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Nacho Campello: “Tam Tam Go!’s recordings from the early days are already unrecoverable”


EMI had high expectations with wet backs, the song with which the Campello brothers confronted the issue of illegal immigration. The single was supposed to be released and automatically reached number one on Los 40 Principales on December 1, 1990, taking the position from Roxette with it must have been love. However, the drive continued until the eighth, when they were passed The trap with Come closer and kiss me. Tam Tam go! I toured Latin America for the first time: Mexico, Chile, Peru … without making too much fuss, wet backs colloquial Nacho says it was not well understood in Spain due to the low immigration the country received at the time. But, despite that, The song worked.

At the time, EMI shared its rights with the publisher of Who PRISA group which was initially called Nuesa and then Nova & rdquor ;. Nacho Campello lists the steps to follow to be in the first place and among the most listened to. According to Los 40 Principales, there were two payment methods: “One, the assignment of editing rights; the publisher signed and we signed, but we refused, so the publisher gave up 20% to Nova.” Then, as Nacho and Javier attest, they were paid in kind or in money (a million pesetas): “The companies paid money, and since they were multinationals, they did it in a package where we were all ” the deal in kind consisted of a series of free offerings: “The company paid for the entire concert, including the musicians. It was a kind of bargaining chip for the group to be number one (the so-called red disc) & rdquo;. But they found out about it later, not when they signed the publishing contract. “I remember that in songs like Welcome (Miguel Rios) 20% or 25% of NOVA from PRISA. Yes, it was the quota for being number one, the journalist recounted Joaquin Guzman In an interview with Nacho Campillo in Rucula FM in 2014. Guzmán has worked at PRISA for over ten years as an announcer for M80 radius. “When someone signed with a publisher, I warned them: ‘Be careful what you sign.’”

Review the numbers wet backs With the singer and composer, the numbers are that Nova received 20%, EMI 30%, and Tam Tam Go! 50% is divided between Nacho (30%), Javier (12.5%) and Rafa (12.5%). “At the time it was a very well-established thing,” says Campello. “The record company told us that was the case. We, from the start, were very brawling. We read the contracts, but didn’t have a lot of ideas. Over time we were looking for new contracts and comparing them. And of course! They were beating us tremendously. As for the live shows , 50% of which went to the broadcaster and the publisher.

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Nacho Campillo, interview day. / Alba Figari.

Take the accounts of Nacho Campillo. He admits that they lost a lot of money in the case of 50% of their rights wet backs And he calculates that it could have been a few million pesetas (Javier prefers not to do this in order not to get angry). “I was aware of all this with my first solo album,” Nacho resumes. “I started reviewing contracts and thought that had to change. Then he signed me to MCA, which was from Universal. They offered me to do the editorial with them and I said no, I’d do it myself. mountain Callao songs With Isabelle and since then we’ve started putting my entire repertoire in there, but not that of Tam Tam Go! Because EMI actually owned it for life. Tam Tam Go! from the first period is not really recoverable, unless we enter into a large lawsuit to recover the rights & rdquor;

Circular action

in 2016, bmg I obtained Nova’s music catalogs from Radio PRISA. Comparing the information in the SGAE database, Sony Music Publishing Spain SL and BMG Forty Spain appear as publishers, therefore the rights to edit wet backs Today it is owned by Sony Music. “We’re still the same,” says Nacho. We spoke with lawyers to get them back. They broke a lot of things: grades, for example, weren’t there and they lost their master’s degrees. At the moment these Leonine life contracts have been declared illegal and these liberation contracts have been made for 10 or 5 years. “They’re not illegal yet,” Javier points out now. “You have to sue someone to have it declared illegal. There are provisions that are unconstitutional. We’re suing. We have a lawyer who sees if we can keep all the editing rights. It’s been a year or so. But more groups are going to go, not just us.”

Paco Martin He sold Twins to DRO in 1989 for 150 million pesetas (forgiving the last 50 pesetas). But, oddly enough, the DRO group moved to Warner Music International in 1993. This series of purchases was made Spanish dribbling, edited by Twins, belongs to Warners. On the other hand, EMI disappeared in 2011 and Tam Tam Go! (Spanish romanceAnd wet backs And life and color) has been taken over by Parlophone Label Group, under Warner’s tutelage since 2013.

Argentinian Facundo Domínguez, better known as DJ Conwhich launched in 2000 AC wet backs – Under the title No Money (Crossing the River)On a CD titled Crazy torment With GASA, a label acquired by Warner in 1993 for being in the DRO Group along with the Twins and DRO “After the de Troubled times (low blows) in Latin columbo (1998), he was determined to have another Spanish adaptation of it Crazy torment (2000) But this could relate to Spanish-speaking America, hence the subject matter wet backs [espaldas mojadas] on the border & rdquo; DJ Kun tells this medium by e-mail. “I already had concepts teenager– When I had to board (but fly) to San Antonio from Mexico with my parents to regularize my Argentine immigrant status in Mexico. It was only natural to incorporate mariachi so that Warner Mexico would react and publish me outside of Spain.”

Nacho Campello reveals that Tam Tam Go is for this “version”! He received the equivalent of 50% of the royalties. Campello estimates DJ Kun 10% to appear as a translator, but the Argentine artist threw in other statements: “When contacting Warner Chappell, a merger with EMI Music Publishing was in the works, and so they facilitated the assignment of rights as an adaptation of Tam’s unusual 60%. Tam Go!, and 40% for me.” He signed his recording contract with the publisher at a rate of 60%-40%. wet backs He only took 10%, ”confirms Javier, corroborating the data presented by his brother Nacho.

DJ Con reveals that the company requested that the song not have the original title wet backs. Facundo insisted with a title river crossing, But she stayed in the end there is no money. Nobody was able to contact them [Tam Tam Go!]; I was also interested in having Nacho sing it, but someone saw an opportunity to reunite the band and sign to Very profitable tour [una gira muy rentable]. She repeated this phenomenon on two more occasions with Golpes Bajos and with Radio Futura and its hot school, until I left DRO East/West because I got tired of ordering more issues to get their collections back. Continuing with the rights issue, DJ Kun asserts that with the Phonographic (7%) ownership contract, “the company never had the right to digitize or broadcast by flow this album & rdquor; Even today, DRO East/West, off this second album, has not made any payment: “They always made excuses not to pay, and today they don’t include me in their digital database to collect royalties.” He licensed the single to a record label for would-be Mexican drug dealers. And they don’t respond to any calls & rdquo;.

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Related news

in 2022, 32 years after its premiere on Format Radio, wet backs Recorded again by Tam Tam Go!, This time accompanied by Michael Isalinside the disc after 30Edited by Mitik Records, and managed by Aurelio Morata, bassist of Los Rebeldes and responsible for Jaime Urrutia’s career. With the new version of wet backsPhonographic rights to us and metek. But we’ve recorded the song several times.” One of them, which they played on September 20, 2008 at Teatro Romano in Merida for the live show that Warner would eventually publish in 2009 as Bolero caught fire.

The summary of this story is that Warner owns Tam Tam Go! Recordings (phonograph catalog) and Sony Songs (editorial part). “Considering the current times and our lack of information, we signed what we thought was the best. In the past, I would not have signed him at all & rdquor; Nacho Campillo concludes. Javier, who backs up Nacho’s words, also concludes with a similar statement, which makes him fall down, as They are faced with outright rejection, they may not have been able to work, and, of course, they would not have appeared wet backs on the radio.

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