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England and Wales High Court (Chancery Division) Decisions |
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You are here: BAILII >> Databases >> England and Wales High Court (Chancery Division) Decisions >> Straw & Anor v Jennings & Ors [2013] EWHC 3290 (Ch) (01 November 2013) URL: http://www.bailii.org/ew/cases/EWHC/Ch/2013/3290.html Cite as: [2013] EWHC 3290 (Ch) |
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CHANCERY DIVISION
Strand, London, WC2A 2LL |
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B e f o r e :
____________________
(1) BILL STRAW (2) BLIX STREET RECORDS INC. |
Claimants |
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- and - |
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(1) GRAEME MARTIN JENNINGS (2) BEYOND THE SEA LIMITED (3) BEYOND THE SEA PTY LIMITED (4) DIDGERIDOO RECORDS PTY LIMITED |
Defendants |
____________________
Mark Vinall (instructed by Russells) for the Defendants
Hearing dates: 5th, 6th, 7th, 10th, 11th,12th, 13th, 14th June, and 11th July 2013
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Crown Copyright ©
Mr Justice Warren :
Introduction
i) 50% of the net profits arising from the non-distribution elements of the venture after deduction of the 30%/10% distribution fee (I refer to the resulting figure as "the Net Profit Share"); and
ii) 50% of the profit element of the 30% distribution fee, that is to say the amount by which 30% of gross receipts exceeded the distribution costs including overheads attributable or apportioned to the distribution business ("the Distribution Profit").
Issues
i) Its terms in relation to
a) losses andb) the periods in respect of which profit (or loss) should be ascertained.ii) The correct approach to the ascertainment of Distribution Profit and the correct figures to use.
iii) Whether I should determine the amount of the Distribution Profit as part of the present hearing or whether the matter should be sent off for an account to be taken.
iv) Assuming that I determine the amount myself, the actual amount due.
Distribution Profit = Reported Profit Before Tax – JV Profit Share – non-Eva profit
That formula comes from the evidence of Mr Spencer. He accepts that it requires adjustment, in particular the Reported Profit Before Tax must be increased to reflect the inclusion in that element of amounts which are not deductible in computing Distribution Profit.
The Witnesses
The Pleadings
i) Take the relevant company's reported profits before tax;
ii) Deduct the share of JV profit for the relevant period to which that company was entitled.
iii) Apportion the resulting profit or loss (which represents distribution profits or losses across all of its activities in the relevant accounting period) between the DA and non-DA activity;
iv) Aggregate the profits or losses from the commencement of the project down to the end of 2006.
The claims pursued
The background facts
The facts, continued
The contracting parties
The Distribution Profit; sharing of losses: Issue i) a)
i) The JV envisaged a joint enterprise with responsibilities being shared between the joint venturers. The gross receipts of that enterprise less the costs and expenses of running it were to be divided equally. In the nature of the operation of the exercise, one party or the other would be in receipt of income and would pay, in the first instance, the costs incurred in that part of the venture operated by them.
ii) In contrast, the DA envisaged a business which would be operated by the Defendants. The distribution fee of 30% of gross receipts was to be taken from those receipts before ascertaining the gross income of the JV. The fee belonged to the Defendants and the outgoings on the distribution business were the obligation of the Defendants. The distribution fee did not belong to the Defendants and Mr Straw and Blix together nor were Mr Straw or Blix liable for the outgoings of the distribution business (either to third parties contracting with the Defendants or inter se). Instead, the DA provided for the ascertainment of the profit of the distribution business, that is to say the profit of the Defendants in conducting that business. It was that profit, as an amount of money, which was divisible in equal shares. If there was not profit, there was nothing to divide. But that does not make the liabilities of the Defendants liabilities of Mr Straw or Blix.
iii) I do not consider that this conclusion is affected by Mr Vinall's appeal to the parallel position in relation to North America and the distribution there of Mr Jennings' catalogue even if, contrary to Mr Straw's case, the JV extended to such distribution. Indeed, if anything, I perceive the position as supporting Mr Straw's case. It seems to be common ground that any distribution fee payable to third party distributors would be deductible in ascertaining the divisible profit of the venture. Mr Jennings' position in relation to distribution in the UK and Australia prior to the making of the DA was that the Defendants too were entitled to a 30% distribution fee.
iv) Quite clearly, Mr Jennings saw distribution as sitting outside the JV and to be his concern alone and for which the Defendants should be paid. On that basis, Mr Straw and Blix would receive no share of the profit of the distribution business nor, clearly, would they be liable for a share of any loss. But Mr Straw saw the distribution business as a separate profit centre and considered that Mr Jennings should not be entitled to profit at the expense of the joint venture. I doubt very much indeed that either Mr Straw or Mr Jennings considered for a moment that the possibility that there might be a loss. Had it been raised, I think it more likely than not (to put it at its very lowest) that Mr Straw would have met that possibility with disbelief and refused to agree to a sharing of loss. Now, it may also be said that Mr Jennings, contemplating the possibility of a loss, might have taken the stance that for his part, he would not agree to an equal sharing of profit unless losses were shared too. Perhaps, after negotiation, they would have agreed to share losses, perhaps they would have agreed to share only profits. Or perhaps they would have reached no agreement at all. I can only speculate what the outcome would have been. But what we do know is that the parties in fact entered into an agreement which did not deal expressly with the possibility of loss. Given the scope for speculation about what the parties would have done, I see no room for the implication of a term that losses would be shared.
v) This result, it seems to me, is more consistent with the structure which I have described above than the sharing of losses as well. The analogy here is with a third party provider of distribution services. A commercial deal might be done with such a provider that it should have a 30% distribution fee with a proviso that the third party would account for an amount equal to a specified share (eg one half) of its profits on the relevant part of its business. There would be no question of sharing of loss. I see nothing uncommercial in such an arrangement; there is no need to imply a term that losses would be shared in order to give business efficacy to that agreement and it is certainly not obvious to imply such a term.
vi) Mr Jennings might say that this conclusion is absurd because, if he had never sought to charge a distribution fee in the first place, the income and outgoings in relation to distribution would have formed part of the JV so that any loss on the distribution business would have reduced the JV profit and thus been borne equally between the two parties. That is true. But he did seek to charge a distribution fee and the agreement which he reached maintained the structure of such a fee. So this consideration does not, in my judgment, lead to the conclusion that losses must be shared.
The Distribution Profit and period for ascertaining profit: Issue i) b)
Ms Cole's 2000 Account
"…..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."
Payments on account of Distribution Profit
"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."
Cash-flow difficulties faced by the Defendants
"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) Deducting the supposed licence fees under the Licence Agreements as expenses.
ii) Deducting artificial internal management fees and administration charges (almost £2 million was deducted from BTSL under this head over the joint venture period).
iii) Making large deductions in respect of property expenses for Redlands even though that property was largely refurbished and maintained for Mr Jennings' personal benefit.
iv) In Australia, paying substantial rent to Mr Jennings for Annandale, itself purchased using the company money taken through the licence fee device.
v) Deducting a range of Mr Jennings' personal expenses.
vi) Engaging in inter-company lending / debt waiving.
vii) Altering the year end of BTSL so that the large revenues triggered by Songbird's success were accounted for in an extended 17 month period.
"we will be sending our Oz office a large chunk of £s on 28th of this month and they will send the exact same amount back to us on the 2nd July! I know that this sounds crazy but we have been advised by our auditor Peter Hussey to do this in order to establish a 'pattern of intercompany trading' between Hot UK and Hot Oz which will be reflected in our respective year end Accounts as at 30th June this year. Put quite simply, it's a cosmetic accounting exercise which we are having to do in order to avoid potential UK tax problems that could arise if we don't do it."
The April 2005 Account, the events leading up to it and the re-allocation of the Payments on Account to Net Profit Share
i) It was at this time that Mr Spencer collated and sent to Mr Stewart up-to-date distribution accounting figures for Australia, something which Mr Spencer stated he would have only done on Mr Jennings' authority.
ii) This fits with the time at which, according to his deposition in the US proceedings against the Cassidy family, Mr Jennings appears to have spoken to Mr Stewart about deducting a management fee.
iii) It also fits with the time that Mr Regan and Mr Bowles were (according to Mr Jennings' witness statement) urging deductions to be made for Asian and Irish sales.
iv) It makes sense given the broader background: Mr Jennings' expenditure was causing cash flow problems, and Mr Jennings wanted Mr Stewart to persuade Mr Straw to accept a reallocation of the on account payment, and to defer payment of distribution profit. Before that could be advanced, it would make sense to prepare an up-to-date Distribution Profit account.
"By way of explanation, I would mention that in order to avoid jeopardising our financial position generally, and Redlands in particular, this is the maximum amount that we can pay you at the present time. Please note that in calculating the amount we are paying now, we have reclassified the distribution payments already made of £500,000 and £175,000 respectively, as we see this as the neatest way of applying these payments against our outstanding indebtedness to you…"
after which passage there follows on the passage which I have set out at paragraph 135 above.
i) Mr Stewart's actual authority to prepare the April 2005 Account and his authority to send it to Mr Straw; and similarly his actual authority to send the 94 pages of schedules.
ii) When Mr Stewart first sent the April 2005 Account to Mr Straw.
iii) The (alleged) phone call concerning the April 2005 Account.
Methodology for ascertaining Distribution Profit: Issue ii)
Distribution Profit = Reported Profit Before Tax – JV Profit Share – non-Eva Profit
"stating the companies' financial positions for tax purposes. Because of this they include accounting adjustments that are intended to manipulate the taxable profit but which have nothing to do with the distribution accounting (nor for that matter the joint venture accounting)….
….
In my opinion, the correct methodology for calculating the Distribution Profit is to identify the actual costs that relate to the distribution activities, as Belinda Cole and then Alan Stewart did in the August 2000 and the April 2005 distribution profit accountings. The same methodology was used in the joint venture accounting i.e. using the actual joint venture costs as the basis of the accounting.
This is the methodology that I have seen used by others when calculating profits to be shared by joint venture parties."
Should an account be taken?: Issue iii)
Quantum of Distribution Profit claim: Issue iv)
i) £375,000 notional management charges for Mr Jennings.
ii) £203,674 for foregone income on Asian and Irish sales.
iii) £341,135 spent on refurbishing Redlands.
"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."
i) Some costs of repairing an Australian properly, Annandale, have been included which should not have been and the rent for Annandale (which was not at arm's length but rather was paid to Mr Jennings) was inappropriately high.
ii) An excessive amount for Australian staff wages had been included.
iii) The same applied with respect of other costs such as telephone, motor vehicle and other expenses.
The Cassidy litigation
a. On 16 March 2006, Mr Straw sent a fax to Mr Stewart setting out what he said was owing. He claimed £181,224 in respect of unreimbursed Cassidy parties' royalties (ie royalties paid by Blix which were costs of the JV) and unpaid JV profits regarding an adjustment of Blix's Net Profit Share due to "clawed back" royalties.
b. On 21 April 2006, Mr Stewart sent a fax to Mr Straw. This fax was sent on the instructions of Mr Jennings: this can reasonably be inferred from the contents of an email dated 20 April 2006 from Mr Stewart to Mr Spencer reporting on changes which Mr Jennings had made to a draft of the fax. In it, Mr Stewart agreed to £175,018 unpaid Blix profit share, but disputed (as a separate matter) the £6,206 of unreimbursed royalties paid by Blix. Mr Stewart's challenge was based on two matters relating to Grace Griffith and Bryan McCulley royalties, the detail of which is complex but of no relevance to the matters with which I am concerned. The result was that Blix was shown as owing £16,105 to the Defendants. Mr Stewart had sent a copy of a draft of this communication to Mr Jennings for comment. I will return to this fax when dealing with acknowledgment in the context of limitation.
c. Mr Straw responded on 7 May 2006 saying that he did not disagree with Mr Stewart's breakdown but that the distinction was one without a difference. He maintained the £6,206 claim and Mr Stewart and Mr Jennings discussed the position internally.
d. It now appears from further disclosure given shortly before the trial from Mr Stewart's files, that Mr Stewart and Mr Jennings did discuss the matter internally. It seems that Mr Jennings drafted a letter which Mr Stewart then sent under his own name on 27 May 2006. This included the following: "thank you for confirming my joint venture profit share figure of £175,018" and went on to reiterate the point made in earlier correspondence that Blix's joint venture profit and the Cassidy Parties royalties were fundamentally different in character and should be accounted for separately. Mr Hunter submits that this letter amounted to a clear admission that £175,018 was due in respect of net profit, and that this constituted a separate account.
i) £34,563 said to be 50% initially charged as a joint venture cost to acquire and exploit footage to make promotional videos. It is claimed that the charge should be reversed on account of Mr Straw and Blix retaining since the termination of the JV the benefit of the film footage for their sole and absolute use.
ii) £51,995 said to be legal fees incurred during the JV to protect the rights in the EC recordings and to act against pirated copy CDs. It is claimed that the charge should be reversed on account of Mr Straw and Blix retaining since the termination of the JV the benefit of the recordings for their sole and absolute use.
Limitation
i) The claim for an account of the Distribution Profit prior to 9 April 2005 is statute barred, that date being 6 years before the date on which the Claim Form was issued.
ii) The claim arising out of the recalculation of Net Profit Share following discovery of the Cassidy overpayment is statute barred, relating as it does to an adjustment which should have been, but was not, asserted no more than 6 years before the date on which the Claim Form was issued.
iii) The claim for payment made as an action in debt is properly construed as a claim for sums due upon taking an account for the period prior to 9 April 2005 and is statute barred.
"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)."
The Counterclaim – copyright claims
i) The graphic work or collage that consisted of the arrangement of artistic works on the CD packaging of Time After Time, Imagine, American Tune and Wonderful World (referred to in AD&C as "the Albums").
ii) The literary work that consists of the text (other than song lyrics) on the CD packaging of the Albums.
iii) The film work comprising the video featuring EC to promote the recording "Over the Rainbow".
iv) The compilation and sequencing of the EC recordings into the Albums.
i) Over the Rainbow: video.
ii) Time After Time: compilation and sequencing.
iii) Imagine: compilation and sequencing; album artwork.
iv) American Tune: compilation and sequencing; liner notes and track notes.
v) Wonderful World: compilation and sequencing.
i) A UK copyright infringement claim in respect of the "compilation and sequencing" copyrights in respect of the albums "Time After Time", "Imagine" "American Tune" and "Wonderful World".
ii) A UK copyright infringement claim in respect of the liner and track notes for the album "American Tune".
"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."
- In the album notes of "Imagine". This states: "Bill Straw, founder, Blix Street Records, compiled Songbird, Time After Time and Imagine". These notes were approved by Mr Jennings.
- The same is true for "American Tune" – Mr Straw is credited as compiler and sequencer
- And Mr Straw was also credited as having compiled and sequenced "Wonderful World", at least in the Blix version of the album. On the Hot version, there was a joint Straw/Jennings credit. However, Mr Straw's evidence was that he did this because Mr Jennings badgered him to do so rather than because it was a true reflection of what had happened."
Q. That's what it says and that's what you authorised to be manufactured, yes?
A. Yes, of course.
Q. The reason you authorised it in that form is that's absolutely correct, Mr Straw did the compiling and sequencing?
A. Even if I thought it wasn't correct I would hardly stop the manufacturing because of it."
"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"
"Some singers need an audience to bring out their best. Not Eva Cassidy. The recording studio was Eva's natural musical home where she was free from the pressures of live performance. She spent countless hours there, recording, rehearsing, even helping to paint the walls and glue on acoustic times. 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 is a testament to the extraordinary talent of Eva Cassidy that, without benefit of multiple retakes and adjustments, her flawless pitch and remarkable clarity of voice never fails to send a shiver up the spine or bring a tear to the eye.
i) a claimant needs to establish their cause of action by proving the acts in question were done without licence. This burden is discharged by formal evidence that consent was not given.
ii) once the claimant discharges this burden, the onus shifts onto the defendant to establish the existence and extent of the implied licence.
"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."
i) The first approach only applies where the owner of the copyright sells products embodying the copyrights, when he will be compensated for the loss to his business. That is not the present case since the Defendants have no licence to use the EC catalogue and no opportunity to use the relevant copyright material.
ii) Where the owner licences the copyright to others, he will be compensated by the licence fee that would have been payable in comparable circumstance; in effect, the infringer will have to pay by way of compensation that which he would have had to pay for a licence. That, again, is not the present case.
iii) Where the owner has no intention of exploiting the copyright, compensation will assessed by reference to the reasonable royalty on the basis of a hypothetical transaction between a willing licensor and licensee (whether or not the actual owner would in reality have been willing to grant a licence).
"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."
Assets created for the purposes of the JV
Disposition of Counterclaim
Orders on the claim