt Disney
10 29
CLUB DEEP INSIDE
(ORIGINAL/FUNK BUSTERS/THOMAS GOLD & ERIC SMAX/KENNY HAYES MIXES) Adhesive/All Around The World
11 23
CONJURE ONE FACE THE MUSIC
(REDANKA/KASKADA/JADED ALLIANCE MIXES) Nettwerk
12 32
JEALOUSY LUCY
(LIVE SAVER/K-KLASS/IAN BLUESTONE MIXES) Purple City
13 37
BOB MARLEY & THE WAILERS EXODUS
(JOEY NEGRO MIXES) Island
14 3
BELLE WHAT THE HELL
(CHUS PENN/LIFELIKE & KRIS MENACE MIXES) Mercury
15 17
DAVID GUETTA VS. THE EGG LOVE DON'T LET ME GO (WALKING AWAY)
Gusto
16 --
COLDCUT FEAT. ROBERT OWENS WALK A MILE IN MY SHOES
(TOM BELTON/TIGA/TIMO GARCIA & THE CHESHIRE CATZ/HENRIK SCHWARZ MIXES) Ninja Tune
17 10
MICHAEL GRAY FEAT. SHELLEY POOLE BORDERLINE
(MICHAEL GRAY/DENNIS CHRISTOPHER/DISCIPLES OF SOUND/SPENCER & HILL MIXES) Eye Industries
18 35
FUTURE FUNK SQUAD TOWARDS THE SUN
(EVIL NINE/HYBRID/PAUL WOODFORD/R3VOLVE MIXES) Default
19 19
VARIOUS BOSS RECORDS CLUN SAMPLER (LP SAMPLER)
Boss
20 22
DENNIS CHRISTOPHER VS. TONY CHA CHA $l*t
Gusto
21 --
PETER PRESTA FEAT. BONSE TOTALLY HOOKED
(EXTENDED/MELODY MASTERS/PASCAL/SUNSTROKE/BLISSED OUT/RAW CUT MIXES) All Around The World
22 9
GROOVELAND TELL ME
(ORIGINAL/MOTO & BLANCO/ANDREA T MENDOZA/DEEPLIFE/DOOGIE D MIXES) Adhesive
23 15
TOM NOVY FEAT. LIMA TAKE IT
(TOM NOVY/DANI KOENIG/GIAN MIXES) Data
24 33
PET SHOP BOYS MINIMAL/IN PRIVATE
(TOCADISCO/M-FACTOR/TIGA/SUPERCHUMBO/TELEX MIXES)/(TOMCRAFT MIX) Parlophone
25 14
MATT DAREY DAREY PRODUCTS (SAMPLER)
Darey Products
26 2
BEATDROPPERZ FEAT. DEANNE BERRY CHANGES
(BEATDROPPERZ/HOXTON WHORES MIXES) Serie A
27 11
INNER CITY PLAYBOYS JETSETTER
(IAN CAREY/YOUNG PUNX!/PATRICK ALAVI MIXES) Loaded
28 16
TRICK & KUBIK FEAT. VALESKA EASY
(ORIGINAL/JEAN CLAUDE ADES/MISC/NIEKISCH & HERMANN/CONSTANTINE MIXES) GSR/Data
29 20
CHOCOLATE PUMA ALWAYS AND FOREVER
(CHOCOLATE PUMA/TILL WEST & DJ DELICIOUS/GRANT NELSON/DJ ANTOINE & MAD MARK MIXES) Positiva
30 12
ALEX GAUDINO & JEROMA REACTION
(ALEX GAUDINO/FILTHY RICH/NARI & MILANI MIXES) Data
31 13
ROBBIE RIVERA FLOAT AWAY
(THE JOKER/NICOLA FASANO/ASTARTA/LOVERUSH/JUICY/STEVE FOREST/OLIVIER BERGER/DJ PEDRO/LAURENT SIMECA HIT!
32 8
SOULSHAKER & ROBBIE CRAIG I'LL PROVE U WRONG
(SOUL SHAKER/DENNIS CLIFFORD/SOUL SEEKERZ/MYSTERY & MATT EARLY/ROB D'RICHE MIXES) Megafan/Audiofreakz
33 --
STARCHASER FEAT. STEVE EDWARDS FETE
Ego It
34 --
VARIOUS IBIZA SAMPLER
Boss
35 34
NJOI ANTHEM 2006
(HOXTON WHORES/PAULO MOJO/J-ME SATORI/NJOI MIXES) New Black Recordings/Alternative Route
36 --
KELIS FEAT. TOO SHORT BOSSY
(ORIGINAL/CAVEMEN/REDSOUL/ALAN BRAXE & FRED FALKE/SWITCH MIXES) Virgin
37 25
MADONNA GET TOGETHER
(JACQUES LU CONT/DANNY HOWELLS & DICK TREVOR MIXES) Warner Bros.
38 31
FRISCO THE SUMMER IS MAGIC
(ORIGINAL/ALEX K/KB PROJECT/DANCING DJS/DJ DEMAND MIXES) All Around The World
39 --
VARIOUS CHRIS LAKE PRESENTS ELECTRIC BOUTIQUE
Gut Active
40 --
MIAMI DUB MACHINE BE FREE WITH YOUR LOVE
(FONZERELLI/CUBE GUYS/DEEPGROOVE MIXES) UMM
-
Outkast: Morris Brown
The captivating musical evolution of Outkast continues. An intelligent, upbeat track, up there with their best.
Contact: Chloe Melick, RCA
(single, September 4 - RCA)
The Horrors: Sheena Is A Parasite
Chris Cunningham brings The Horrors new single to life with a simple clip that’ll scare you witless. A band set to skyrocket and Cunningham’s first promo in seven years.
Contact: James Oldham, Loog
(single, August 7 - Loog)
Kelis: Bossy feat. Too Short
Kelis hypnotic vocal delivery has you on first listen. Effortlessly cool and catchy as hell.
Contact: Paul Guimaraes, Virgin
(single, September 4 - Virgin)
Tiny Dancers: Bonfire Of The Night
The first single from the Parlophone signed act will be released on their own Russian Doll label.
Contact: Chris Latham, EMI
(seven-inch out now, Russian Doll)
Dirty Perfect: Mecanno
Dirty Perfect have found their sound over the past 12 months and the new demos are some of their best yet.
Contact: Flash Taylor, Sony/ATV Publishing
(demo, unsigned)
Badly Drawn Boy: Born In The UK
First album for EMI and Badly Drawn Boy is sounding rather optimistic. A breezy album not short of strong songs, and a new production approach for the singer-songwriter.
Contact: Andy Fraser, Some Friendly
(album, October 10 - EMI)
The Killers: When You Were Young
The new one from Brandon and Co. remains a favourite in the office ahead of its radio date. Will stand up alongside their best.
Contact: Rachel Hendry, Mercury
(single, September 18 - Mercury)
Scott Matthews: Elusive
Elusive is a haunting acoustic song that leaves a lasting impression. Matthews continues to be courted by labels and publishers.
Contact: XXXXXX
(single, August 21 - San Remo)
Superfly Inc.: Moving Too Fast
Another big dance track for Data that stands to make a healthy impression on the charts.
Contact: Dan Minty, Making Waves
(single, August 28 - Data)
Scissor Sisters: I Don't Feel Like Dancing
An anthemic return from the NY group who promise to build substantially on the foundations of their debut. Faultless.
Contact: Sundraj Sreenivasan, Polydor
(single, September 4 - Polydor)
-
-
-
The tour's going great ;) The other Robbie needs to give me some of his money!Robbie! :cheer:
Thanks for finding the time to join us. How's the Tour going? :unsure:
;)
Think I remember about 10 of those songs. Didn't release Gary B was in the same chart. :o
Yeah, GB was falling down the charts, I noticed myself when I was about to post the charts that GB was inside the top 20 at the same time as RW...
-
-
-
I was gonna post this in a few days time, but I won't be around to do it... so, here is how the charts looked when Robbie entered the charts as a solo artist...
w/e 10/08/96 (chart date Sunday 04/08/96)
1 1 4 Wannabe Spice Girls
2 NE 1 Freedom Robbie Williams
3 NE 1 Trash Suede
4 NE 1 Good Enough Dodgy
5 4 11 Macarena Los Del Rio
6 2 10 Killing Me Softly Fugees
7 3 11 Mysterious Girl Peter Andre Featuring Bubbler Ranx
8 NE 1 Tha Crossroads Bone Thugs-N-Harmony
9 6 5 Born Slippy Underworld
10 8 3 Higher State Of Consciousness '96 Remixes Wink
11 19 4 How Bizarre OMC
12 9 2 Woman Neneh Cherry
13 12 9 Don't Stop Movin' Livin' Joy
14 15 2 I Am, I Feel Alisha's Attic
15 10 4 Forever Love Gary Barlow
16 7 2 Head Over Feet Alanis Morissette
17 NE 1 Someone To Love East 17
18 5 2 Everything Must Go Manic Street Preachers
19 11 3 Crazy Mark Morrison
20 NE 1 Hit Me Off New Edition
I'm sure we remember a few of these songs?!
-
-
-
-
Edited by Robbie
the release date would be 12 days prior to the date it charted, not 6 days: a record released on, for example, Monday 1 would chart on Sunday 7 but would be in the chart which is dated Saturday 13 - polyhex uses the historical dating system of the week ending date.
It means its release date would be Monday July 29, 1996 if it was to have charted on Sunday August 4, in the chart dated Saturday August 10, 1996.
So it will be 10 years exactly tomorrow...
EDIT: as it happens, the bpi site has the release date, in the Certifications database, and it is Monday July 29, 1996:
Award Type: Silver
Artist Name: WILLIAMS ROBBIE
Record Type: Single
Record Title: FREEDOM
Record Company: EMI
Record Label: CHRYSALIS
Record Release Date: Mon Jul 29 1996
Date Award Issued: Thu Aug 1 1996
Debut: No
some of the info above is wrong - it was his debut single, and the award was made during August 1996, and not on Aug 1 as listed.
-
Edited by Robbie
Do you mean, is the Budget chart available? If so, yeah, it's in ChartsPlus every week (a top 50) , as well as the top 15 on Music Week's website.thanks 4 the info didnt know that, can anyone get the budget chart?
Here is the current top 15:
1 1 4 FLEETWOOD MAC GREATEST HITS Warner Bros K 9258012 (TEN)
2 2 3 ROD STEWART THE BEST OF ROD STEWART Warner Bros K 9260342 (TEN)
3 NE NE VARIOUS A TASTE OF KANDI - SUMMER 2006 Hed Kandi HEDKSMP2006 (U)
4 4 4 A-HA HEADLINES & DEADLINES Warner Bros 7599267732 (TEN)
5 3 21 T.REX HITS Crimson CRIMCD40 (EUK)
6 5 89 THE JAM THE BEAT SURRENDER Spectrum 5500062 (U)
7 7 6 VARIOUS ARTISTS THE BARBECUE PARTY ALBUM Crimson CRIMPCD015 ()
8 6 10 GENE PITNEY THE VERY BEST OF Crimson CRIMCD30 ()
9 11 2 THE BEACH BOYS THE COLLECTION EMI Gold 3407702 (E)
10 12 3 THE PRETENDERS THE SINGLES WEA K 2422292 (TEN)
11 8 200 DUSTY SPRINGFIELD HITS COLLECTION Spectrum 5375492 (U)
12 13 8 KENNY ROGERS CLASSIC LOVE SONGS Crimson CRIMCD209 (EUK)
13 9 32 RAT PACK LIVE & COOL Crimson CRIMCDD384 (EUK)
14 10 22 AL GREEN THE VERY BEST OF Crimson CRIMCD38 (EUK)
15 14 2 THE CLASH GIVE 'EM ENOUGH ROPE Columbia 4953462 (ARV)
There seems to be a number of albums that have previoulsy charted in the proper album chart. Presumably, the dealer price for these is now low enough to qualify them for the budget albums chart. Usually this chart consists of cheap albums which you find in the likes of Asda (and Woolies!) and usually buy for one or two songs at the most! Other times the chart has the odd single which isn't eligible for the singles chart in it (usually one where the running time exceeds 20 minutes, or where there are 4 tracks etc).
Budget Albums have to sell twice the amount of mid-price and full-price albums to qualify for a certification (ie Platinum = 600,000 Gold = 200,000 Silver = 120,000). This rule doesn't apply to albums that were previoulsy released at a higher price (ie some of the above, which at one time qualified for the main chart).
-
it's not the price Woolies sell the albums for that matters, but rather the price they bought them for. So they could sell an album for 1p and it can chart, so long as they paid over the minimum dealer price when they bought them.Well aren't a lot of them being sold too cheaply to qualify for the official album chart?
The dealer prices (for CD's) are:
(Budget) 0.50 - 4.24
(Mid price) 4.25 - 5.99
(Full price) 6.00 or over
midprice and full price albums are eligible for the main chart, budget albums have their own chart.
-
-
Edited by Robbie
by the way, this was Tiscali's response in full to the BPI, also taken from the slyck website (it's in the comments page at the second slyck link).
Alleged Copyright Infringement
Suspension and Disclosure of Customer Information
Thank you for your letter dated 10 July 2006, notifying us of your allegations that certain customers of Tiscali UK Limited ("Tiscali") have and continue to infringe the copyright in various sounds recordings owned or controlled by certain members of The British Phonographic Industry Limited ("BPI").
In your letter, you request that Tiscali:
1. suspends the relevant customers until such time as they enter into an undertaking with the BPI in the form required by you;
2. discloses the personal details of the relevant customers to the BPI; and
3. itself enters into a legal agreement with the BPI obliging it to do the above.
I will deal with each of these issues in turn below.
Firstly, however, I would like to be clear that Tiscali does not support or condone use of its network for abuse or infringement of copyright. Tiscali has a history of co-operating with those investigating any such matters, within the limits of its own legal obligations and whilst respecting the legal rights of our customers. Moreover, Tiscali has done a great deal of work to further the development of the legitimate online music community and has developed and enjoys an excellent working relationship with most of the major record labels in the UK and many independent labels, the majority of which are your members.
Suspension
You have sent us a spreadsheet setting out a list of 17 IP addresses you allege belong to Tiscali customers, whom you allege have infringed the copyright of your members, together with the dates and times and with which sound recording you allege that they have done so. You have also sent us extracts of screenshots of the shared drive of one of those customers. You state that such evidence is "overwhelming". However, you have provided no actual evidence in respect of 16 of the accounts. Further, you have provided no evidence of downloading taking place nor have you provided evidence that the shared drive was connected by the relevant IP address at the relevant time.
Similar requests we have dealt with in the past, have included such information and, indeed, the bodies conducting those investigations have felt that a court would consider it necessary to see such evidence, supported by sworn statements, before being able to grant any order.
Therefore, in order to assist you, we will require the following information from you:
1. in respect of the remaining 16 IP addresses, please provide screenshots of each user's shared drive so that you can prima facie establish communication to the public;
2. in respect of all 17 IP addresses, please provide evidence that shows that the user id is connected via the IP address concerned at the relevant date and time;
3. if you wish to establish that downloading is taking place, please also provide evidence of this; and
3. as these IP address are dynamic and are allocated to a user upon connection for the duration of the connection only, please confirm that the timings provided are all BST, so that we may accurately identify the customer details.
In the meantime, we have contacted the customer, in respect of whom you have provided partial evidence of communication to the public of copyrighted sound recordings and have given such customer seven days from the date of receipt of our letter to provide an explanation. Should we not receive an adequate explanation during such period, we shall suspend the user's account pending resolution of your investigation, assuming by that time we have received evidence from you of a link between the user account and the IP address at the relevant time.
At this point, I would like to make it clear that a similar procedure will be followed in respect of the remaining 16 customers, once you have provided proper evidence. Tiscali does not intend to require its customers to enter into the undertakings proposed by you and, in any event, our initial view is that they are more restrictive than is reasonable or necessary. However, should you wish our customers to enter into your undertakings, you will need to approach them directly. It is a matter for them to decide whether they wish to enter into such undertakings or defend proceedings against them in the courts. It is not for Tiscali, as an ISP, nor the BPI, as a trade association, to effectively act as a regulator or law enforcement agency and deny individuals the right to defend themselves against the allegations made against them.
Disclosure of Customer Details
As you will already be fully aware, Tiscali will not be able to disclose customer details to you unless you obtain a court order requiring us to do so. To disclose without a court order would put Tiscali at risk of breaching the terms and conditions of its customer agreements, and the provisions of the Data Protection Act 1998.
Tiscali Undertakings
As we have mentioned above, Tiscali has always co-operated with investigations into alleged infringement conducted by copyright owners, whilst observing its own legal obligations and respecting the legal rights of its customers. In the circumstances, we do not consider it necessary nor desirable to enter into such undertakings nor do we believe that, in circumstances where we are co-operating with your investigation in the manner we have outlined in this letter, that a court would require us to do so. Furthermore, we do not believe that you have at present satisfied the requirements of section 97A of the Copyright Designs and Patents Act 1988 with the information you have provided.
We look forward to receiving the information requested above.
Yours sincerely
Tiscali UK Limited
-
Edited by Robbie
I DO like the response from Tiscali to the BPI!
I'm not sure if this part is in any of those links or in another I read, but when BT launched its On Demand service (with Dotmusic) in 2002, the BPI tried to pull the same trick with them. This despite the fact that BT had suggested the On Demand service as a way of cutting down on illegal downloading on its network. And the BPI was in the process of working WITH BT while at the same time as trying to serve legal notices on them!
If anyone has a chance to read either of the slyck.com links, read some of the comments posted - they are great!
-
Edited by Robbie
well, it IS illegal! And the BPI / RIAA do exist to protect the interests of their members.
The BPI have come up with a novel way of going after illegal filesharers. They have contacted some ISPs demanding they terminate the accounts of habitual filesharers.
see
http://www.slyck.com/news.php?story=1242
http://www.bpi.co.uk/index.asp?Page=news/l...file_1011.shtml
and Tiscali's response to the BPI
-
Limewire was supposed to be filtering out copyrighted content that wasn't authorised to be shared, but instead the developers decided on introducing a copyright opt-out option for users. The problem for the music industry is that some file sharing networks are open source ie the code is freely available and can be used to develop alternative p2p applications, such as FrostWire which is basically the same as LimeWire.
The death of Kazaa last year was meant to signify the end of filesharing networks, but they are still there. Though one file sharing network has been successfully infiltrated by the RIAA, to such an extent that they are able to track thousands of users simultaneously. That is how the RIAA were able to successfully sue so many filesharers, they were able to not only view shared folders but actually track the downloads certain individuals were making.
Not In Top 40
in UK Charts