Buy report Log In to watch. Find Out More. Company Type Private limited with Share Capital. Company Status Active - Accounts Filed. Incorporated On 23 November Nature of business SIC Sound recording and music publishing activities - Trade as a record company.
Accounts Available to 31 Dec Next accounts due by 30 Sep Mortgages and Charges. Key Financials Sign Up Today to unlock this company's full accounts. View Full Accounts. Oct We'd also like to use analytics cookies so we can understand how you use our services and to make improvements.
You've accepted analytics cookies. You can change your cookie settings at any time. You've rejected analytics cookies. We use cookies to make our services work and collect analytics information. To accept or reject analytics cookies, turn on JavaScript in your browser settings and reload this page. Next accounts made up to 31 December due by 30 September To his eternal credit, the down-to-earth George Harrison appeared in 's All You Need Is Cash , the story of the Prefab Four, The Rutles, as an interviewer confronting Eric Idle — playing a press officer clearly based on Apple's Derek Taylor — who denies the scale of the theft while an endless stream of lowlifes wander past with their newly liberated swag.
Despite the best intentions, Apple failed because it lacked a sound business structure and never managed to become truly independent of its corporate partners, who were reluctant to invest, despite taking a disproportionate share of the profits.
Only a few years later, the ruthlessly efficient Led Zeppelin cleaned up with their own Swan Song label, especially in the United States, where their most successful signing, Bad Company, weren't far behind them in sales terms.
America, where a business mentality is forced into children at an early age, is more likely to produce artists capable of writing a business proposal. Madonna's Maverick set-up has long been seen as an important piece in her plan to take over the world, but even a cursory look at its artists reveals that they have little in common save their obvious commercial potential.
It hardly took a genius to spot that Alanis Morissette, a less scary, more stadium-friendly PJ Harvey, would do well, though no one could have expected her to shift quite so many records.
Drab though they may seem, The Deftones were clearly poised to separate millions of glum teenagers from their money, after years of building a following. They were common-sense signings, not intuitive or risky moves. The tendency to credit musicians with greater insight than the rest of us earned Prince a place on the Warner Brothers board, before he lost his name and quit for good. Today, Fred Durst, once a tattooist with a shaky hand, holds a similar position at Interscope records, where his talent-spotting skills are used to find young bands who often sound like his own Limp Bizkit.
Here in Britain, despite their influence on the last decade's music, Massive Attack have failed to match their own sales with their Melankolic label, while the Stereo MC's' long silence wasn't entirely unproductive. They managed to find and record a young hopeful called Finlay Quaye, but their backers wouldn't stump up for a proper deal.
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