Bredonborough.
The sky is grey. Shortly off to DGM HQ.
18.42 DGM HQ.
David has just gone home for dinner and will be back. I have prepared 3 contributions to The Hell Boys CD, the latest version of which I listened to while driving to DGM this morning. These include two versions of a Frippertronics loop from (probably) 1979 and an edited version of one Hell Boys track, that emerged while testing the Peak editing system in Atlanta, Tom Is In Hell. These are now burnt onto a CD and will be sent to Hell Boys World Central tomorrow. Call-up for Crim Active Service in October prevents me from making a direct in-person visit to Hell for a recording session.
Meanwhile, DGM is embracing its creative future while continuing to deal with its history. For example, we charged a fee to The CGT for 2 days of an assistant engineer's time, who had produced compilations for The CGT to send out. A manager acting on the Trio's behalf had complained about this. DGM had already reduced our studio fees to The CGT, for work done on their behalf, because they couldn't afford them. But the assistant engineer we paid for ourselves. Why not recoup?
This falls under the heading of what The Vicar calls the DGM Charity & is an example of the old DGM: a nominally new-model record company that was nevertheless expected to act on an old-model basis; i.e. by providing services that a conventionally exploitative company made available as a palliative to a cruel & inequitable deal. These palliatives were underwritten by ownership of copyrights & feeble royalties that, in any case, would be under-accounted.
19.29 A telephone conversation with Tom R of The Hell Boys.
21.01 DGM SoundWorld.
The Late Shift is about-to-be-becoming underway. David & I have just spoken to Charlie Hewitt about present & future KC touring plans. We are told that Sanctuary are confident that the KC DVD release on 7th. October will go ahead.
22.09 Charlie Hewitt has called back regarding the KC performance in Mexico city. Charlie's call illustrates the madness of the touring life. Much to his credit, he hesitated before calling me for my opinion. Meanwhile, here in DGM SoundWorld, our work on a Frippertronics track from 1979 continues.
23.04 We have found a surround-sound approach to FTX.
23.39 David has just left for home following an interesting discussion in the kitchen. David says that The Vicar has a purchase on the future.
"The audience is mother to the music."
