UPDATE: UMG PAID 8000 quid to have this page removed so here it shall stay. After providing them with details of other stolen intellectual property that I own, they, AGAIN, lied about where it was made, who made it etc. Even going so far as to tell me whose fricken idea it was to make the fricken track in the first place!
The amount of stolen material has made it impossible me to honour any contracts or verbal agreements I have with UMG as they simply will not honour the contracts they have with me.
UNTIL SUCH TIME AS ALL STOLEN MONEY HAS BEEN RECOVERED AND ALL INFRINGING MATERIAL IS NO LONGER BEING EXPLOITED THIS ARCHIVED ARTICLE SHALL MARK THE POINT IN THE FIRST CASE AGAINST THEM WHERE I CAUGHT THEM DELIBERATELY LYING. THE ONLY REASON UMG PAID ME THE MONEY WAS BECAUSE I SPENT AN ENTIRE DAY MAKING THIS REPORT, WHICH I SHOULDNT HAVE TO DO WHEN SOMEONE STEALS MY MUSIC. THE ONLY REASON THAT HAPPENED WAS BECAUSE THEY DIDNT LISTEN TO ME WHEN I TOLD THEM THEY MADE A MISTAKE. I ALSO TOLD PETER OXENDALE AND HE MADE NO ATTEMPT TO EXAMINE THE SITUATION, BECAUSE HE KNOWS WHAT SIDE HIS BREAD IS BUTTERED ON. IT IS ALSO INTERESTING TO NOTE HE PARTICIPATED IN THE RIDICULOUS BLURRED LINES TRAVESTY.
UMG maintain that they sent the wrong tape to Peter Oxendale and this article was made before that extremely sketchy claim was made. it has to be noted that they only made this claim after it became clear they were going to have to give me quite a few grand. the wrong tape. yeh. ok right.
A musicologist is someone that is bestowed with the authority to listen and judge music for plagiarism cases etc, apparently these are the only people our illustrious courts will trust in judging music. I was recently judged by one in some case I had to bail from because the costs were becoming ridiculous as were the arguments. I lost out on the 25k of profits plus damages on yet another stolen piece of audio used on a track called ‘Terminus’ by the orb. There are no two ways about it, this particular piece of audio was 7 minutes long, and it formed the basis of the track. They tried to call it a ‘sample’ in order to give me less money, when in fact its a remix but they will say or do anything to get out of treating musicians fairly. In the end they just fucked me off with this weird move. They paid someone to say it doesn’t exist. *head scratchy.
It is in fact stolen from my old record label, which itself was the subject of fraudulent transactions, false directors etc unbeknownst to me at the time. It is in fact a piece of audio from an album called ‘FFWD’ and was a guitar part played by Robert Fripp. I didn’t play it, I just owned the label that put it out but I still don’t want DRAP AND UMG to profit from that label and I’m quite within my rights to complain.
The kicker though for me was that some 64 year old guy called Peter Oxendale, the musicologist they paid, some guy I’ve never met who has no position in a court decided that this audio they had stolen DID NOT EXIST and escalated the costs of everything to an untenable level. It took me a while to come to terms with as I had been zooming in on this audio for weeks plus I know about the amount of hearing you lose by 64 years old. I took the track they nicked it from, ran it alongside the other one and I found that they hadn’t even edited it or changed the pitch of it at all. no pitch change and the track runs for 7 minutes on and off with someone using a filter to disguise it in certain parts, but not by much. In my opinion if you cant hear that theft, then you should not be working in the music industry in any capacity.
According to Peter Oxendale tho, I’m wrong. Peter Oxendale cannot hear any similarity between the following two tracks whatsoever. According to Peter Oxendale, the track ‘Terminus’ is not only not a remix of ‘Hidden’, but contains no parts from ‘Hidden’ whatsoever. I suggest if you were thinking of hiring him as a ‘musicologist’ that you listen to these, read my forensic report and see if you can spot the similarity yourself. If you can, your ears are sharper than Peter Oxendale’s. Either that or UMG paid him to lie, which is equally as if not more shit. By the the end of this webpage, I will completely pwn Peter Oxendale. Sorry been watching too much South Park.
I will show that UMG cynically lied when it became clear they were going to have to pay out the entire royalty this track had earned. this figure was £25,000 then once it became clear they made a mistake and it dropped to something else ridiculous. The amount of my time they have wasted with this, my loss of earnings sorting out their mistake and pattersons theft, damages to my reputation, using my IP on records without my knowledge, their continual use of my name on their facebook and other social accounts to make it appear as though I am still involved with them, the lies at PPL and PRS and in the press, the unauthorised and wilful abuse of streaming and downloading rights, removing my name from my own fucking record, still going on today. all this has to be paid for.
When I first heard Peter Oxendale lied about this I was absolutely furious, steam coming out of my ears and everything. I spent a year finding a solicitor, days writing up cases and investigating, the solicitor put 5k of his own money in, it was devastating. However, still, after I calmed down about it a bit (that took one year), I contacted Peter Oxendale and gave Peter Oxendale the chance to retract his lies or visit it again and he refused. That’s why this page should exist in public, so Peter Oxendale is never again allowed to crush justice and earn money by helping large corporations steal from skint, homeless musicians.
If Peter Oxendale really cannot hear this surely means cases involving his testimony are going to have to be looked at again. He describes himself as a ‘forensic musicologist and UK expert witness’. I just couldn’t believe the letter when it arrived. What do you think? I would be willing to give the following evidence in court if any solicitors involved in past cases relying on evidence given by Peter Oxendale want to contact me.
this is ‘Terminus’ from the orb album ‘Cydonia’
this is called ‘Hidden’ from FFWD
you can hear the guitar riff that the track is based around come in at roughly 2.45 – in terminus the track is quietly audible from about 1.30. it varies in volume and filter for the next 7 minutes or so, which is when the original audio stopped on the multitrack. this audio has clearly been lifted off the FFWD multitrack.
Peter Oxendale was employed by UMG to make a report which in good faith they refused to show me so I will make my own report. Are UMG and Peter Oxendale deaf as a post ? Lets have a closer look…
Terminus Infringement Report by Kris Weston
Regarding: Remix by Alex Paterson and Andy Hughes of FFWD track ‘Hidden’ and subsequent cover up.
I have over 20 years of experience, mixing, producing, sound engineering and most importantly listening to records, acoustic and electronic. I am able to hear extremely small differences in pitch and able to solo individual sounds within a mix in my head, these are standard skills you would expect anyone decent to have in the music industry and especially anyone hired to work on a legal case. In addition to this, I produced and played on the FFWD recordings for quite a long time, and I know them inside out being the main leader and producer of the record and all records I work on. I played and produced Hidden around Fripp’s guitar part, played Hidden’s classical synth riff, its bassline, all the other synths on it, all the effects and produced and mixed Hidden. Although the album was supposed to be a collaboration of Fripp, Fehlmann, Paterson and myself, on this track Fehlman and Paterson did nothing apart from offer their approval at what I was doing.
There are three different versions of terminus each with different amounts of the stolen audio. From what I can tell there is a leaked version, a demo version and the released version. The demo versions has significantly less parts where they remove the filter from the stolen audio, making it hard to recognise. The released version is the most obvious.
The first thing to notice about the two tracks when put together is that the root note of Terminus is the same as Hidden. This is essential to the argument that Terminus is a remix of Hidden, and not an original track and indeed immediately puts into doubt UMG’s contention that these two tracks are completely unrelated, a contention which surely is deliberate lie based on their behaviour in the past. This lends credence to the fact that Terminus was built around Hidden, Hidden setting the entire key of the track, which remains the same throughout.
The identical key by itself is not proof that the infringement has occurred of course, although the chances of two tracks being able to play all the way through without dissonance or pitch changing is quite slim. These two tracks play all the way through together in the same key. I have now managed to synchronise the two recordings and conduct a forensic analysis and, as I have always said, it is undeniable that the performance is taken from Hidden. Terminus is approximately 4 minutes longer than Hidden, when you line them up you can see that after the track finishes on Hidden it no longer appears after that point on Terminus.
Perhaps some confusion (although one would expect a ‘musicologist’ to be able to hear this) arises from the fact Andy Hughes has put a resonant lowpass filter with a high Q over a lot of the performance, riding the high cut frequency at some points in the track to create a string like effect and possibly adding delay. It does seem like a deliberate attempt to disguise the performance but not one I consider to be well done enough that it disguises it enough to be unrecognisable. The parts where the performance is not recognisable by laymen such as Peter Oxendale, you can clearly hear the lowpass filter being brought down on the recording, there is further proof of this by listening to the synchronised recordings provided and A/B’ing between the two. The resulting ‘string effect’ is clearly a result of putting an effect over the original performance, as any sound engineer who ever reads this webpage this will tell you.
There is also a question of the drums in this record having been plagiarised. The points to note are the two percussion type tracks in Terminus. Both are copies of my work, the bass drum being a direct copy of spring reverb techniques I used in a previous tracks. Mr Hughes deliberately used my techniques over his time with the Orb after witnessing my production techniques using it along with the spring reverb effect and pitch effects on drums. Further evidence of this can be gleaned by looking at Hughes work before he met me. This work is nothing like my music, and he never used any of my techniques before he met me.
i mean its odd isnt it how Mr Hughes happened to accidentally take an 808 kick drum, distort it and then whack it really hot into the great British spring reverb that he stole from me in exactly the same way that he watched me doing it on my track ‘Plateau’ 6 years earlier:
and here is his copy on terminus, a technique he nicked off me slightly tweaked combined with a track he stole from my record label, he didn’t even bother putting a different pattern in:
The percussion elements also use another technique I use a lot which is using a mix of dry and subtle pitch effects on the drums, something else he saw me doing and ripped off. The drums on ‘Terminus’ are basically “Meat n Veg’ From ‘Pomme Fritz’ slowed down. Despite all the effort Andy Hughes made to be me, he never once got my sound.
In the original version of ‘Hidden’ the guitar track used is faded in and out by me. The way I worked in those days was to set up many sounds over a mixing desk, and bring them all in and out manually in a ‘live mix’ type situation. Hence why the offending track fades in and out of ‘Hidden’. The actual recording on the FFWD multitrack is constant.
To say this is a performance by Robert Fripp but not the performance he did on FFWD is impossible as the audio is exactly the same. The notes are the same, the sound it is played on is exactly the same and the progression of the melody and timing are exactly the same. The length of the track is the same as well, once you synchronise the two when the Hidden audio stops, that is the last time it is in the track, they didn’t even bother to cut it up or process it in any way other than slchap a filter on it. In fact Nicola Kennedy and Alex Paterson both agreed for an entire year that the infringement occurred up until it looked like they would have to pay me money, when suddenly the guitar came from ‘a different session’. Regardless, I spoke to Robert Fripp and he indicated that no further sessions were made with Mr Paterson after the FFWD sessions, thereby making it impossible for him to have performed this ‘on a different session’ as UMG indicate in their last letter. Furthermore, as it is now clear this is exactly the same audio as FFWD, the theory would require some form of agreement to licence said recording for use on Hidden, and no such document exists. I find this both typically unprofessional and outright malicious, seeming to be a tactic just to waste time and force me out of the judicial process by costing me huge sums.
Mr Peter Oxendale
Why will Peter Oxendale not show me exactly what he did in his job as a ‘musicologist’ whatever thats supposed to be. Has Mr Oxendale synced the two recordings like I have? I can clearly line them up here, if Peter Oxendale cant why is he allowed to be considered an authority? Actively refusing to show me the report is another cynical attempt at trying to crush justice as is UMG’s MO. I bet they were overjoyed when they dropped legal aid for musicians.
heres why Terminus is a remix of Hidden.
the drums on terminus were a little distracting from hearing what’s going on – also the real sub bass of the track was not needed for the melodic analysis. Let us remove them.
For this I will use UNMIX:DRUMS from my friend Denis Goekdag’s outstanding Zynaptiq company and some other tricks. As the drum tails contain a lot of reverb and the track itself has continual melodies with lots of reverb on the plugin would have a very hard time removing the drums perfectly and the track is so ‘blurred’ I left it with small artefacts. nevertheless its much easier to hear what’s going on in the backing track. I imagine Peter Oxendale didn’t do this in his report, who knows. The noodly first part of the track has no drums so was not touched. I edited the UNMIX:DRUM version into the track at 3:22:00:00, you may be able to hear the edit if your ears aren’t shot like musicologists ears.
I tried it another way as well by reversing what unmix did, bringing out only the drums instead of suppressing them, then gating that, removing as much of the artefacts as I could and then laying it alongside the original and phase reversing it. that sort of made it better but it wasn’t quite it, so i whacked UNMIX:DRUMS on again, and this was the result:
I didn’t like that one, I went for the first example, and removed some more top by learning the top end of the signal into z-noise by waves and then removing it. its useful because its dynamic, you put the signal through a lowcut into z-noise, then you press learn, then you remove the EQ and play with the threshold till you just get it cutting off what you want. I kept going to around 5.18 to check out how it sounded. result:
that was about as good as i needed to illustrate to the layman with non-producer ears. Now I can start to synchronise the two recordings so I can prove the notes are in exactly the same place throughout terminus. I think the left hand side has slightly less clutter.
The synth lines in Hidden make it harder to hear properly, I could remove them from the audio by synchronising the sequencer to it and copying the synth line in midi. then i suppose i could use the midi to trigger various plugins that would dynamically remove the frequencies, or I could use Melodyne DNA technology to remove the notes from the audio but tbh I cant be arsed, I think its blindingly obvious now if you A/B the audio and use a filter. I’ve used Sugar Bytes WOW2 bog standard low pass filter setting and schlapped up the resonance a bit. I can now make most of the tune match and I can see how Mr Hughes has disguised it, which was obvious anyway, but when you actually hear the harmonics that come out when you filter something you can see more the extent Hidden forms the basis of terminus. For Hidden I just used a lowpass to get rid of the bass.
very quick simple filter from WOW2 on Hidden. This probably sounds like Chris de Burgh to Mr Peter Oxendale.
I think you get the idea with the filter now.
as you can hear, this is so coincidental as to be worthy of scientific investigation. If this is a coincidence it could hold some of the keys to life within it.
I havent A/B’d all the parts that are the same but need we go further ? I only doctored the sound of this audio to make it more obvious to the layman, to me it was completely obvious on first listen without any processing.
My IP was recently used on an album released in 2001 called Cydonia by The Orb which I have only heard quite recently (after my mission to claim back my rights after many years started on the post ‘orbrant’). This IP was also freely given to other companies to licence with impunity, never asking for my permission. e.g. Future Noise music (no action taken yet ) and Back to Mine / DMC Publishing (no action taken yet ). These companies have not paid me any money for their illegal use of my work.
The companies collecting publishing for this also refuse to recognise I have a claim on my own property :D
(unsurprisingly – these companies are scum, they are music companies after all)
Cydonia contains two tracks which were not authorised by myself called:
We had a record label called intermodo and a production company called PAW productions. We released an album on intermodo called FFWD which featured Robert Fripp. Myself, Alex Paterson and Thomas Fehlmann. I part-owned intermodo records and in effect I still own the masters from it 25% each even though they probably no longer exist. (I dont know whether they do as DRAP took all the masters for everything including my personal stuff which he renamed and used as his own tracks e.g. white river junction – also no action taken yet– another case)
UMG lied for over 2 years to stall paying out for their theft, then protect themselves and their friend Peter Oxendale by not legally admitting their theft and preventing themselves from further legal action in order to take the cash. I had to agree to this bullshit on paper and take what I could get for now to continue the fight against them. I literally returned their contract one day after they sent it without even bothering reading it. Their word counts for shit anyway so I dont see why my word should count for anything. One day I will make them eat these terms, and they certainly aren’t silencing me with their non-disclosure bullshit, they can suck my fucking dick and this contract will remain publicly online until such time as they correct ALL of the outstanding issues and stop imprisoning my music.
Here is the letter where they cost Lewis Slikin 5k by lying and later on refused to pay that back in the settlement when they ‘found they had sent the wrong tape to Peter’ – come on.
In hindsight this letter is hilarious, at the time though what they were doing was attempting to price out out of justice as is their usual tactic being the most prosperous music company in the world. That was pretty annoying and completely immoral of course. Not that these people give a fuck about honesty and integrity in their business dealings.
Due to the release of the work below and years of people taking the piss, I have snapped and gone completely insane. I would like to clear my mind to focus on my Crowd-Funded album project which I’ve been working on for over a year, so I’m writing this to sort of close the book on what has been the source of so much negativity in my life for the past 15 years. This page is basically a mile long rant which turned into a battle over royalties, lies and loads of crap about a band called The Orb, a name I once made a number one selling act, which since I left, has consistently managed to release absolute dross and devalue my back catalogue. If I was you I would just click off now.
DO NOT BUY THIS ALBUM
So THIS is The Orbs ‘new’ album. I say new, but its actually a load of old….. er tracks. This album features rather a lot of my work, rather a lot of my mixing and rather a lot of me onstage, including Top of The Pops footage that is so cringe worthy I’ve managed to hide it from my mates for years :)
I didn’t ask for this to come out, I didn’t give it the ridiculously pretentious title and I had no idea this would be coming out at the same time as my Crowd-funding effort. I’ve been working on my pitch for a year. It wasn’t easy to bring it all together and I wasn’t notified this was coming. It wouldn’t have occurred to me, especially when you think of the many already released retrospectives. Would have thought the horse was well and truly tired of being flogged by now and the fans would have given up at the sheer brazen milking of it all.
So…. Why is this coming out ?
On December 2nd 2013 my publishing contract with BMG/Chrysalis ran out, initially I assumed, being a clueless cunt in business, that it was because my contract was running out that they were trying one last milk of my stuff, but as I investigated it became clear that this was nothing to do with Chrysalsis. It was Island Records / Universal doing this. Universals shameful exploitation of my back catalogue stems from a contract I signed in 1997, in which they basically stitched me up without legal advice. At that point I was going through major depression. I was in no state to be my own solicitor. I like to be in control of my work and how it is perceived, there is no way if I was in my right mind I would agree to relinquish all creative control of my records. Within 30 seconds of my call to Universal to ask them to immediately cease and desist, some extremely rude bitch told me I had no rights over my work, and that she had the contract in front of her. She sounded self-satisfied and pleased with her day job, presiding over the raping of musicians work. what a piece of work. She had the contract in front of her within 30 seconds of my call, which I thought strange. When I asked to see the contract. It took her a MONTH to give it to me, and yes they properly stitched me up. No control, no legal advice.
I have done nothing about this all this time. Remember, justice is for the rich, and I couldn’t afford to come up against these people, the aggro and stress is just too much as well as I viddied well after 3 years of litigation whilst still in the band. but NOW I’m ready, I have the energy and this release is the last straw in what I am prepared to take from these exploiting wankers.
There is one last point. To put the name Dr Alex Patterson underneath like that – kind of looks like he did it all doesn’t it ? Looks a bit like a solo album or something. The truth is Alex Patterson is a DJ. He cannot play an instrument or write music on a computer or anything else. The truth is the 10 or so other people who worked on this have had far more input than him. Its insecurity with alex tho, as he has spent the last 25 years in the press trying to cover up the fact he plays no instrument and doesnt know how to use any piece of music technology. he can hardly manage to send an email! I was speaking to a guy who met him quite recently and he was relaying the story of how he asked Alex technical details of a particular track. Alex’s method for deflecting this in his personal life was to talk about how he likes to string delays together and other vague technical details and then try and deflect into something else by being a little bit ‘crazy’ when actually he couldnt string delays together at all . Notice how here, my name is avoided by putting ‘The Orb’ so people who don’t know can just credit Alex with it all. What a fraud. Out of 37 tracks on this record I did 19 of them. In other words, I made 50% of this album, yet someone else’s name is on the cover! Welcome to the music industry :)
I’d prefer if this didn’t come out at all, but as it is, here’s an idea. Instead of buying this and getting a bunch of my old mixes released multiple times before, why don’t you help me make a new record that kicks the crap out of these tunes ?
Heres the track list – tracks I did in bold so you get an idea of how much I’m on the record.
Disc 1: The Singles Collection
01. A A Huge Ever Growing Pulsating Brain That Rules From The Centre of the Ultraworld: Loving You (Orbital Dance Mix) 02. Little Fluffy Clouds (Single Version) – production, writing, engineer, mixing
03. Perpetual Dawn (Solar Youth Mix) note: what an absolute crock of wank 04. Blue Room (Seven-Inch Version) production, writing, mixing 05. Assassin (Seven-Inch Version) production, writing, mixing 06. Oxbow Lakes (Album Version) production, writing
07. Asylum (Album Version)
08. Toxygene (Album Version) note: music for the melodically and sonically challenged
09. Once More (Album Version)
10. Ghost Dancing (Album Version)
Disc 2: Remixes and Rarities
01. A Huge Ever Growing Pulsating Brain That Rules From The Centre of the Ultraworld: Loving You (Aubrey Mix Mk II) 02. Little Fluffy Clouds (Coldcut Heavyweight Dub Mix)
03. Perpetual Dawn (Andrew Weatherall Ultrabass 1 Mix) 04. Blue Room (Excerpt 605) production, writing, mixing 05. Majestic (Heavy Mix – The Orb and Youth) production, writing, mixing 06. Close Encounters (Smile, You’re On Camera mix – The Orb and Slam) production, writing, mixing 07. Assassin (Another Live Mix) production, writing, mixing
08. Toxygene (Ganja Kru Mix)
09. Once More (Mark Pritchard Mix)
Disc 3: Live In Copenhagen & Woodstock 01. Towers of Dub (Live @ Trekkoner Sunset Gig)production, writing, mixing 02. Little Fluffy Clouds (Live @ Trekkoner Sunset Gig)production, writing, mixing 03. Blue Room (Live @ Trekkoner Sunset Gig)production, writing, mixing 04. Star 6 & 7 8 9 (Live @ Trekkoner Sunset Gig)production, writing, mixing 05. Valley (Live @ Trekkoner Sunset Gig)production, writing, mixing
06. Assassin (Live @ Woodstock 2) – production, writing,and someone else trying to be me mixing and failing
Disc 4: DVD 01. Fluffy Little Clouds
02. Perpetual Dawn 03. Assassin 04. Oxbow Lakes 05. Pomme Fritz
07. DJ Asylum
08. Once More 09. Blue Room (Top Of The Pops ’92)
10. Toxygene (Top Of The Pops ’97)
11. Little Fluffy Clouds (T In The Park)
12. Perpetual Dawn (Ten-Inch TV Advert)
you get the idea, a lot of this work is mine not ‘dr’ alex patterson as it says on the cover.
The Press and The Lies
Starting my crowd funding efforts and realising that nothing will come of it if I don’t rinse the name of my previous band forced me to confront a lot of issues that I came to realise I needed to deal with. I found it hard to even talk about The Orb for many years, if people brought it up in conversation I would quickly change the subject or play it down. The press articles I’ve seen that dealt with my period in the band featured such outrageous lies, I just blanked them out and left it. Over the years the articles became more and more a rewrite of history and now as a result of dealing with all this, I can remain silent no longer.
“We kept on buying old gear. Classic things like the Mellotron, Wasp, EMS Synthi, Arp Odyssey synths; early Yamaha and Korg keyboards. Equipment dealers kept on ringing us up and getting us to buy something they’d found. One great piece of equipment we found was a DX programmer, an old programmer for the Yamaha DX7 which used pots to instantly access any control on the DX7, and that was quite something.
“We used that on the album with the Oberheim 4-Voice, which was used extensively on ‘Occidental’. For manipulating samples the Roland S750 was fantastic, because the envelopes and filtering on it were great. A lot of the percussion sounds on the album were done using envelopes and filtering on normal sounds, which would end up sounding completely different.
Another important piece of sound processing software featured on Orbvs Terrarvm was GRM Tools [reviewed last month]. This is a digital signal processor plug-in for Digidesign’s ProTools system. Andy: “You put in a stereo sample and it gives you loads of different effects like stuttering and phasing, flanging and amazing pitch-shifts. There’s a doppler effect on the vocal in ‘Plateau’ that was done on four channels. We got this loop that was in time, put in this doppler effect from GRM Tools that slowed down and sped up again as it came around, and when it looped it was still in time with the track. It was just fantastic!
“The album took six months to record after Thrash left. It was recorded on a Studer A800 and the Alesis ADAT, which were both sync’d up using a Micro Lynx. We mixed it on a 48-channel Amek Mozart mixing console, which I enjoyed using.”
This is a talentless fucknut called andy hughes talking about my synths, my work and the plugins he saw me using, but the way he says it – ‘we’ – makes it sound like he did it all. in actual fact he wasnt involved at all, he was essentially the guy i hired to plug things in for me while i was operating the computer. at no time did i ever let him make creative decisions about anything. I never had a Mellotron, an EMS Synthi, a Wasp or an Arp Odyssey and most of the synths in the studio belonged to me, paid for with my money from remix work before I ever met Andy. eg the dx programmer took me a while to source and cost me a lot of money. but this is how the press and these exploiting people in the music business work, yer know?
I never used GRM Tools with Pro Tools, I always used Logic Audio, but perhaps the biggest insult to me here is the way he talks about the track ‘occidental’ there. This track was nothing to do with him or alex, completely my track made with my synth (Oberheim 4 voice) and an electric oud, and the way they talk about it, its just so exploiting. amazing. The same goes for plateau, every musical and engineering aspect of the track was done by me and it was already done way before I left the band.
what did happen was i mixed probably about 3/4 of it before i left, but when i mixed stuff then i usually did like 20 radically different mixes of one track and then stuck bits together i like in the editing stage. when i left they kept the mixes and andy hughes edited them together ( unsurprisingly im not a fan of his work ) – the bits he used were not the bits i would have used, it was quite a time, they locked me out of my studio i paid for with all my synths in, kept them for the album and stole my work that had nothing to do with them. i could go on and on about how ****ed that whole thing was, but i may be in danger of boring the shit out of you :D
this is all to be expected in the music industry tho, and my story should serve as a warning to all technically and creatively proficient people out there who work with people less so. watch your back!
stuff like this abounds across the web e.g. the ‘andy hughes mix of o.o.b.e’ as far as i know ive never given permission for andy hughes to mix my track, and as far as i can tell it sounds bloody like the mix i created in 91 in Berlin with Thomas Fehlman. If it is someone else messing with my mix, they have taken my multitrack, and pretty much played it back. the idea that this mix is then ‘done’ by you is laughable, fuckoff. Its real weird watching five guys play your music and it be nothing to do with any of them.
From the double CD of Deluxe Edition “U.F. Orb”. This mix was done by the late and great Orb-collaborator Andy Hughes, who also released his own music as Falconer.
Andy Hughes didn’t do this, and he wasnt great, he was a cokehead who watched what i did every time he worked with me, and then tried to copy it, and failed. The idea that he is also Andy Falconer at the same time is potty but this is typical of the information on the internet.
Heres another good example.
“Kris, as a writer, is all over the record, along with myself and Thomas Fehlmann. ‘Valley’ is the three of us with Tom Green and Simon Phillips. ‘Plateau’ is the three of us. ‘Oxbow Lakes’ is the three of us again, but the piano is mine. I was quite pleased with that. ‘Occidental’ is a track we started together but which Kris wanted to remix for different projects. There was a lot of friction and Kris walked out of the group at the beginning of the mixing stage [in August 1994]. Then Andy Hughes, Thomas and myself set about mixing.
“Andy actually appears as a writer on ‘Montagne D’Or’, but Kris couldn’t get his head around the idea that it had derived from another track and that the other people involved should get a credit. In the end we gave him a writing credit, because he was in the studio when pedal-steel guitarist B.J. Cole [famous for his work with David Sylvian and Elton John] was putting his licks down! Kris mixed ‘Occidental’ and ‘Slug Dub’ with us but he wasn’t involved in the rest of the mixes.”
what a proper cunt. Alex gives out samples as mentioned previously but here we see him trying to sound as though he was in control of my music making. so: Valley and Plateau are my productions really, I had some help but I was the man with vision and the man in control and everyone knew it in the studio, Tom Green and Simon Phillips did very little on those tracks, Simon did the bassline on Valley and Tom Green didnt do anything as far as i can remember. Oxbow Lakes is an interesting case in point. Because I was getting pissed off with the fact I didnt have a real musical partner and wanted one I tried to encourage Alex to play something. As he couldn’t play i made an exercise to teach him a method whereby he could ‘cheat’ a bit. This exercise came to be known as Oxbow Lakes. What happened was I said right now we are going to get you playing something on the records and ill show you how. first i taught alex a scale on the keyboard and said right only hit those notes, then i looped it round a few bars and told him to add a note every few times round. Its a technique for creating something random I sometimes use to come up with stuff by chance. So I guide him through this process, we end up with a something vaguely like a line and I then edit it up into a pattern. Im not sure how many times we did this to form the line on the record, but for him to say ‘thats mine’ is a bit of a stretch really considering the editing i did on it. Yes Alex *did* press some of the keys for the riff one at a time over quite a few minutes, but it didnt fucking sound like it is on the record thats for sure! I left before i would consider the line finished anyway and they stuck some bleepy bloop over the top of it and made it sound whack. the line doesnt progress in any way and sounds weird looping round like that, which shows their melodic skill very well i think.
this all translates in the press to:
but the piano is mine. I was quite pleased with that.
….and look at him being so gracious giving me a writing credit for my production, what an all round nice guy. just cos i was in the studio, just sitting around doing nothing no doubt. thank god alex is so generous and i get royalties for that. rrrrrrright. I also mixed Occidental and Slug Dub *with them* – fuck my cunt. what is more accurate to say perhaps is that they sat around watching me make those tracks, unable to fathom what the hell i was doing. The only people who had anything else to do with them really was the drummer on slug dub, i made everything on occidental with the exception of nothing and Slug Dub i played everything except the drums. That one could have been good but they fucked it up royally in the editing stage. I did 22 mixes of it and they just chose the crappy bits. oh well, your loss not mine hehe. eh. uh. never mind.
to finish up lets focus on a track called hidden from FFWD. hear that ‘lets go’ at the beginning ? thats alex getting ready for a take. you probably think its something like a musicial instrument or a sample im talking about. nope. a hot water bottle. yes that was what i let him do on that track, play a hot water bottle. it kind of underlined the farcical nature of him being there at all, and it caused much sniggering in the control room because it basically sounded and looked like he was wanking off in the live room, which essentially he was. wanking off and looking for some kind of affirmation that he was useful for anything. blah blah bitter musician, musicians arent allowed to be angry about stuff – they are bitter if they dare to complain, fuck everyone who says that up the fucking ass. have a nice day. lets see how you react when this happens to you.
Kris Weston, a former member of the band, complained to us that our article about him is full of errors. If so, it should be fixed as soon as possible. Could any of you people help me check every fact given in the article? Please help me make it as reliable and sourced as possible.Ausir 15:39, 4 January 2006 (UTC)
Well for a start why doesn’t he come onto the talk page and voice his concerns? I presume that a king of sequencing has a computer! —kingboyk 14:03, 19 March 2006 (UTC)
Thrash can complain all he wants but unless he wants to contribute he isn’t going to get results. He is a very dangerous person to even speak to. He has a way with manipulation (as is evidenced by your “my friend has this problem” approach).18.104.22.168 (talk) 00:43, 29 July 2008 (UTC)
basically if i dont join in and spend my time correcting their lies which i didnt ask them to write, its my own fucking fault. seriously. what a bunch of cunts. complaint has stood since 2006 – fuck all has been done.
heres a quick capsule round up of lies in the Wikipedia article about The Orb and Kris Weston which incidentally comes under their wikirave culture heading. a name for which i would have fucking lamped em one had they said it to my face.
[ccie]”The Orb are an English electronic music group known for spawning the genre of ambient house.” [/ccie]
bollocks, most of the tracks didnt even have a house beat to them. not to mention the fact that this genre does not exist. we made electronic dance and chill out music basically.
[ccie]”Alex Patterson prides the Orb on manipulating obscure samples beyond recognition on its albums and during its concerts”[/ccie]
poor old lx wouldnt know what to do with a sampler in the same way as he wouldnt know how not to shovel cocaine so fast into his face he doesnt even know who he is. he has absolutely NO IDEA WHATSOEVER about manipulating samples as his DJing and ridiculous use of delay will testify to. The reason it says this, is because its Alex repeating something I used to say to him years ago about samples. That using a sample in an artistic way is a good way of using it rather than just plagiarising it. I notice quite a few things Alex has taken onboard and repeated over and over in the press, quite amusing. During the concerts alex had a keyboard with about 20 vocal samples on it he can press. there is no manipulation whatsoever on any of the samples :D
[ccie]During its live shows of the 1990s, the Orb performed using digital audio tape machines optimised for live mixing and sampling[/ccie]
wrong, the live shows that incidentally I conceived of , organised and technically realised used no tape machines optimised for anything, the tape machines were three standard sync’d ADAT machines, 24 tracks of music which I then dubbed into mixes live onstage.
[ccie]”the Orb was commissioned by Dave Stewart to remix his top-20 single “Lily Was Here.” The group obliged and was soon offered several more remix jobs from artists including Erasure and System 7.”[/ccie]
Here they are talking about Cauty but jump way ahead in time in the same sentence to remixes that I did without bothering to mention i did em, implying Cauty did em. Not perhaps a lie, but very badly written and certainly misleading.
[ccie] “In 1990, Paterson and Cauty held several recording sessions at Cauty’s studio, Trancentral. When offered an album deal by Big Life, the Orb found itself at a crossroads: Cauty preferred that the Orb release its music through his KLF Communications label, whereas Paterson wanted to ensure that the group did not become a side-project of The KLF.Because of these issues, Cauty and Paterson split in April 1990, with Paterson keeping the name the Orb.As a result of the break-up, Cauty removed Paterson’s contributions from the in-progress recordings and released the album as Space on KLF Communications” [/ccie]
lot of politics going on here, what actually happened here is quite interesting. Basically Youth and Jazz Summers forced the new single onto Biglife Records (Jazz Summers label) and as a result forced Cauty out of the band because he wanted it on KLF communications. Alex fell out with Cauty as a result, and has in fact fell out with pretty much everyone he ever worked with.
the reason they fell out was because of an album now called space which was originally going to be the first orb album. Summers decided he wanted it on his label and split the two over it. He cajoled youth into stopping it coming out on KLF communications and there was subsequently an argument between Jimmy and Alex. Youth called Adam and said ‘if you dont do what jazz says he will ruin my careeer. Adams answer was ‘what about my career’ but he capitulated and here we are.
[ccie] “Also out of these sessions came The KLF album Chill Out, on which Patterson appeared in an uncredited role.” [/ccie]
Pretty sure this is Patterson giving it the large to journalists again. Patterson wishes he was on it :D
[ccie]”Following the split, Paterson began working with Youth on the track “Little Fluffy Clouds”. The group incorporated samples from Steve Reich’s Electric Counterpoint” [/ccie]
Guess who co-produced this record ? guess who played the synths on the record ? Guess who gets no royalties whatsoever for it ? correct. Of the three musical lines that arent peoples ripped off samples on that record, I did two of em and Youth did the bassline.
as a result of these bastards consistently ripping me off and refusing to stop exploiting my work, im now writing to someone who was sampled on the record that HASNT got any royalties either.
Jim Gordon wrote the drums for little fluffy clouds – he is in a mental home for murdering his mother, but his estate has been informed that he has a good chunk of royalties to be had. heheh.
[ccie]”In 1991, Paterson invited freelance studio engineer Andy Falconer to join the Orb and was closely followed by energetic studio engineer Kris “Thrash” Weston.”[/ccie]
WRONG! Andy Falconer never joined my band and patterson didnt ask him either. I say *my band because I was the one in control when my name was associated with the orb name. as I didnt think of the name, i have no rights over it. Even the guy that thought of the name has no rights over it! Respect to Chris Watts for that! Taken from the Woody Allen film Sleeper. Alex is the kind of slack jawed stoner that just accepts whatever falls into his lap. Falconer was the house engineer at the studio we were working at. Falconer was keen to get involved and was ass kissing patterson at the time, he managed to convince him to do a track together, the outcome being something about the fourth dimension. This is how the session went: Falconer said hold on, Im going to go down HMV. He went to the record shop, bought a bunch of classical CDs and whacked them over the top of a break alex gave him. Myself and Falconer then had an altercation, where he kicked me in the testicles without any warning whatsoever, and we never found out why. I later found out he had a cocaine habit and was sneaking off into the toilets for a line every now n again, which would explain his uptightness. After this point obviously I never worked with Falconer again, but apparently he went to some peel session in order to play aforementioned fourth dimension track. Hes a fucking talentless plank as well. I’m also, for the record, not energetic. I’m a lazy cunt.
To be in a band thats signed to a large record company you have to have a legal contract. When i was The Orb i signed a contract. On that contract was my name and alex pattersons name. There were no other names on that contract. the band was myself and twatterson, and the other people who got in for sessions were ‘session players’ not band members. this is how the orb worked. we brought in different people for each track – kept it fresh and fun.
[ccie]”Steve Hillage, whom Patterson had met while DJ-ing in London, also joined as a contributing guitarist. Along with producer Thomas Fehlmann”[/ccie]
no no no. fucking shittypedia aint got a fucking clue. Fehlmann and Hillage never ‘joined’ my fucking band! hillage did one session with me, and fehlmann a few. they were not part of my band tho, can show you the fucking contracts if you want! if they were part of my band they would have had the choice of what happens with the parts they put into the track, which they didnt.
[ccie]”The completion of Adventures saw the departure of Andy Falconer, whose last contribution was to one of the Orb’s Peel Sessions”[/ccie]
ffs. they are off on another planet. the dude worked on one track for one afternoon and came down to the peel session for that one track. hes lucky i fucking let him in the cunt. Recently he tried to get in touch with me and be all nice, hi hows it going like he was never violent towards me. told him to fuckoff and he said ‘oh same old kris’ – like its me thats the cunt. andy if you read this. suck my dick you pathetic fuck.
[ccie]”Paterson and Weston preferred to avoid personal publicity and instead allow their music to be the focus of attention. Because of this partial anonymity and The Orb’s rotating membership, they are often recognised as more of a musical collective than a “band” “[/ccie]
right, AGAIN there was no rotating membership, or their certainly wasnt when the orb was my band. we had session musicians for one track at a time, if you get a session musician in, they aint part of the fucking band. get a grip. Patterson did not prefer to avoid publicity, it was me that preferred that. patterson clamoured for publicity wherever he could get it and seeing his ego grow to the size of the planet was part of the reason i fucking left. fuck wikipedia they know jack. lying cunts!!!! ranty rant rant. i almost left the orb a lot sooner because of a trip to new york where the record company stuck us in a room with the same questions going round and round from various journalists. at this point i gave alex an ultimatum, do all the press or im leaving. that fitted perfectly with his ego, so he agreed.
[ccie]”but releases stalled when Paterson began to feel that Big Life was trying to dictate the direction of The Orb’s music”[/ccie]
there is so much utter bullshit in here im getting bored of this, but im doing this so i never have to speak about this fucking bollocks again. right big life never dictated to us what to make musically. not once. EVER. big life ripped us off financially with our distributor ( charging us 100k for their cost of their distributor going down ) and refused to pay for recordings. thats the reason we left.
[ccie]”Their first release on Island Records was the live album Live 93, which gathered highlights from The Orb’s recent performances in Europe and Asia. It featured The Orb’s live crew of Paterson, Weston, producers Nick Burton and Simon Phillips, as well as audio engineer Andy Hughes, who had stepped in previously when Weston had decided to stop touring”[/ccie]
total lies again. right nick burton and simon phillips were both good mates of mine and thats why i got em in. I lived with Simon in Streatham at the time, and he was such a good mate i wanted him to come on tour with me, so i suggested he learn the bass. 3 months later he was playing brixton academy with me :D i had a little button where if he fucked up i could switch over to the recording, which i ended up using quite a bit cos he wasnt exactly awesome at that point :D he became good tho and went on to make his own music, which i liked but he dumped in the end. Burton was a percussionist. Neither of these people were producers. I was the producer. Andy hughes was not on Live93, he had absolutely nothing to do with it, altho he was there when we edited the gigs, but didnt do anything. That album was recordings of gigs i mixed, not andy. i never stopped touring till i left and andy never stepped in for me. total bollocks, gawd knows where they got this from. fuck this history rewrite.
[ccie]”The Orb’s first studio production on Island Records was Pomme Fritz, a chaotic EP noted for its heavy use of strange samples and its lack of conventional harmonies”[/ccie]
pomme fritz ( the main track ie meat n veg ) was my first ever use of a sequencer that could move audio around. i had an interface with 4, yes 4 outputs, which was the absolute dogs bollocks at the time. I was learning logic audio 1.0 on this track, and it was a little of an experiment with the new techniques i found myself able to use. it contained let me see now, well. no samples whatsoever, apart from a vocal sample halfway through. the rest of it was effected guitar, mandolin, and synths, mostly played by myself and thomas fehlmann. i did all the stringed instruments and fehlmann did a cool synth solo riff on this sound i spent ages trying to get on a prophet 5. i had just set up the sound and fehlmann nicked the keyboard and started playing it, was a bit pissed at the time cos i was looking forward to writing melodies on it, but i like the melody thomas did on it, one of the few decent things hes ever done i think. hes not bad really, for someone that looks like an aids victim. I really was starting to give less and less of a fuck at this point, and once i did meat n veg i really wasnt bothered about the rest of the EP so we farmed out some shit to the germans, got em to do mixes and stuck em on there. tbh i had forgotten what was on there, had to listen to it again. one of the tracks alles is schoen or some shit was the demo for pomme fritz which later got illegally renamed and released as something else. legal action over that starting too. it was me that came up with these fucking ideas about doing radically different mixes of the same thing to make up an album, because thats just what i did with everything anyway.
ha heres another good one
[ccie]”Even Island Records “hated it” and “didn’t understand it at all”, according to Patterson”[/ccie]
lets just compare that to a recent interview twattercake did in the Quietus:
until we get to one of my favourite points of your career so far, the really out-there processed noise of Pomme Fritz.
AP: Nobody at Island was expecting that. [laughs] “Where’s the single?” We had just done ‘The Blue Room’, which was a 39 minute single, and we wanted to do an album for 41 minutes. Our plan was to do one track and mix it down into six very different versions. We gave the A&R man a tab and locked him in our studio, and an hour later he came out and said, “This is godlike – I have to have it”, and this was his first release for Island
right ignoring the fact that alex did fuck all on pomme fritz lets examine this next bit. ‘we gave the A&R man a tab‘
hooooooooookay. right well the A&R man was a guy called dave gilmour at island records. and i was sitting behind him when he listened to this because i put him in the chair and started the tune and turned it right up, so i think i know what happened here :D we never did acid or had any acid or any kind of ‘tab’ at the studio (how could you work on acid ffs?) so i can categorically state he wasnt on any kind of drug when he listened to it, unless he had hoofed it up his nose before he came in, which is far more likely than this. i didnt want this man in my studio, the record company had no right to dictate what i released, their job was to stick the records out and rip me off, which they did very well. so, as a result i whacked the volume up to ear bleed level in an attempt to piss him off. he got to the end of the track, and he quite obviously didnt like it at all and he left. thats pretty much it.
and of course this translates in the press to:
“This is godlike – I have to have it”
firstly – he had to have it anyway as we had just signed a fucking six album deal. he had no fucking choice. secondly – he never actually said that at all. we will also ignore the libel against our old manager on the same page for now. right back to shittytedium.
[ccie]”FFWD released a single self-titled album on Paterson’s Inter-Modo label, which Fehlmann later described as “an Orb track which became so long that it became a whole album!”. Due to this aimlessness, FFWD lacked an artistic goal and disbanded after a single release”[/ccie]
THE FUCK NOW? firstly inter-modo was my label as well, dont want to be a cunt about this or anything, but i am so thats the way it comes out (love you bill) FFWD did not lack an artistic goal. its goal was met very well thankyou and it remains a production im proud of. altho robert really deserves all the credit. i just stuck his bits together, overlaid a few things etc. FFWD was not fucking AIMLESS #wtf – scuse me a second. ARHG£*&£*£& FUYCKING CUNTS £$*£$&*$ – right ok. sorry about that. FFWD did not disband. FFWD was a one-off project and was always intended as such. Robert is a busy man, and doesnt have time to be in another full time band and i also didnt want to continue it, it was fine as it was. who writes this CRAP!????
ok i cant be arsed to go too much into the next bit, but suffice to say i had laid down the tracks and concepts and a lot of the mixes for orbus terrarum before i left these twats. fehlmann and hughes took my tracks and concepts and basically fucked up my idea of terrarum – it would have been so much better, but people are deaf anyway so fuck em.
[ccie]”After the release of Cydonia, Hughes left the group for undisclosed reasons, becoming “another acrimonious departure from The Orb” according to The Guardian”[/ccie]
Cocaine or whatever the drug is they call cocaine now features heavily in the Orb history. All the people around The Orb did a lot of cocaine, especially Andy Hughes and Alex Patterson. I did it a bit n all at the time, but I was never into it to the extent that these guys were. To be honest, its pretty good. But what happens when you take a lot of it is you become a complete asshole. Theres no getting around it. Andy Hughes ended up falling out with Alex and stealing a bunch of Orb gear. I met him once after I left and he proudly announced to me he had stolen my delay unit and he still had it. Would i like it back ? YES I FUCKING WOULD. ok, he would get it back to me. He never actually bothered and then he committed suicide, presumably from some drug addled depression. As far as the interweb is concerned Andy Hughes died suddenly because of something to do with his liver. I was standing next to simon when he got the call from alex that andy had taken a bunch of pills. The pills were what killed him, fucking his liver. he lasted a bit and died. The stealing of my equipment, made me somewhat hardened to his death. TBH i never liked him anyway, he was just some straight engineer dude i hired to move faders and plug shit in occasionally . He was obsessed with the whole life around music, the trappings, hanging out with famous people, proudly proclaiming he was in Robert Palmers Swimming pool doing cocaine and firing machine guns. That was probably the pinnacle of his life. At this point you are thinking wow this guy has no feelings at all. WRONG! i have feelings i just switch them off for people who dont deserve them, steal my fucking gear and try to rip off my techniques badly :/
[ccie]”In The Orb’s early DJ events in the 1980s, Paterson and Cauty performed with three record decks, a cassette player, and a CD player all of which were mixed through an Akai 12-track mixer”[/ccie]
this is interesting actually. I think this is a rewrite of history. I think basically alex and jimmy used to do shit under their own name, before the orb really started. then to make it all seem like there is more history etc, they just said afterwards it was an orb gig. pretty sure this was never billed as the orb, and certainly couldnt be considered a ‘gig’ as such – as its just DJ’ing. Part of the effort to rewrite everything. anyway who gives a dogs cheek.
[ccie]Even after The Orb began producing original material, they kept the same sample-heavy model for live acts by spontaneously integrating obscure samples into their pre-recorded tracks. During promotional tours for Adventures Beyond the Ultraworld and U.F.Orb, The Orb performed using a digital audio tape machine and experimented with other media sources such as dubplates. The tape machines held individual chords, rhythms, and basslines for each composition, allowing The Orb to reprocess them and mimic the act of DJ-ing. Members could then easily improvise with these samples and manipulate them using sound effect racks. Often, The Orb had a live musician accompanying them, such as Steve Hillage on guitar. Their shows in the early 1990s would often be three hours of semi-improvised, continuous music featuring a wealth of triggered samples, voices, and pre-recorded tracks which were barely identifiable as the original piece.
The Orb began performing regularly at the Brixton Academy in the early 1990s, where they used the high ceilings and large space for their “well-suited amorphous sound”, frequently performing their newest and more experimental pieces there. Andy Hughes took Weston’s place at live performances after the 1993 tour, though Weston did reappear for The Orb’s concert at the rainy Woodstock ’94. The Orb played for late night raves on the first two nights of Woodstock ’94 in addition to artists including Aphex Twin, Orbital, and Deee-Lite. The next year, The Orb’s touring group consisted of Paterson, Hughes, Nick Burton on percussion, and Simon Phillips on bass. This ensemble of live performers and electronic music created a “cacophony” of “gigantic, swarming sounds”. Though The Orb’s performances use much onstage equipment and many props, Paterson prefers to present The Orb as “a non-centralised figure of amusement on stage”.
The Orb used ADAT recorders for performances from 1993 to 2001 and utilised large 48-track decks (????), which Paterson described as basically being a “studio onstage”. They hooked synthesisers, such as the ARP 2600, to MIDI interfaces to recreate specific sounds that appeared on their albums [/ccie]
right. no no no no and no. i made the concept of these gigs with the 24 track ADATS and i was probably one of the first people to take an entire studio onstage (another instance of twattercake repeating shit i taught him) to that extent and i did all the gigs up until i left. hughes was not involved. another rewrite. when hughes did team up with alex after i left, he took my exact live setup, my exact tapes and my tracks and stood there onstage playing my fucking music without a care. i did not play at woodstock 94, that was when i had left. i was there however, getting fucked up in the mud and rain. during the gigs i did do, i was the one mixing the tunes, dubbing them, arranging them onstage with a load of effects etc. we did not usually have a live musician with us in the early days, it was just DAT tapes at first. then we could afford to do the studio thing, and no we didnt have hillage with us much at all. mebbe a couple of times ? we did not EVER hook up an arp 2600 onstage while i was with the band. I once took my matrix 12 with expanded outputs out to brixton academy and i was too shit scared to play it much in front of all those people. then at the end someone dropped a brick on it and fucked it, and they never owned up. so that was the last time i took any of my precious analogue synths out.
this shit basically seems to be a collection of snippets of patterson giving it large portions to the press.
[ccie]”One of The Orb’s most notable contributions to electronic music is their idea of blurring the distinction between sampling and remixing. Albums such as Pomme Fritz, though released as a piece of original work, consist largely of manipulated samples”[/ccie]
well, thankyou very much thats very kind but as i said earlier pomme fritz hasnt got any fucking samples in it!! or at least what i consider to be pomme fritz is the main first track. the grill you track is pure samples effected but meat has NO SAMPLES. CUNTFACES.
[ccie]”Paterson states that they are rarely correct and that they would “die” if they discovered, for example, where the drums on “Little Fluffy Clouds” originated from. He has said that record labels have cautioned him, “Don’t tell anyone where you got your samples until we get them cleared!” “[/ccie]
still alive? damn :/ fucking satanic incantations never work. so im done with this bullshit now, the only other point really that remains is that shittypaedio keeps mentioning my work as the orb, and not crediting me for it. when they credit the orb, as universal do. they make it sound like twattercunt did my fucking work. and fuck that shit im not having that. so stick this in yer internet pipe and fucking smoke it you fucking lying cunts. reason why i hate em so much is i tried to tell em all this but they told me im wrong and pointed to various articles by wankers who dont know shit about me as being some sort of sacrosanct truth. fuckoff wikicunts.
various sources have been collated into one huge turd and that has been copied to shitloads of websites all around the web. the turd appears in russian, japanese, is on discogs, youtube etcetcetc. i cant be arsed to figure out where these sources are derived from but the main source – wikipedia are trying to rewrite my fucking life. thats not going to happen.
Wau / Mr Modo
During the period where i was hanging out at butterfly studios working, i was initiated into the Matin Youth Glover school of music. There was a friend of mine called Max. He was poet. Max
Max recorded some of his most personal poems on a DAT tape for his own use and left the country, leaving the tape in Youths (walking misnomer) care, which he locked in a cupboard with a bunch of other DAT masters. Simon Posford (schpongle or dongle or whatever lame ass hippy shit) came along, opened the cupboard, found this DAT tape and just whacked it on a remix he was doing of Chapterhouse without any check of anything. He just assumed he owned it. I dont like Simon Posford I think his music is shit and hes a fucking nob. This ended up costing the bands record company in the region of $50,000 dollars. When Max got back and found this had been done he was furious. further compounding his rage was the credit he had been given on the record ‘the crystal poet’ – max was an ex-punk – and the rather dirty hippy name ‘crystal poet’ didn’t sit too well with him. So he complained to youth about it, whereupon youth informed him that ‘he should be pleased it got used on something’ – i think this is an excellent example of youths attitude to the music business. Steal whatever you like, if your stuff gets used you should just be happy, never mind getting paid for it or whether you wanted to be on that record. My take away from this is that youth is a proper wanker.
In the summer of 2010 Alex Paterson teamed up with Youth aka Martin Glover to compile a retrospective compilation album of tracks from the WAU! Mr Modo label. The album Impossible Oddities came out on Year Zero records.
the fact that Mr Glover who is without doubt the most fake music industry twat ive ever met in my life has the unmitigated gall to release this is a testament to the size of his ego. Adam Morris started the Mr Modo label and is mentioned in precisely none of the articles from the scum press on the subject. Adam paid for most of it
‘farce, you can see from the copyright credits on that comp the double standard that is at work, eg the copyright credit for sound iration is given to raphael and gilder (ie the producers/band) and still mates with Youth and Pattttterson. infact, modo bought the copyrights for the sound iration album off the producers and paid them an advance of (i think it was) two thousand pounds for those rights. So, ok, the rights reverted when Modo Ltd went bust, but the rights also reverted on the tracks by Mystic Knights and so on, so how come they have no copyright credit, no arrangement was made with them ? probably because Mystic Knights are not friends with Youth and Pattttt etc)’
the press on this is laugable: eg pitchfork – that bastion of absolute shite http://pitchfork.com/reviews/albums/14866-impossible-oddities/
Impossible Oddities collects the psychedelic pop-dance singles the Orb and their sampladelic friends released on the duo’s W.A.U!. Mr Modo label as the UK’s late-80s “Summer of Love” gave way to the worldwide rave boom of the early 90s.
so pitchfork claim there are a lot of orb mixes and ‘orb related’ things on this album. what ????? NO! basically they are using the name to promote it and trying to retrospectively link it to the orb, so that fans of the orb buy it. the truth ? i think alex had very little involvement in mr modo’s releases and its another attempt to rewrite history. i actually had quite a lot of involvement with all this crap, i was an engineer at the time and i worked on a bunch of these things. most of em are crap.
another claim on another site talks of ‘like minded friends’ – sheesh how wrong is that. martin youth glover relinquished his rights to the entire wau/mr modo catalogue and then signed the rights he didnt own years later to future noise. thats what a massive ego this prick has.
but I think we should let Adam have his full say.
Martin Youths Glovers quote at the time to Adam was ‘why are you bothering putting out this shit’ – seems he changed his mind since he saw the prices on ebay. During the writing of this, I actually found out he ripped me off AGAIN!!! theres some of my fricken work on this shit! lulz. wtf.
ok here we go…..
ADAMS COMMENTS IN CAPS
1-1 –Orb, The Little Fluffy Clouds (Demo Version)
THIS WAS NEVER ON WAU OR WAU MODO, IT ONLY EVER CAME OUT ON BIG LIFE, THOUGH THE COPYRIGHT WAS OWNED BY WAU MODO
Written-By – Paterson*, Glover*, Reich*
A RATHER SELECTIVE LIST OF COMPOSERS THERE METHINKS. WHAT ABOUT RICKI LEE JONES’ WORDS FOR A START ?
(note from kris: lully i didnt do jack on this till they brought it to me at do not erase studios)
1-2 –Eternity (2) Ashram House (Extended Mix)
THIS WAS ON WAU GEE STREET AND WAS NOTHING TO DO WITH MODO AT ALL
Written-By – Beale*, Glover*
1-3 –Orb, The Tripping On Sunshine (Live Mix)
THIS WAS ON WAU GEE STREET AND WAS NOTHING TO DO WITH MODO AT ALL
Written-by [Uncredited] – Alex PatTTTTerson, Jimmy Cauty
(note from kris: the more t’s the more pattttterson likes it)
1-4 –Discotec 2000* Feel This
THIS WAS ON WAU GEE STREET AND WAS NOTHING TO DO WITH MODO AT ALL
Written-By – Bowyer*, Glover*
1-5 –STP Twentythree Let Jimi Take Over (Ultramix 1)
Written-By – McClune*, Sheehan*
THIS WAS ON WAU MODO, IT WAS THE FIRST RELEASE, MODO PAID 100% FOR THIS, MODO BEING ME, ADAM MORRIS, NOT MARTIN GLOVER OR A PATTTTERSON
(kris: may i just interject here: GO ON MY SON!)
I LOVE THE WRITING CREDIT ON THIS GIVEN THAT THE ENTIRE TRACK IS MADE UP OF UNCLEARED SAMPLES OFF JIMI HENDRIX RECORDS
1-6 –Johnson Dean feat. Lynda Law Somebody Somewhere (Black Country Mix)
Vocals [Feat.] – Lynda Law
Written-By – Johnson*
THIS WAS ON WAU MODO, MODO PAID 100% FOR THIS, JOHNSON DEAN CAME FROM PRESTON. LYNDA LAW LATER SIGNED TO PAUL OAKY COKEY TOKENFOLD’S PERFECTO LABEL, SHE LASTED ONE SINGLE.
comment from kris: YES! i remember her! she came in to record in marc angelos once, went to do a vocal take, and it ended up in a massive argument with her boyfriend and they both stormed out.
1-7 –U.N.C.L.E. 22* Love
Written-By – Fearon*
THIS WAS ON WAU MODO, MODO PAID 100% FOR THIS. YOUTH FUCKED THIS UP BECAUSE HE HATED THE SLEEVE THAT THE “GRAPHIC GENIUS” THAT IS NOW HIS “BEST MATE” MIKE COLES DID. AT THE TIME YOUTH CLAIMED HE WANTED A SLEEVE THAT LOOKED LIKE THE PET SHOP BOYS “ACTUALLY” ALBUM, THOUGH THERE WAS NEVER ANY RECORD OF THIS, IE NOTHING IN WRITING. HE ACTUALLY TOLD ME AT THE TIME TO “SACK” COLES, WHICH WAS DIFFICULT AS WE DIDN’T EMPLOY THE BLOKE. WE DID STOP USING HIM FOR GRAPHICS THOUGH, AS HIS GRAPHICS WERE SHIT AND HIS BILLS WERE EVER GROWING. YEARS LATER, OFCOURSE, THIS WAS TURNED INTO ADAM FIRED COLES, WE DIDN’T WANT TO, GUFF.
YOUTH’S STROP HAPPENED, OFCOURSE, AFTER WE HAD PRINTED A COUPLE OF THOUSAND SLEEVES, WHICH WAS OPTIMISTIC IN RETROSPECT AND ALSO BEGS THE QUESTION, WHY WERE WE SPENDING A HUGE AMOUNT ON A SLEEVE WHEN THE RECORDING HAD COST ABOUT 50 QUID? SHOULDN’T WE HAVE SPENT MORE ON THE AUDIO, UPPING THE PRODUCTION VALUES ?
IT CAME OUT IN A PLAIN DISCO BAG IN THE END AND SOLD ABOUT 5 COPIES. THE WEEK BEFORE RELEASE, I HAD TO GO TO LEYTONSTONE OR SOMEWHERE LIKE THAT, TO COURT, AS MY ARTIST (AS HE HAD BECOME BY THEN, YOUTH HAD LOST INTEREST IN IT BY THEN), HE WAS UP BEFORE THE BEAK AND GOT SENT DOWN FOR SOMETHING BAD, LIKE ARMED ROBBERY OR SIMILAR. HE WASN’T ALLOWED TO DO INTERVIEWS FROM PRISON, SO END OF WITH THAT ONE AND GOODBYE ANOTHER FEW THOUSAND QUID.
1-8 –Paradise X 2 Much (Out Of This World Mix)
Written-By – Beale*, Slocombe*, Weekes*
THIS ONE I THINK CAME THROUGH A LONDON RECORD SHOP, BLACK MARKET OR SOMEHWERE LIKE THAT, THE LADS WERE DJ’S, NICE LADS AS IT HAPPENED. BUT THE TRACK HAD A HUGE SAMPLE, “SUCH A FEELING”, FROM A RECORD ON BEGGAR’S BANQUET’S DANCE LABEL, CITY BEAT (?). MODO PAID 100% FOR THIS, BUT THIS WAS HOW I MET R&S. HE LICENSED THIS FROM ME AND IT CAME OUT ON HIS LABEL IN EUROPE. I THINK THRASH DID A REMIX WITH JONATHAN MORE, WHICH R&S DIDN’T LIKE, SO HE NEVER RELEASED THAT ONE.
(note from kris: its true, it was gay and that bloke was a weird fucker. hey gimme a break i was just starting out :)
I DON’T THINK IT WAS ANYTHING TO DO WITH YOUTH AND/OR ALEX AT ALL. R&S GAVE US AN ADVANCE ON THE LICENCE, WHICH PARTLY COVERED THE LOSSES WE WOULD HAVE OTHERWISE MADE, YAY.
1-9 –Delkom Superjack (Orbital Infusion 2000)
Remix [Uncredited] – Orb, The
Written-By – Delgado*, Komossa*
THIS WAS A PROMO THAT WAS ISSUED OF A REMIX OF A GERMAN TRACK MADE BY SOME FAT GERMAN MATES OF PATTTERSON. WHEN IT WAS SENT OUT, THE PROMO GOT SOME VERY BAD REACTIONS, I SEEM TO REMEMBER EASTERN BLOC IN MANCHESTER TELLING ME IT WAS THE WORST HOUSE MUSIC THEY HAD EVER HEARD AND THEY WOULDN’T WIPE THEIR ARSES ON IT, LET ALONE SELL IT.
WE ENDED UP WITH A LOAD OF UNWANTED PROMOS SO IT NEVER GOT RELEASED. MODO PAID 100% FOR THIS AND AGAIN LOST MONEY.
1-10 –Sun Electric O’locco (Orbital Therapy Part 1)
YES WELL THIS IS ONE OF THE GENUINELY GREAT RECORDS WAU MR MODO DID ISSUE. I LOVE THIS RECORD AND AM VERY PROUD TO BE ASSOCIATED WITH IT. THE ORBITAL THERAPY WAS ACTUALLY PATTTTERSON AND FEHLMANN USING CAUTY’S STUDIO. (POSSIBLE THE FIRST TIME THEY WORKED TOGETHER AS THE ORB?)
MODO PAID 100% FOR THIS
I REMEMBER FEHLMANN INSISTING ON PUTTING CAUTY’S NAME ON IT AS HE HAD BEEN IN THE ROOM OR MADE THE TEA OR SUMMAT, AND JIMI BEING A BIT UNHAPPY ABOUT IT, HE DIDN’T REALLY WANT HIS NAME ON THERE. WHATEVER, LIKE I SAY, ITS A GREAT RECORD. ANOTHER THAT R&S LICENSED FROM ME (HE ONLY EVER LICENSED TWO, AFTER THAT HE USED TO JUST WAIT AND SEE WHO I WAS WORKING WITH THEN HE’D STEAM IN AND SIGN THEM UP, KNOWING THAT I WAS TOO FUCKED FINANCIALLY TO DO ANYTHING ABOUT IT).
THIS ONE CAME VIA MANASSEH SOUND SYSTEM IF I REMEMBER CORRECTLY. IT WAS A LOAD OF DUB MIXES WITH A SAMPLE FROM “OPEN OUR EYES” BY MARSHALL JEFFERSON ON IT. THE INDICA LADS HAD ACTUALLY CLEARED THE SAMPLE WITH MARSHALL. WHICH MADE A NICE CHANGE. IT NEVER ACTUALLY CAME OUT THOUGH. IT GOT PRESSED UP WITH A PICTURE BAG AND EVERYTHING, MODO PAID 100% FOR THIS.
AGAIN THE REACTION WAS POOR, AND ALSO THE MAIN MAN FROM INDICA WAS SENT TO PRISON FOR SOMETHING. WE DID ATTRACT THE CRIMS.
YEARS LATER, I BELIEVE INDICA RELEASED THIS WITH ANOTHER LOAD OF MIXES OF THE SAME THING AS AN ALBUM, WHICH I BELIEVE DID NOT SELL VERY WELL.
1-13 –Mystic Knights Filo Funk
Written-By – Robinson*, Ho-Shing*, Christie*
WRITTEN RECORDED ARRANGED AND PRODUCED IN SHEFFIELD. MODO PAID 100% FOR THIS.
YOUTH CAME TO SHEFFIELD ONCE AND I TOOK HIM TO MEET THE DREADS IN THE BOB MARLEY RECORDING STUDIO, WHICH WAS A GREAT PLACE (FOR WEED) THAT DOES NOT EXIST ANY MORE. THEY PLAYED HIM SOME TAPES, ONE OF WHICH WAS THE MYSTIC KNIGHTS, HE SAID, MODO SIGN THESE. AND THEN HE LEFT.
I THEN HAD SEVERAL YEARS OF THE DREADS TURNING UP ON MY DOOR WITH NEW TAPES BY THE MYSTIC KNIGHTS, WHICH I RELEASED BECAUSE I LIKED THEM (AND I LIKED THEIR WEED EVEN BETTER). OTHER THAN THAT ONE HALF HOUR VISIT, YOUTH HAD ABSOLUTELY NOTHING TO DO WITH THEM WHATSOEVER.
WHEN THE ORB FIRST PLAYED BRIXTON, I GOT THE MYSTIC KNIGHTS A WARM UP SLOT ON THE BASIS THAT ANNIE NIGHTINGALE LIKED THEM AND WAS PLAYING THEM ON HER SHOW. THAT WAS IT. TO THIS DAY IF YOU ASK THE MYSTIC KNIGHTS, THEY WILL TELL YOU THAT THEY WERE THERE BECAUSE OF ADAM. WHEN THIS IMPOSSIBLE ALBUM WAS BEING COMPILED, NO ONE TOLD THE MYSTIC KNIGHTS THEY WERE ON IT, UNTIL I FOUND OUT AND I TOLD THEM. THEY HAVE BEEN CALLING YOUTH AND ALX EVER SINCE TO GET SOME IDEA OF SALES, ROYALTY ACCOUNTING THAT KIND OF THING. NOTHING HAS EVER HAPPENED. SAME THING IS TRUE WITH LYNDA LAW ABOVE, SHE NEVER KNEW SHE WAS ON THIS ALBUM EITHER.
2-1 –Zoe* Sunshine On A Rainy Day (Reformation Version)
Written-By – Glover*, Pollock*
WELL THE PROMO WAS ON WAU MODO, IT WAS LICENSED TO M&G RECORDS, IT BECAME THE BIGGEST NIGHTMARE OF MY LIFE. MODO PAID 100% FOR THIS. I WISH I HAD NEVER GOT INVOLVED WITH THIS TRACK, EXCEPT FOR THE FACT THAT I STILL THINK IT IS CLASSIC POP FROM THAT ERA.
2-2 –Blowfly (3) Work Your Body (Work Your Body Mix)
Written-By – Beale*, Barnacle*, Glover*
ANOTHER ONE YOUTH DUMPED ON ME AFTER A SESSION IN A STUDIO WITH HIS MATE. MODO PAID 100% FOR THIS. BARNACLE IS A BIG CHEESE ON THE SAX THOUGH I HAD NEVER HEARD OF HIM AT THE TIME. YOUTH DID THIS DURING THE TEN MINUTES WHEN BELGIAN NEW BEAT WAS THE CRAZE, BY THE TIME IT WAS FINISHED AND RELEASED, NEW BEAT WAS NO LONGER THE CRAZE AND ANOTHER FEW THOUSAND POUNDS WENT SAILING DOWN THE SWANEE.
(note from kris: fuck me i think i might have engineered this in the first ever studio i worked at, or at least been the teaboy on it! )
2-3 –Eternity (2) Blackcurrant
Written-By – Beale*, Glover*
i HAVE ABSOLUTELY NO IDEA AT ALL WHAT THIS IS.
2-4 –Insync Reflection
Written-By – La Violette*
AN UNCLE 22 OFF SHOOT, IT WAS A GOOD TUNE AND EP THIS ONE, BUT DIDN’T SELL AT ALL. MODO PAID 100% FOR THIS.
2-5 –Readymade* See Saw (Victor)
Written-By – Fehlmann*
MODO PAID 100% FOR THIS.
FEHLMANN’S ALBUM WAS RELEASED ON WAU MODO, IT WAS REALLY DULL AND BORING, HE WENT FOR A VERY COSTLY SLEEVE, INCLUDING PARTS IN SILVER PRINT WHICH WAS FUCK OFF EXPENSIVE TO REPRO. WE DID SHIP OUT QUITE A LOT THROUGH A DISTRIBUTOR IN EAST LONDON (MIGHT HAVE BEEN CALLED G&M). THEY WENT BUST OWING US ABOUT 20 GRAND, SO ANOTHER PILE OF CASH WENT SAILING DOWN THE DRAIN. WE GOT OFF LIGHTLY, MIND YOU, THE SAME PEOPLE OWED WARP OVER 100 GRAND AT THAT TIME, WHICH ALMOST KILLED OFF WARP COMPLETELY.
2-6 –STP Twentythree Some Lovin’ (Just A Beat) (Massive Mix)
Written-By – McClune*, Sheehan*
YOUTH MIXED THIS I PAID THE STUDIO BILLS. AGAIN IT GOT RELEASED BUT SOLD MISERABLY, IN A FULL COLOUR PIC SLEEVE, MORE THOUSANDS DOWN THE DRAIN. MODO PAID 100% FOR THIS.
2-7 –U.N.C.L.E. 22* Sulpher Salsa
Written-By – Fearon*
OFF THE SAME ALBUM AS ABOVE.
2-8 –Lyndsey Holloday Feel The Love
Written-By – Beale*, Glover*
I HAVE ABSOLUTELY NO IDEA WHAT THIS IS
2-9 –Insync Dark Side Of The Moon (Original Mix)
Written By – Jordan
OFF THE SAME EP AS THE OTHER TRACK ABOVE
2-10 –Mystic Knights The Wrath Of Khan (Long Play Mix)
Written-By – Robinson*, Ho-Shing*
AS ABOVE, THIS WAS ONE THAT ANNIE NIGHTINGALE PLAYED A LOT
MODO PAID 100% FOR THIS.
2-11 –U.N.C.L.E. 22* Is It House?
Written-By – Fearon*
NO IT IS PRISON
(kris – adam this is gold lulz)
2-12 –Sound Iration Seventh Seal
Written-By – Raphael*, Gilder*
THIS WAS NEVER ON WAU MODO ALTHOUGH THE ALBUM WAS. THIS WAS ON A LABEL CALLED SOMETHING LIKE MYSTIC RED CORPORATION, AN OFFSHOOT OF THE WACKIE’S LABEL. I USED TO KNOW RAY WACKIE AND HE GOT A BIT UPSET WHEN HE DISCOVERED THAT NICK AND SCRUFF HAD GIVEN ME THEIR ALBUM AND NOT HIM. ITS A GREAT ALBUM, ANOTHER I AM PROUD TO BE ASSOCIATED WITH, BUT THIS TRACK WASN’T ON WAU MODO. MODO PAID 100% FOR THE ALBUM.
THE OBVIOUS TRACK THAT WAS ON WAU MODO THAT IS MISSING FROM THIS HOTCH POTCH OF HISTORY RE-WRITES IS “NAKED IN THE RAIN” BY BLUE PEARL. THE ORIGINAL PROMO OF THIS, FEATURING MIXES BY JIMI CAUTY, CAME OUT ON WAU MODO AND WAS THEN ASSIGNED (UNDER DURESS) TO BIG LIFE RECORDS. MODO PAID 100% FOR THIS TOO.
ITS ALSO GOT PHONOGRAPHIC COPYRIGHT WAU MR MODO RECORDINGS ON THE CREDITS TO IMPOSSIBLE ODDITIES, WHICH IS RIDICULOUS AS ITS NOT TRUE.
SIMILAR THINGS APPLY TO TRACKS ON THE ORB MIX CD THAT ARE DIFFERENT TO THE 2CD OF STUDIO TRACKS.
STP GOLDFINGER, NEVER GOT RELEASED AS IT CONTAINED A SAMPLE OF THE SONG GOLDFINGER FROM JAMES BOND AND THAT WAS NEVER CLEARED. ANOTHER COUPLE OF THOUSAND WERE SPENT IN THE STUDIO RECORDING IT, HOWEVER. MODO PAID 100% FOR THIS.
GEORGETTE DELLA ROSA WAS SOME DODGY POLE DANCER THAT YOUTH HAD MET VIA SOME CHEESY DANCE PRODUCER IN MILTON KEYNES, IF MEMORY SERVES ME WELL. IT WAS BLOODY AWFUL BUT DOES HAVE SOME SIGNIFICANCE IN THAT I KNEW JUDGE JULES, GOD HE WAS ALWAYS A COMPLETE CUNT EVEN THEN, BUT HE DID KNOW WHAT HIS AUDIENCE WANTED. JULES PHONED ME UP ASKING IF HE COULD REMIX THIS, SO I LET HIM. IT TURNED OUT TO BE ONE OF THE FIRST MIXES HE EVER DID. HE WENT ON, OFCOURSE, TO BECOME A MULTI MILLIONAIRE ON THE BACK OF GATECRASHER AND THE TRANCE CRAZE OF THE SECOND HALF OF THE 1900’S. DAMN. MODO PAID 100% FOR THIS AS WELL.
ORB REMIX OF HOTEL CALIFORNIA CAME OUT ON M&G, NOT SURE IF WAU MODO WAS CREDITED BUT MODO PAID 100% FOR THE RECORDING OF THIS.
(kris: seppuku – i engineered this as well and at 6am i accidentally erased the harmony part of the guitar solo )
HEY LOOK AT THAT THEY PUT ONE YOUR COMPOSITIONS ON THERE TOO, I’LL BET THEY NEVER INFORMED YOU ABOUT IT, APOLLO X1 PEACE.
(kris: i didnt even know this was on here till adam told me)
i suspect uncredited means they didnt actually make this stuff as the orb at the time, but are simply calling it that now because alex had something to do with it and wants to rewrite history. again.
after adam wrote this and i twigged that my music had been used on this without my permission i wrote the label that released it:
Future Noise Music Ltd, Unit 1L, Clapham North Art Centre, 26-32 Voltaire Road, London, SW4 6DH Main Line: 020 7062 1600 Direct Line: 020 7062 1601
call them up if you want and ask them why they are releasing music that they dont have the rights to. I categorically told them that Martin Glover relinquished his rights to the modo catalogue years ago and then contacted them a few months later to see if they had spoken to Glover or tried to confirm the legality of what they are releasing. Basically they couldnt give less of a fuck.
To be honest, we are a very small passionate label / artist management company and can’t really afford to dispose of titles which we have incurred substantial costs on and licenced in good faith. So before progressing with any takedowns we’ll need to seek legal advice and contact the licensor.
Have you contacted Youth about this as your objection seems to be directed at the licensor……..
As far as I am aware, Youth and Alex did not have contact details for you at time of the production.
The members which we got details for, we contacted.
so they cant afford to not sell peoples music illegally. WOW just WOW. and they couldnt type ‘kris weston’ into a search engine. obviously technically challenged. They tried to patronise me, saying my track is only a small part of it and that my copyright doesnt matter over them making money. Eventually they capitulated and agreed to remove the product from stores. or at least thats what they told me…..
Just so you know, the digital income for the Dj Mix which ‘Peace in The Middle East’ is 1 of 12 tracks and you are 1/5th of that track has made £1.399 for the last quarter of 2013!
Given the revenue figure above, we are contacting our aggregator to withdraw the title from all stores as of today. This action normally takes a few weeks before it reflects on retail level.
great. i won. i thought…….
weeks later i contacted them again, why is it still being sold ?
As said to you previously, our aggregators have been instructed to take the product down, it normally takes up to 6 weeks for this to filter to all retail and this is normal in the digital realm.
I will get confirmation from them now that indeed they have actioned our instructions and forward it to you.
…..If you’ve had any dealings with any aggregator or digital store in the past you would be aware of timeframes.
….Can you please confirm that the takedown of the other version has been actioned across all stores?
….It has, yes. I will be checking individual stores over the next few days. Most stores process these things automatically, however some smaller stores process takedowns manually – these sometimes take a little longer to respond to a takedown request.
so, the illegal work was being removed….. or were they lying ? then i got this letter (note condescending tone of how im such a pain in the ass because they are only infringing a little bit of copyright):
FYI see below – the version with your 1/5 of 1 track on the mix has been removed!
Just having a look at this and the version with the mix (the one you requested to be taken down) is not on iTunes or Amazon.
The version that was agreed was the version without the mix. Here’s what you wrote back in the email:
Ah that’s great info! Can we take down the version that contains the continuous mix, and leave the version without the mix up on iTunes and also get it delivered to all other retailers?
You’ll see from these links that it’s the version without the mix that is live on both stores.
oh, so they hadnt taken the whole record down, they removed just my track and carried on selling the other illegal tracks despite me telling them that Glover has relinquished his rights to modo. They made no attempt to contact Glover and didnt care whether or not what they were selling was legal. its ‘GREAT INFO!’ – they can keep selling peoples music illegally and get away with it! FSCKING GREAT! WOO! if im lying about this and they own the rights, they will sue me for what ive written….. dot dot dot tick tock. but they wont will they.
Here is what Adam says about it:
The original partnership was a verbal one, there were no documents formalising the verbal agreement and I am not sure there were documents formalising the verbal dissolution either.
We didn’t need documents, verbal agreements being as legally binding as written ones.
From what I can remember, we had two records we wanted to release on WAU Modo during a period when Youth had decided he didn’t want to continue with the label any more (as he wanted to develop Butterfly).
These were Maurizio Ploy and Suzuki Satellite Serenade.
A meeting took place at Youth’s studio in Brixton where Alex and I played him these releases and told him we thought they should come out on WAU Mr Modo.
So we went away, cut the vinyl, made the labels and sleeves and pressed them up.
When we had finished stock, we sent Youth file copies and at that point he went ape shit.
He called me and Alex in and he denied he had ever agreed to them coming out on WAU Modo (in front of Paterson, who was gobsmacked when he said this). He then called another meeting at which me, him and Alexis Grower (solicitor) were present, where he told Grower that he didn’t want anything to do with me and he wanted to terminate all connections between us.
Grower said he would sort it out.
Whether he ever got as far as actually drafting an agreement, I do not recall.
A lot of things kicked off at that time and there were a lot of legal agreements flying around.
Its also a fact that a verbal agreement is as binding as a written agreement – eg the Rozalla case.
And knowing Grower, as I do now, he might not have ever got around to doing the paperwork.
I do know it happened, indeed I thought it was significant that those two tracks were not included on the Impossible Oddities album, being two of the best things that label ever released.
Kris Needs Article in the Sun.
the Kris Needs article in the sun is a good example of rewriting history. Attempting to lump in my achievements and live concepts into one ego massage for alex, several times referring to alexs studio ‘explorations’ with synths and drum machines, which is just ludicrous and attempting to link him with george clinton by way of a UFO experience, which considering the amount of drugs they were on is so ludicrous as to be almost extra-terrestrial.
Alex started messing around in the bedroom studio at the Wandsworth abode he shared with Youth, who he knew from school and his time as a roadie for Killing Joke.
These Coach House experiments with rudimentary synths and samples gave birth to tracks which would appear on the first records to bear The Orb name, starting with 1989’s ‘Walking On Sunshine’ on the Eternity Project and Kiss EP, released on Alex and Youth’s W.A.U. [What About Us] label.
Then came the epic ‘Lovin’ You [A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld]’, ‘Little Fluffy Clouds’ hit single, debut album The Orb’s Adventures Beyond The Ultraworld and follow-up U.F. Orb hitting number one after first week of release.
Oh, fuck me. Here we see the first mention implying alex works with synths and drum machines, to give the impression he is the one that writes the orbs music. if you had ever seen alex on a synth, you would laugh. and the idea that he can program a drum machine when he can hardly send an email is also ridiculous. its just plain rude to not mention me in this, seeing as i was the one who made the fucking number one album for him and considering my role in fluffy clouds and adventures. but anyway.
He then tries to give the impression alex developed the orbs live gigs over a long time starting from 1988. He attributes a DJ session alex did with Jimmy in Bath in 1988 as ‘The Orbs first gig’
By now, Alex was enlivening acid house parties anywhere from Spectrum and Glasgow’s Slam to Transcentral, but his initial transforming of other people’s records into new aural manifestations through mixing, plus the addition of drum machines and sound effects, was the beginning of the intergalactic extravaganza which would rapidly make The Orb the most spectacular show in the country.
This made me want to smack Needs in the nuts. As i said before i was none too keen on playing live, cos its too scary, hence I came up with the concept of taking an entire studio onstage and constructed technically everything about how those gigs went, Partly for the reason that i needed something to enjoy if i was going to play live. i couldnt just stand there and cue a record in a occassionally trigger a sample from a keyboard like the other electronic bands of the time. i wanted to be doing what i did in the studio, which was create dub mixes and interesting combinations of the loops i had with effects and spontaneous tweaks. the idea that alex fashioned the orb live gigs and sound is fucking up its arse. There is no other orb live appearance before The Kentish town gig in 1991. I remember Alex even telling me at the time it was the Orbs first gig. But now of course he has to tweak history to inflate his out of control ego. Well fuck you, stick this on the record.
Needs has moved to Cornwall and he originally wrote most of that guff because he was promoting a gig with Paterson and that was the press release for it. Then he has embellished it a bit and flogged it to the Sun. Not bad work if you can get it. fucking kris needs, yeesh. that bloke has been like a parsitic flea on the back of life for as long as I can remember. He’s a cocksucker.
I agree. fucking plank.
the kris needs stuff is cobblers. Kiss ep and the huge ever growing yawn were made at KLF studio with Jimi, not at Youth’s studio, which was called The Coach House. I used to sit in on sessions at The Coach House, which was basically Youth’s writing studio. Alex used to skin up, so he played spliffs and I made tea. I was there when they wrote Little Fluffy Clouds. That was basically Youth putting samples together. It was credited as written by Youth/Alex, but I was there too, I always thought if Pattterson got a writing credit for what he did, why didn’t I get a writing credit for what I did? Tea is just as important to the creative process as spliff, isn’t it?
the immovable gatekeepers of bullshit
i am in a band called apollo XI – wrong – it wasnt a band, it was a one off record i engineered once for someone else, who then called it that name
/ I have never agreed or signed any contract to be in a band called apollo XI
to be in a band, one usually has to agree to be in said band or sign a contract!
I have a psuedonym of ‘bass’ (this is actually the pseudnym of martin glover) under this psuedonym i produced works with jimmy cauty of the KLF.
actual truth: i was at school when this record was made, and i have never made a record with jimmy cauty and nor would i want to.
when i went to the website and told them, they assured me that i am wrong! this initially totally threw me, cos i assumed they would say sorry and fix it. not only was i wrong, i was lying. i left it for a bit and went back a few years later, same thing – tried again to tell them. at which point they told me im a difficult artist and there is no point talking to me. The admins seemed to want to protect their data like it was the human genome project or somethin. when the reality is nobody gives a fuck except the artists themselves mostly. Perhaps an artist would rather remove a record from his online portfolio. No! the album covers are the sacrosanct source of information on music and they can never be altered. i mean. fuck these pricks.
i outlined again the total lies and they point blank told me i dont know my own life. right fair enough. thats discogs.com – cunts
from time to time i have offers from people on the internet to correct some errors. Yesterday a guy from spain offered to correct the ‘robobop’ moniker that seems to be somehow associated with my name. good luck doing that i said. he came back five minutes later confirming the immovable gatekeepers of bullshit which is what they shall be referred to henceforth.
Youtube.com and Ebay ( entitled wankers on the internet part 3698 )
Since starting this article (ie since this ‘history of the future’ bullshit came out) i have started a war against universal and the orb. looking through youtube at my tracks, reading comments underneath my music like ‘dr alex p is a genius’ when he did shit all on my track was annoying to me. I dont support google because of their business practices. i dont support any large corporation at all, because when a company gets that big, it is unavoidable for its behaviour to be anything other than motivated by profit. and the profit motive doesnt take human well being in to account :/ Googles motto used to be ‘dont be evil’ – but how far it has come from that. I remember when nobody knew what google was, and i was using it over other search engines and it was the best. i evangelised it meself back in the day. but go look at their dodgy practices these days, they are no longer cool. they are in fact EVIL. they auto generate pages about me, put someone elses picture when you search for me, and even compile a list of my tracks which you can play for free when you type my name in. I didnt agree to that, and i have no say in it. I have no say in what picture is used for myself or even whether it is *of myself* ! gmail snooping, targetted ads. doing deals with the PRS with musicians cash that they dont have the right to do, and then slapping an NDA on it!!!!! YES THATS RIGHT, the corrupt PRS did a deal with google to monetise musicians content on google. the rate is a piss take and the agreement is secret even though its other peoples money they are doing a deal with. that is a crime by any standards i can think of. i could go on about their bullshit but you get the idea. i want no part of them whatsoever.
so. i started removing all my tracks as a reaction to this and the shameful exploitation by universal of my work. much to my surprise i was met with a lot of opposition. i started off with a google account, politely going around asking people to remove my music. i was met with derision and point blank refusal. one guy actually said ‘well lets put it up to a vote of the users and if they agree i will take it down’ – after a while of that i deleted the account. the only recourse at this point was the copyright form that google supplied. there were 100’s of my tracks illegally copied on youpube and you could only enter something like 4 links into this form. would have taken years to remove and im sure that was done on purpose, so i left it for a bit. at some point i then found an email address to send DMCA takedown requests to and started firing them off in large chunks.
i then started getting letters like this:
Dear Mr. Weston,
In response to your requesting me remove a The Orb concert video at Webster Hall in November 2013, featuring Slug Dub into Towers of Dub, due to copyright infringement, I feel it was somewhat drastic as it had about 120 views and was no where near the point of monetizing from your content. I’ve bough about 75% of everything The Orb has put out for sale, including many vinyls, and would’ve at least expected an email request due to its low level of views, and the obvious non profit intentions I had of putting up what was simply a good performance. I’ve thought highly of you for years and this has mildly pissed me off but it’s somewhat understandable as it’s your performance. A bit more tact would’ve been much appreciated.
and this (spelling his):
Hi there, I just recieved another copyright complaint from your side on Youtube. I know its your music but always remember most YT users post music they love and are passionate about..and YT clips aint HQ music streams ;) In my case I always try to make vids complete with label logo & artwork wich I add to the release page on www.discogs.com so other people can discover and explore and enjoy your music as much I did / do. Its just another way of passing music history to newer generations, wich aint a bad thing right? In case ya discover something else on my YT page wich belongs to you, just sent me a message and Ill get it off ASAP instead of another complaint/strike wich will result in my channel getting closed :( A lot of music on my channel is there with permission of the artist themselfs btw who rather see their musical heritage living on then fading away into obscurity and oblivion..
How do I rip you off?
I think P2P or a random Google search on your music generates more hits + d/l’s then the 2 songs ya can play on my YT channel.. or the Discogs release page.
As already said, I always add the vids to the page on Discogs, a very good way to discover / explore for younger people who are getting into good music and want to know more, whats wrong with that?
Unless ya dont give a shit about connecting with newer crowds?
My account aint ‘that’ important, seems the only thing important here is some bitter musician.. (or ex member)
SO, the google users think i shouldnt remove google videos because:
1) people love the music
2) it wasnt getting many hits
3) i wasnt making any money off it and/or didnt put ads on it
4) its been on there for ages
5) its copied all over the web in other places so it doesnt matter being on google
6) ive bought a lot of orb stuff therefore i have a right to upload it to google
7) ive bought a lot of orb stuff therefore i have a right to be notified by email so my youtube account wont be deleted (this one has come up a few times, but to do this you need a youtube account, a point which these people havent considered)
8) you should have had more ‘tact’ ( not interested in why i am doing this, or how long ive been trying to get my stuff off google )
9) its not high quality enough to be considered copying
10) the other artists i have uploaded to google have given me permission
11) i wont like you anymore if you remove your music from google
12) if you dont let me illegally upload your music to google you will fade away into obscurity and oblivion
13) when i upload your music to google, i always add it to discogs, the other site you fucking hate thats full of lies about you, so that young people will discover your music ( never mind im getting shafted for the money )
14) you are bitter and youre not in the orb anymore so that gives me the right to copy your music
15) why dont i put it up to a vote of my users on youtube to see if they agree to your music being taken down ( this one made me want to find the dude and hurt him – this one snapped me and i decided to spend the considerable amount of time it took to remove everything as a result – so blame this guy if you dont like it :)
16) alex said it was ok ( alex doesnt have the right to ok my music being copied )
17) youre a bully
so a brief round up of the many excuses ive heard in one phrase:
SUCK MY FUCKING DICK YOU ENTITLED FUCKING WANKERS.
if you like me so much, go put some money into my new music, cos you know its going to kick ass. no record company is going to because the music industry doesnt want decent music now, it wants mass produced bollocks and amateurs playing with fucking ableton. if you want to hear my old music, yer should have fucking bought it eh ? its not my resposnsibility to do anything, and i refuse to accept the various guilt trips fucking wankers are trying to hoist on me. no.
theres another option there of course, and that is the fuck right off option which is very popular on twitter at the moment.
people think i care about my music being remembered or promoted. er NO! couldnt give less of a shit. Obscurity ? yes please !
or at least thats what they say, when in actual fact their reasons are for self promotion and aggrandisement on social networking sites. GTFO fagus sylvatica.
im interested in music, not promoting large corporations or extending their databases. fuck that.
apart from that, this music is 20 years old, it doesnt need promoting ffs.
heres user ‘jivemofo‘ on ebay who i asked to remove this bootleg he was flogging of my work:
i wrote him a letter asking to remove the offending article. i gave him the courtesy of removing it himself. i was fairly polite, considering he was flogging my tunes for his own profit.
and i quote:
Can I ask how this affects you in any way?
…used to have so much respect for you.
wow, thats a bit entitled i thought, the other people who were selling my bootlegs were happy to remove them, and thanked me for asking them first. something i was able to do as my friend has an ebay account. unlike the google users. i cant contact the 100s of them individually because i dont have a google account OR the time. so i sent this:
well, its my music thats how it affects me.
i couldnt give a flying toss if you respect me or not, i have no idea who you are, you are selling my music illegally.
now remove it or be reported. whats it to be ? ill check in again tomorrow, if its not gone, you will be taken down.
i gave you the courtesy of notifying you about this first, i could have just got your account removed for selling bootlegs, so you have to be a whining bitch over it. what a prick.
annnnnnnnd his butthurt reply?:
you didn’t answer the question…you know it doesn’t affect you in the least. you aren’t losing any sales at all. you are essentially a bully who’s making someone do something because he can. no other reason. are you bummed that you are last decades news? is fucking your dog in the ass getting too dull for you? congrats…I’ll be taking it down. you can go back to fisting Fido.
(it’s actually Alex Patterson’s property…but I’m sure eBay would’t be able to discern the difference)
Enjoy your shitty life,
lulz. wow hes quite upset!
theres two tracks on this i didnt do and the rest is mostly me, the killing joke thing alex isnt even on at all, even though as ive said previously he just skins up and does shit all in the studio. so yeah this is mostly me. as for losing sales. i had never considered that to be anything to do with it. its a fucking bootleg! of course im losing sales! sales that i get fuck all for cos im being shamelessly exploited by patterson and universal on my royalties. wtf. ho hum another butthurt entitled wanker on the internet.
Why did you leave the orb?
[ccie]”Weston suddenly quit The Orb. Paterson claimed that Weston’s departure was due to Weston’s desire to have more control in The Orb”[/ccie] from ShittyTedium
I couldnt really have had any more control! i had the vision and concepts for the music, what they would sound like, what effects would be used. how they would all tie in together. so. whatevs. i also didnt leave it suddenly, i was fed up with the bullshit for about a year previously but i continued…
I left the band simply because I was tired of working with Alex, he did practically nothing on the records, fell asleep a lot (stoned) and had little to give in terms of musical knowledge or taste. I just had outgrown him. I wanted to work with someone more technically proficient. Unfortunately I still havent found anyone thats any good.
there were other factors tho. all i wanted to do was make the music and have fun with the equipment, thats what i loved and thats what i love now. they forced me to do shit like play live, do videos, media crap and go on TV. i never wanted any of that. alex moved two employees into my studio, and it became like a youth centre, with people in and out all the time and i wanted privacy to concentrate and work. it was my dream studio in terms of gear and a nightmare to actually try and work in, with people just walking in as i was creating shit and interrupting. anyone who makes art knows this is a reet fucking PITA.
there was also the money e.g. alex and adam told me the time and i remember it very clearly that the 250,000 pound contract i signed wasnt mine, it was due to all the other writers who ever worked with us, today while writing this i actually found a letter of this in writing where Yvonne O Donovan the accountant for Mr Modo label outlines her fraudulent and outlandish claim about my money:
[ccie]The recent advance from Chrysalis Music was not just for Alex and Kristian but was for all songwriters involved on Orb Recordings (They write an average of 60-70% of their own music), and is not due to songwriters until delivery of the album after next, and is repayable if they fail to deliver. The contract with Orb Music, which was a partnership between Alex Paterson, Kristian Weston and Adam Morris.[/ccie]
it wasnt repayable and wasnt signed by orb music – it was signed by myself and twatternonce – and that means myself and twatterprat get the cash. end of. i think they gave me 10k or something to shut me up at the time and i was too busy doing the records to look properly into it. i was 20 ish or something then, so i was clueless. still pretty clueless now really. the rest of it disappeared.
I grew up with Alex. He always told me i was like a little brother to him. He presided over losing 250,000 quid of my publishing money, several of my tracks, a lot of my royalties (which im still trying to fix now and as a result of this article ive found multiple multiple infringements), and has consistently claimed credit for my work, including renaming my tracks and putting them out without crediting me, taking my IP and just whacking it over orb tracks hoping i wouldnt notice etc etc etc. Recently I was told of another very very serious allegation against him and youth which im not getting into here, and it made my mind up what to do. I grew up with these people, and they taught me about life. It was a bad lesson, from superficial people, which damaged me. What i came to realise after a long time is that this was an abusive relationship, i was just a tool. I used to go on tour and watch alex fuck everything that moved, and then come back and have to face his girlfriend and pretend like nothing happened. Lisa knew what was up tho, and she got her own back by fucking some guy right under the stage while we were playing in manchester. good on yer lisa, RIP. This deceit was the lesson i was supposed to learn i guess, setting me up for the music industry. My nature is just not like that, I am open and honest about things and I intend to stay that way.
my dissatisfaction with alexs studio prowess culminated one day in joes garage in clapham during the orbus terrarum album, when alex decided he wanted to put a synth line on one of my tunes. ok i humoured him. he had bought an arp 2600 because, not quite sure. he had no idea how to use it. guess he saw me buying all my analogue gear and wanted to get in on the show as well :D heres what it looks like:
so i sat there watching him make a sound……. the arp 2600 is *fairly complicated to work as a synth, you do have to understand how oscillators are controlled by VCAs and the signal path into the filter etc and how they are triggered to really make the most of it. yeah sure, you can sort of move everything around not knowing what the fuck you are doing and occasionally get something, but thats not really ideal. it also has a bunch of patching you can do, alex didnt know how to do that bit heheh. so basically what happens when he gets on this synth is the same thing that always happened when he got on the synth. an LFO oscillating a sine wave slowly through the spring reverb. I was chatting to Nina Walsh about him and his arp the other day, and the oscillating waveform thing is a bit of a running joke along with the chickens. she said 15 years later, he is still doing exactly the same thing, and was complaining about the exact same thing that just snapped me to leave the band immediately.
it sounds a bit like this (ignoring the bloke) :
so yeah probably the most rudimentary synth sound you could make, and alex twiddled the buttons and the sound remained the same, because he had no clue. i was sitting behind him playing the electric guitar absent mindedly as he twiddled his way to nothing. i started to get more and more pissed off. this was going nowhere. i could make an actual decent sound in a fraction of the time we were wasting, and the more i thought about it, the louder i played. the more pissed off i got at his ineptitude the louder and louder i played, until finally i was hammering the fucking thing staring at the twat. he yelled ‘shutup’ at me, and i immediately left never to return. they kept my gear, changed the locks on my studio which i paid for, kept my tracks which had fuck all to do with them and then released them as their own. andy hughes saw his chance at this point to step in, and alex went for it. their single toxygene was the highest ever charting orb track, and probably the crappiest. its quite clear to anyone who has two ears from this point on that im not at the controls anymore. since then alex has employed and fallen out with loads of people in his attempt to get them to make his music for him :) what an absolute fucking plank and im done with this bullshit. there you wanted to know – there you go.
and finally…. cat stuck up tree joke
heres thomas fehlmann playing one of my tracks to a crowd of people: oh it shows off the fucking flowy style does it ? thomas fehlmann had fuck all to do with this track. i wrote this track. this illustrates perfectly the history rewrite. thomas go fuck yourself, go make more bland shitty tunes and leave my ones the fuck alone you weird looking aids victim.
As a result of the constant unauthorised re-releases, the unauthorised remasters by people i would never let touch my music, the fraudulent royalties, the lies, the shameful exploitation of my work by Island / Universal Records, the stealing of my work and renaming it, the illegal broadcasting of my music at gigs and such without my permission, the unauthorised use of my intellectual property and one other seriously fucked up thing I have decided to wage all out war against these people until such time as they stop exploiting my work, give me the money they owe me and GTFO.
thanks for listening. ( did you really read all that ? nutter! also. bit fucking nosey arent you? )
i found this pile of tripe after i wrote this article but it was so outrageous i had to put it in as well – if this doesnt make it clear, nothing will. starting to see how wikipedia formed its ideas about the history of the orb now. alex is basically telling a load of shit to the press.
[interviewer] Traditional bands improvise through solos. When you’ve got your DAT running onstage, how do you improvise?
I’ll take some effects out. The engineer on the other side of the stage brings other effects in. Chris [Weston, a.k.a. Thrash] used to do that as our engineer, but then he decided he didn’t want to engineer anymore; he wanted to concentrate on doing the music with me. Chris got to the point where it was very much like, “Well, if you’re doing that with the music, I don’t like it. I want to be doing this, and *then* I’ll like it.” It was pretty sad. He’s left the band now. Nick, Simon, and Andy, as a live band, are very strong. Nick and Simon have been touring with us since 1992, and Andy has been in the studio as an engineer with us since just after *U.F.Orb*. He was the engineer on *FFWD* [available on the English label Inter]. He got himself more and more involved. Then Chris wanted to become the engineer again, *and* be the songwriter, *and* not have anybody else involved. I told him, in no uncertain terms, “Get your own band together. Sort your own life out.” So he left in early August. At the end of the day, Chris might feel a bit grieved about leaving the band, but it was his decision.
Theres so much guff going on here, ill have to break it down:
[ccie] I’ll take some effects out. [/ccie]
lie. the only effect alex ever had live with me was the preset delay inside his DJ mixer, which he didnt have for all the gigs and which was a source of much annoyance for the other members of the live act. all the actual effects and mix arrangements were controlled by me.
[ccie] The engineer on the other side of the stage brings other effects in [/ccie]
i guess hes talking about andy hughes here and this is after i left because he wouldnt dare call me his engineer would he.
[ccie] Chris [Weston, a.k.a. Thrash] used to do that as our engineer, but then he decided he didn’t want to engineer anymore; he wanted to concentrate on doing the music with me. [/ccie]
oh yes of course he would. this sentence boggles my mind. i was never ‘the engineer’ i was the artist and engineer and producer from day one, and alex didnt do any music, he came up with sample ideas, bbc sound effects records and tape beatles stuff etc. i am unable to determine where this period of transition from engineer to ‘helping alex with the music he doesnt make’ happened. so i used to help with ‘other effects’ the ones that alex was too busy to deal with? lulz. for him to say this after i came up with the entire live concept and made all the dub mixes live with ALL the effects, is gobsmacking. alexs live job was playing little samples of other peoples records on a turntable and triggering a selection of about 20 vocal samples from a keyboard. i had control of him and could fade him in and out if he got annoying. which he did.
[ccie]Chris got to the point where it was very much like, “Well, if you’re doing that with the music, I don’t like it. I want to be doing this, and *then* I’ll like it.” It was pretty sad. He’s left the band now.[/ccie]
here he seems to be moaning that he had no control over the music making i guess ? or perhaps he was moaning that i have my own opinions on music. bit head scratchy that bit.
[ccie]Nick, Simon, and Andy, as a live band, are very strong. Nick and Simon have been touring with us since 1992, and Andy has been in the studio as an engineer with us since just after *U.F.Orb*[/ccie]
trying to big up this idea of a band, when its simon playing back the looped bassline from the track and nick ratttling a few percussion things over a fucking backing track. better clear up something else andy hughes never ENGINEERED any of my productions, he was there in an assistant role, to plug things in on the patchbay while i was programming. I did the actual engineering, because i feel that is an integral part of working in the studio to be balancing the production, sound, compression, EQ, effects and song at the same time.
[ccie]He was the engineer on *FFWD* [available on the English label Inter]. He got himself more and more involved.[/ccie]
on FFWD andy put a couple of reverbs up and started playing on a synth without asking me and came up with a nice sound. so i let it go. he was trying to worm his way in at this point. he was welcome to alex as far as i was concerned. good luck with that. as for having any particular effect on my production of FFWD, andy was irrelevant.
[ccie]Then Chris wanted to become the engineer again, *and* be the songwriter, *and* not have anybody else involved.[/ccie]
as i said all these things are interconnected, and i never stopped wearing those hats at any time. its true that i wanted the massive entourage that had built up around the orb to fuck right off out of my creative space tho. andy hughes being one of em.
[ccie]I told him, in no uncertain terms, “Get your own band together. Sort your own life out.” So he left in early August.[/ccie]
fuck me sideways. alex has never ever said this to me, i was the one issuing ultimatums about not dealing with the press. alex would have an orb reunion with me tomorrow, even after this article. he misses being able to use someone as effectively as me. so alex gave me my marching orders huh. lol. what a fucking lying cunt.
[ccie]At the end of the day, Chris might feel a bit grieved about leaving the band, but it was his decision.[/ccie]
what i feel grieved about is you claiming the credit for my work alex, not even putting my fucking name on it, releasing my work over and over and over again. remastering it without my permission. renaming demos i worked on to other titles and not giving me credit. releasing and cashing in on every piece of shit i even farted near including stuff i have never ever wanted to go out that were just experiments. stealing my track ‘white river junction’ and putting crap over the top of it and then releasing it as your own. taking my intellectual property and whacking it over orb tracks withou asking (causing universal to shit the bed and start drawing up contracts to placate me when i find out ten years after the fact). giving away my royalties to people who had nothing to do with my tracks. putting your name on the PPL royalties for tracks you had nothing to do with, and cant perform anyway because you dont fucking play any instruments you brain dead football loving sheep cunt. leaving the band was the best decision of my life and i have never regretted it for one second.
this is what alex actually wanted to say.
yeah yeah there was this guy around sometimes every now n again. i used to let him do a coupla effects live, mostly it was me though of course. then he started getting a bit too big for his boots, so i had to fuck him off. i sure told him.
[interviewer] What kind of a role did he play in Orb concerts?
Well, he stopped doing them two years ago. He didn’t want to go on the road. Andy just got gradually involved, and a bit of antagonism was going on. So when Chris finally left, Andy just stepped into his shoes.
I stopped doing concerts *after* i left the band, there was no period of two years where andy took over ANY, (NOT ONE) of my concerts. Complete utter lie. what the fuck. notice how he dodges the question by just lying completely, cos he obviously lied too much in the previous question for this one to work out.
Rear Addendum 2
since this came out on the internet and some crappy magazine put it in coupla people called me a liar, said i was paranoid – not sure about what exactly and that i was making all this up. these are people that have never met me in person.
ok then heres a letter from our ex-manager to a copyright society.
Re: Kristian Weston, Producer, Song Writer and Musician in the band known as The Orb
To Whom It May Concern,
I a writing this letter in reference to the performances made by Kristian Weston for the band known as The Orb in the period from January 1988 until September 1994.
During that time I was the manager of the band The Orb via my limited company known as Mr Modo (Ltd). I am in fact the person known as “Mr Modo”. In this role, I organised and was present at a considerable number of recordings, live performances, radio broadcasts, remixes and 3rd party productions for and by the band. This included, but was not limited to, recordings made for Island Records and Big Life Records, including the number 1 LP “UF Orb” and various hit singles. It also included BBC Radio sessions for John Peel, television appearances (Top Of The Pops) and public performances on headline tours for SJM Concerts as well as appearances at the Glastonbury Festival and so on.
For most of the time I was manager, the band consisted of two members, Kristian Weston (person known as “Thrash”) and Alex Paterson, (person known as “Dr LX Paterson”). The arrangement between the two band members was that Kris was a record producer and recording studio engineer of considerable talent. Mr Paterson was a DJ and owner of the name “The Orb” as much as it related to a musical group. Through this, he was the executive producer of the band’s intellectual property.
Mr Weston made all of the recordings that took place. He engineered the sessions, he did all of the sequencing and musical programming on the records. He played most of the instruments on the recordings, he produced and mixed same. Mr Paterson manipulated DJ turntables and provided samples for these recordings and compiled the final mixes into album and/or singles formats.
As far as the song writing was concerned, all songs were credited as Paterson and Weston and split 50/50 net (ie after cleared samples had been accounted for). The reality was that in fact, most of the original parts of the songs were written by Mr Weston. For example, on The Orb’s hit single, “Little Fluffy Clouds”, it was Kristian who operated the computers in Do Not Erase studios sequencing all of the tracks. Kris also operated the mixing desk and on the occasions when other engineers were involved, it was Kris that had the final mix that went to DAT. Although some pre-production work had been done to the vocal sample on Fluffy Clouds before it went to Do Not Erase, Kris played the main keyboard line, a second keyboard line and made some analog keyboard noises. Kris also adapted the song from 3/4 over a 4/4 one bar loop by changing the 3/4 to 4/4 by adding guitar then shifting the lines to fit the guitars by moving the key up a tone.
In other words, he added production (co-production), he wrote the keyboard line and also performed on the track.
All of the above should have been reflected in the registrations of these tracks. It has recently been brought to my attention, however, that in the years since I ceased to manage this band, those registrations have been submitted to reflect a completely different scenario, to Mr Weston’s financial detriment.
I have recently learned, in fact, that the registration of Mr Weston’s role in the production and performance of this material has been significantly diminished. He has suffered significant financial losses as a result of this misrepresentation.
The same performance issues are true of remixes by The Orb. There were a substantial number of these remixes, from iconic works such as Mike Oldfield’s “Tubular Bells” to remixes of underground works by obscure artists.
To give you a flavour of how it worked, The Orb produced and remixed the track “Higher Than The Sun” on Primal Scream’s award winning “Screamadelica” LP. Kris played everything on this track that isn’t a sample, other than a couple of bars of a string sound and the same of Theremin. That is, he played bass guitar, electric guitar, the riff the song is built around and so on. I am led to understand that despite this, for PPL purposes, this has been registered without any credit being given to Kris for this work either as producer or musical performer.
I hope this letter clarifies the situation regarding Mr Weston’s involvement in the production of these works.
If you need any more information, please feel free to contact me.
addition AGAIN: the orb are now going around giving permission to their mates to upload my music to google.