The Jimi Hendrix Experience members “died in relative poverty”, court told during Sony legal battle
The estates of Noel Redding and Mitch Mitchell have claimed that Jimi Hendrix‘s former bandmates died in “relative poverty” despite record labels continuing to profit from their music.
The estates of the two late British musicians are currently pursuing legal action against Sony Music Entertainment UK in the High Court. Their case alleges that they have been consistently excluded from a share of revenue.
The legal challenge centres on copyright and performers’ rights for three specific albums by The Jimi Hendrix Experience, namely Are You Experienced, Axis: Bold as Love, and Electric Ladyland.
Simon Malynicz KC is representing the estates of both the bassist and drummer. At the beginning of the trial on December 9th, he told the court that the band, which was active from 1966 to 1970, “was one of the most commercially successful acts of its era”.
He went on to explain that, despite this, Redding and Mitchell “were excluded early on in their lifetimes” and “died in relative poverty”. Mitchell died in 2008, while Redding passed away in 2003.
His argument continued to focus on their successors, who would have usually been entitled to a share of revenue via inheritable property rights upon their deaths. However, they have been consistently excluded by the administrators of Hendrix’s estate, as well as subsequent legal proceedings.
Speaking on this, Malynicz commented that the musicians were let down by “yet again by a major multinational which refuses to recognise or remunerate their copyright and performers’ right.”
He ordered the court to “ensure not only that justice is done to the memory of Noel Redding and Mitch Mitchell, but it can also give effect to James Marshall Hendrix’s wishes. For surely, he would have wanted his fellow musicians to receive everything to which they are entitled.”
Nonetheless, Robert Howe, who is acting on behalf of Sony Music Entertainment UK, refuted the claims in his written submissions, stating ostensibly that the original recording copyright belonged to the albums’ producers, not the musicians.
He went on to cite claims brought by Redding and Mitchell in the 1970s, which resulted in payments of $100,000 and $247,500 to each, respectively.
The case continues.
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