https://www.musicbusinessworldwide.com/working-with-paul-mccartney-is-like-the-best-most-intense-university-in-the-world/
2015年10月の記事なので、
かなり古いと言っちゃぁ、古い💧spotifyに参入したばかりの頃みたいなので、その辺考慮しないとね。でも、時代に合わせて戦略を変えてる御大のビジネス手腕の1片を覗い知る事ができる。御大の部分だけ抜粋。
Let’s talk about Sir Paul McCartney. He was quite late to Spotify but now seems to be an advocate of it.
He wasn’t that late to Spotify.
When you’re part of an institution like The Beatles it’s really tricky. Around the same time The Beatles went onto iTunes, which was a huge announcement, we began doing reissues with Paul – taking the gems from his solo catalogue, of which there are many, and doing ‘ultimate’ editions.
彼御大がspotifyに参入したのはそんな遅かった訳じゃない。
beatlesに絡むのは一筋縄じゃ無い。同時にi tunesもやってる訳だし。僕達はpaulのソロの作品からreissueに着手する事にしたんだ。
I’m really proud of that series; it’s the best series I’ve ever worked on and it’s won multiple Grammys. We’ve just done Tug Of War, which is phenomenal – the ninth in the series.
この最高傑作シリーズに関われた事を誇りに思う。
tug of warはシリーズでも驚異的だった。
“PAUL’S ALWAYS BEEN SOMEONE WHO’S EMBRACED
NEW TECHNOLOGY AND NEW FORMATS.”
paulは常に何か新しいモノを取り入れるんだ。
When we got to Ram [re-master in 2012] it was the fourth in the series, and the streaming question came up.
2012年にリマスターしたシリーズ4作目のRamではストリーミング問題に直面した。
Older artists are always shot down by various media organisations for not being with the programme. Paul’s always been someone who’s embraced new technology and new formats.
ベテランになると色んなメディア組織がデジタル化を阻むのが常。でもpaulは何時も何かしら新しい技術やフォーマットを取り入れて来た。
So we started [putting his catalogue on streaming services] and it’s worked for us. It’s worked financially, creatively. It was the right thing to do.
だから作品をストリーミングサービスにあげる事にしたんだ。上手くいったよ。金銭的にも作品を作り出す上でも正解だった。
Going back to your earlier point… it works financially because he owns the rights?
金銭的に良かったのは、彼が権利を持ってるから?
We share revenues with our partner. He’s got a smart deal. We’ve licensed the catalogue to Concord Music Group in the US, which is in turn distributed through Universal.
利益は折半だ。彼は交渉が上手い。
They’re the right partner for now, and we could base a deal on real-world modern streaming economics rather than legacy contracts.
従来の契約じゃなくて実態に合った適正な取引をしてる。
How long have you been managing McCartney. And, sorry, but I have to ask: what’s it like to manage a Beatle?
彼とは何年ですか?
で、伝説と絡むのはどうですか?
I’ve been with Paul for nine years.
もう9年になるかな。
At the time I started working with him, I thought I would consult for the Memory Almost Full album and that would be that.
memory almost full からだと思うけど。
Which I’d have been happy with, don’t get me wrong – it’s such an honour to get to work with him full stop.
それから続いてるのは嬉しいことだよ。
“I’D HAVE BEEN HAPPY WORKING ON ONE ALBUM WITH PAUL. IT’S SUCH AN HONOUR TO GET TO WORK WITH HIM FULL STOP.”
That rolled into a DVD collection, which in turn rolled into the Fireman project and then another album project.
DVDcollectionにもなったし
其処からfireman projectも生まれた。
One thing about me starting to work with Paul, looking at his operation at that point, I was the first external person he’d worked with since The Beatles.
僕は彼にとって初めての外部の人間だったと思うよ。
It was important for me to remain an outsider rather than be folded into his MPL organisation.
MPLの社員以外の部外者って立ち位置は大切なんだ。
To bring another perspective?
岡目八目ですね?
Exactly. It was good for me to work with other artists – I could see how the industry was evolving and what was relevant for other kinds of acts.
色んアーティストと仕事をすることで、音楽産業が今後どう進むか異業種のどんな動きが関係してるかが見えてくる。
But being Paul’s manager is extra challenging, because you’re working with an artist who’s pretty much invented the rule-book and done everything you could ever imagine in music at every level.
でもPaulと仕事をするのは特別だ。君には考えられない程、あらゆるレベルで、音楽の様々なことをして、音楽業界のルールブックを作ってきた人なんだよ
I will say that MPL is a world-class organisation. No artist on the planet has a team like that around them. If I could put that organisation around every act I work with it would be a dream.
MPLは一流の、比類のない素晴らしい組織だよ。
PaulWhat was the first thing he said to you as his manager?
Ha, I remember it well: ‘I get bored quite easily.’
He’s the busiest guy I’ve ever met, between his live tours, music projects, film projects, book projects, art projects, soundtrack projects.
ライブツアーの合間に、音楽プロジェクト、フィルムプロジェクト、出版プロジェクト、artプロジェクト、サントラプロジェクトを熟してる。僕が会った中で１番多忙な人さ。
It just doesn’t stop – it’s insane. The biggest challenge is to keep up with him!
留まる事が無い、狂気の沙汰だよ。
Working with Paul is like going to the best, most intense university in the world. I’ve learned more working with him than I could with probably any other act.
paulと仕事をするのは最高レベルの大学で集中講義を受けるようなもんだね。
他では得られ無い多くを学んだよ。