Quote:
Originally Posted by aleuzzi
The case had merit — on a technical, legal level. Fleetwood and the McVies had renegotiated their Warners contracts to receive higher royalty payments. These royalties included records with which Welch was a part. He was not included on these renegotiations and said he too should have higher royalties. Bob touches on this in a very skeletal way in one of his two Q&As. I’m sure there was some legal merit because the matter was resolved in the form of a settlement.
However, the spirit of the lawsuit may have felt like an injustice to Fleetwood and the McVies, whose affiliations with Warners had been constant and whose name recognition was much higher than Welch’s at the time of negotiation: they were in a position to renegotiate; he was not. Plus, getting sued by Welch had to have felt like a bitter, ironic echo of their own lawsuit against Davis, spearheaded by Welch, Fleetwood, and the McVies. So….
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I agree with Welch in the sense that he had the most hand in these albums and songs. He deserved to get his beak wet for carrying them.
Christine and Mick did appear on his albums and help him out with shows etc (as they all climbed the ladder.) French Kiss did really well. To compare it to her album which came out 1984 is absurd. Sales wise and all.
She hadn't had a solo effort since 1970 and marketing herself was tricky by the time 1984 came around.
Having said all that, I did a little digging from my few sources, and Wendy was a bit batsh**T crazy. To take all her words at 100% is NOT the way I would go about it.
I still think Bob was due a ton more credit that he received. He kept that band alive and even moved them here.
May he rest in peace and argue with Christine up there in heaven. Maybe Peter or Bob Weston can referee the whole fiasco!!