Tony Defries

Last updated
Tony Defries
Tony Defries.jpg
Defries in 2017
Background information
Birth nameAnthony Defries
Born (1943-09-03) 3 September 1943 (age 80)
Origin Watford, England
Occupation(s)
  • Former legal executive
  • music manager
  • impresario
  • technologist
  • material science
  • quantum physics researcher
  • developer
Years active1960-present
Website mainmanlabel.com

Anthony Defries (born 3 September 1943) is a British former music manager and impresario. He managed David Bowie's career during his elevation to global stardom, [1] [2] [3] [4] [5] but later fell out with him in a contract dispute. He established a rights management organisation called MainMan and helped launch the careers of Iggy Pop, Mick Ronson, Mott the Hoople, Dana Gillespie, Lou Reed, Luther Vandross and John Cougar Mellencamp. Defries and MainMan have received multiple awards for their achievements in the music industry.

Contents

Early life

One of four children born to Edward and Lily Defries, the family had a second-hand and antique business close to Shepherd's Bush Market. In 1944, children were being evacuated from London to escape the V-1 flying bombs. Defries was too young to be evacuated as his mother had two young children and was expecting another, so he was placed into foster care and returned to the family after the war. He suffered from severe asthma and attended a school for children with special needs. [6] [7] [8]

Career

Early Career and GEM Music Group

Defries started his career at the age of 16 in a number of junior positions at various firms of solicitors. While he was a legal executive at the lawfirm of Martin Boston & Co. [9] [7] in Wigmore Street, London he advised Mickie Most in a dispute involving The Animals in 1964. [7] For some years after that he worked with Most, advising him and later working with Allen Klein on his behalf and helping Mickie set up his own independent label Rak Records, and music publishing Rak Publishing. [10] [7] Defries learnt about bargaining techniques, the intricacies of master recording ownership and how to squeeze the best from every deal from Klein. [11] Because of his dealings with Most and his problem-solving abilities, he was approached by his future business partner, Laurence Myers, whose accounting firm were handling Most's accounts at the time. [7] [12] Myers said "Tony was a visionary. I remember him telling me many, many, many years ago that one day everyone at home will have a laptop computer". [12]

Defries later worked with photographers to resolve their copyright and other issues, starting with Don Silverstein, an American photographer living and working in London, who had taken photographs of Jimi Hendrix. These images were being used without his permission and Defries helped him retain the rights to his images and the related revenue. Through Silverstein, Defries was approached by other photographers such as Brian Duffy, David Bailey, Terence Donovan [9] and Antony Armstrong-Jones. To best assist them, and future photographers, he helped found the Association of Fashion and Advertising Photographers (AFAP), in 1968, which later became the Association of Photographers (AOP). [13] [12] Defries would later commission Brian Duffy to photograph and design the cover of Bowie's Aladdin Sane , [13] [14] and Terry O'Neill to shoot the Diamond Dogs album cover. In addition MainMan commissioned rock artist Guy Peellaert to provide futuristic paintings which were ultimately used for that album. [15]

Defries and Myers worked with songwriters, composers, performers and producers, including Mike Leander, Geoff Stephens, Peter Eden, Barry Mason, Roger Cook, Mike D'abo, Donovan, Roger Greenaway, Lionel Bart, Neville Nixon, [16] Ossie Byrne and Tony Macaulay. [17] Defries was responsible for proposing and overseeing legal proceedings for Tony Macaulay in what became a landmark case against his publishers, Schroeder Music, to recover his copyrights. The case of Schroeder Music Publishing vs Macaulay was resolved in Macaulay's favour in the House of Lords, [18] [19] [20] setting a precedent used by many other songwriters to gain better terms.

In 1969, Defries and Myers formed the GEM Music Group, an independent music label, music publishing, rights management and personal management company. GEM's first release, on Bell Records, was "Love Grows (Where my Rosemary Goes)" performed by Edison Lighthouse, and written and produced by Tony Macaulay. It reached number one on the UK Singles Chart in 1970. [21] [22]

In 1970, Olav Wyper, the head of Philips UK, recommended Defries to Bowie who was dissatisfied with his manager Ken Pitt and needed help. [23] [8] Defries realised Bowie's potential and Myers has said "Tony had the vision. His great ability was, far more than I did, he knew what a star David was going to be". [9] [7] [1] Defries had a reputation for renegotiating contracts and proceeded to extract Bowie from all his existing contracts: management, recording (Mercury) and publishing (Essex Music). [24] GEM signed an exclusive contract with Bowie in 1970 and when the Mercury contract was terminated in 1971, Defries was free to sign a record deal with RCA. [1] [25] Defries would go on to sign Iggy Pop, [1] Dana Gillespie [2] and Mick Ronson with GEM. [26]

Defries (middle) with Dana Gillespie and David Bowie in 1971. TonyDanaBowie 1971 LoRes.jpg
Defries (middle) with Dana Gillespie and David Bowie in 1971.

In 1971, Defries had decided that breaking Bowie in the US would require a permanent corporate presence and suggested to Myers that they open offices in New York. By that time, GEM had established a significant position in the UK industry and Myers was uncomfortable about risking that base in a new US venture. As a result, Defries and Myers discussed a division of the various talent GEM represented and reached a settlement which would allow Defries to keep certain artists while the rest remained with GEM. They signed an agreement where Defries would take David Bowie, Iggy Pop, Mott the Hoople, Dana Gillespie and Mick Ronson in return for a financial settlement. [7]

MainMan Group of Companies

Defries formed the MainMan Group of Companies in 1972, [27] with offices in New York, London and Tokyo. [1] These companies had a management structure that combined ingredients of the movie studio with those of the independent producer, record label, music publisher and management. The original MainMan team was made up of members from Andy Warhol’s The Factory and his now-famous production of his play, Pork . [28] The company’s management included Cherry Vanilla, [29] Tony Zanetta [30] and Jamie Andrews.

Defries had a zero-tolerance drug policy [1] and no unauthorised press access policy. As a strategy to control the narrative and create demand, all access public and press was denied. This was based on protocols used by the movie studios in the 1950s to make their stars famous. MainMan had their own in-house photographers, Mick Rock and Leee Black Childers, and forbade all other unauthorised photographers. [29] [1] [11]

A key part of Defries’ strategy with MainMan was to control the creative process of Bowie's next album, Hunky Dory , by funding it independently, before approaching RCA. [31] This gave Bowie creative freedom, without being forced to fit into any traditional record company genres [31] and co-ownership of his music copyrights. Tony Zanetta (President of MainMan, USA) [32] said "Tony threw the book out the window. He loved to take huge gambles…" [31]

After Lou Reed’s disastrous first solo album for RCA, MainMan arranged for Bowie and Mick Ronson to produce his follow-up album, Transformer . [33] Bowie and Defries invited Reed to make his first UK appearance as a surprise guest at a 'Friends of the Earth, Save the Whale Benefit Concert' with Bowie and The Spiders from Mars at the Royal Festival Hall on July 8, 1972. [34] This concert took place just two days after Bowie's performance of "Starman" on Top of the Pops .

With Bowie on the brink of stardom ( Ziggy Stardust hit #5 and Hunky Dory #3 on the UK charts and hundreds of Ziggy clones attended his concerts), [35] [36] Defries informed his staff "As far as RCA in America are concerned, the young man with red hair sitting at the end of this table is the biggest thing to come out of England since the Beatles. And if we get this right there’s every possibility we will be as big as the Beatles, if not bigger". [36] Defries arranged to fly over American journalists to see Bowie live in preparation for his upcoming US tour. [37]

Defries instructed Tony Zanetta to set up the MainMan office in an Upper East Side New York apartment and he employed a cavalcade of exotic characters. [38] The first North American concert date was September 22, in Cleveland for an audience of three thousand and the tour ended December 2 at Tower Theatre, Pennsylvania. After that first concert Defries had promised they would come back to play Cleveland in a bigger venue holding ten thousand people and that is exactly what they did. [39]

MainMan artists were among the best rock 'n rollers of their time, [40] and the company's culture was to treat all their artists as equals and to ensure that all their needs were met. [41] A lot of cash was spent as the artists had a high burn rate. [42] [43] [44] Bowie was doing very well, but "not selling anywhere near a Rolling Stones or Elton John-like level until 1975". [41]

Defries saw Mick Ronson as an extraordinary musical talent and believed he could have a solo career and together they devised a course to stardom, starting with concerts at the Rainbow Theatre. [45] According to Ronson "the question of whether those Rainbow concerts were good ones or bad is beside the point. The fact that I managed to sell the place out two nights running must mean that people thought I was worth seeing". [45] Ronson's production and arrangements of notable albums such as Hunky Dory, Ziggy Stardust and Aladdin Sane showed his skills in the studio and in live playing. [46] "Ronson made David Bowie’s new music bigger, tougher and sexier. He was the muscle in the mix," [47] Bowie recalled, "Mick was the perfect foil for the Ziggy character, Ziggy and Mick were the personification of the rock & roll dualism". [48] Ronson, who wrote the string arrangements for both Bowie's "Life on Mars?" and Lou Reed's "Perfect Day". [49] John Mellencamp also said that Ronson helped save and arrange "Jack & Diane". [50] [51]

Bowie / Defries

Left to right: Dana Gillespie, Tony Defries and David Bowie at Andy Warhol's Pork at London's Roundhouse in 1971. TonyDanaBowie 1971 LoRes.jpg
Left to right: Dana Gillespie, Tony Defries and David Bowie at Andy Warhol's Pork at London's Roundhouse in 1971.

At the start of their relationship, Bowie and Defries became very close friends. Bowie described their relationship as a "marriage-made-in-heaven" and said they were "very, very strong buddies", even though he understood that if they had no business together, they probably wouldn't see each other. [7] [2] Defries believed that David Bowie was going to be a superstar and should be marketed under a brand name "Bowie". [7] [52] [2] [30] Defries' determination and talent for promotion were a major contribution to Bowie's success. [3] [4] [30] [53]

Towards the end of 1973, and after a successful world tour, Bowie was living in London and Defries in New York. [54] Bowie saw many musicians, producers and girlfriends come and go from his life, but Defries’ oversight remained constant. "It could be anything: business, what people see, girlfriends, Tony would orchestrate it all," said Ava Cherry. [55] On top of the distance between them, their friendship began to deteriorate as Bowie developed a cocaine habit. Defries’ no tolerance to drugs policy and Bowie's increase in drug use created strain and estrangement between them. [56] [57] [42]

The employment contract between MainMan and Bowie shared Bowie’s net royalties fifty-fifty. Although Bowie later came to resent the royalty split, "Defries helped make one key business decision that played a large role in allowing Bowie to take charge of his career: He negotiated the singer's 1970s RCA deals so the two would own the recording copyrights, a provision almost unheard of at the time. At the time, no one knew how valuable the rights to recordings would become -- or how important Bowie’s would be. According to Billboard's estimates, his recordings and publishing rights are now worth about $100 million -- and likely even more".

Due to Bowie's increased addiction to cocaine, which led to a paranoid suspicious environment on Bowie's part, Defries and Bowie could no longer work together so they came to a settlement in 1975 between RCA, Bowie, MainMan and Defries. Defries gave up personal management but retained a shared control of other aspects of Bowie's catalog and career that Bowie resented.

As Bowie and Defries co-owned the rights to everything they published and recorded together, Bowie later required a large cash injection to buy Defries out. David Pullman came up with the idea of securitising the intellectual property against future earnings. [58] Resentment by Bowie against his former friend lingered, so Pullman dealt with Bowie and Defries separately. In an interview later Pullman said "It’s like a marriage. The flipside is Tony is very savvy. I didn’t realize he’s an attorney, not just a manager. Tony didn’t have anything to say about David. They helped each other early on. Tony taught him some of the things he learned along the way about owning things." [59] [60] In 1997 the Bowie Bonds began as a stock of $55 million and appeared on the cover of the Wall Street Journal.

In 2011 Defries was sued by Capitol Records for copyright infringement over misuse of Bowie material. He lost the lawsuit with damages and costs against him exceeding US$9 million. [61] [62]

"In the early days," Bowie said in 2003, "all the greats like Mick Jagger and John Lennon were forever telling me the same thing: don't have anything to do with managers. They were always very adamant about that and, in hindsight, it was good advice. But it was usually just after I'd signed a contract with another one." [63]

Later career

In 1991, he founded IOTA Inc, a private technology research company which worked with major universities and government agencies on a range of communications and other technologies, securing a number of patents. [64] [65] Defries worked with Oxford University Communications Engineering Department and leading UK optical / photonic companies and research groups on the design and development of optical wireless technology. [66] [67]

In 2005 Defries founded Matter Inc, a Caltech/Stanford startup for plasmonic research and development with scientists from Stanford, California Institute of Technology and New York University to work on materials science, nanophotonics and energy related projects. [68] [69] [70]

Personal life

In 1975, his long-term girlfriend, Melanie McDonald, gave birth to his first daughter, Fleur Dominique Defries. He then married Marlene Weir in London, in 1986, and their daughter Tatiana Alexandra Defries was born in 1988.

Related Research Articles

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<i>Aladdin Sane</i> 1973 studio album by David Bowie

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<i>Hunky Dory</i> 1971 studio album by David Bowie

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<span class="mw-page-title-main">Life on Mars (song)</span> 1971 song by David Bowie

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<i>Diamond Dogs</i> 1974 studio album by David Bowie

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<i>The Man Who Sold the World</i> (album) 1970 studio album by David Bowie

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<span class="mw-page-title-main">Starman (song)</span> 1972 song by David Bowie

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<span class="mw-page-title-main">I Dig Everything</span> 1966 single by David Bowie

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<span class="mw-page-title-main">The Prettiest Star</span> 1970 song by David Bowie

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<span class="mw-page-title-main">Rock 'n' Roll Suicide</span> Song by David Bowie

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<span class="mw-page-title-main">All the Young Dudes</span> 1972 glam rock single by Mott the Hoople, written by David Bowie

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"Oh! You Pretty Things" is a song written by English singer-songwriter David Bowie, released on his 1971 album Hunky Dory. It was the first song he wrote for the album. Bowie recorded the song as a demo before giving it to singer Peter Noone, lead singer of Herman's Hermits, who decided to release it as his debut solo single. Featuring Bowie on piano, Noone's recording was produced by Mickie Most and featured structural and lyrical differences from Bowie's later version. Released by RAK Records in April 1971 under the title "Oh! You Pretty Thing", the single peaked at number 12 in the UK, becoming Bowie's biggest success as a songwriter since his own single "Space Oddity" two years earlier.

<span class="mw-page-title-main">Queen Bitch</span> 1971 song by David Bowie

"Queen Bitch" is a song by the English singer-songwriter David Bowie. It was originally released on his 1971 album Hunky Dory before appearing as the B-side of the single "Rebel Rebel" in the United Kingdom in early 1974. It was debuted on BBC radio in June 1971 before being properly recorded at Trident Studios in London between late June and mid-July. Co-produced by Bowie and Ken Scott, the lineup consisted of the musicians who would later become known as the Spiders from Mars: guitarist Mick Ronson, bassist Trevor Bolder and drummer Mick Woodmansey.

<span class="mw-page-title-main">Moonage Daydream</span> 1972 song by David Bowie

"Moonage Daydream" is a song by English singer-songwriter David Bowie. It was originally recorded in February 1971 at Radio Luxembourg's studios in London and released as a single by his short-lived band Arnold Corns in May 1971 on B&C Records. Bowie subsequently re-recorded the song later that year with his backing band the Spiders from Mars—comprising Mick Ronson, Trevor Bolder and Mick Woodmansey—for release on his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. The re-recording was co-produced by Ken Scott and recorded at Trident Studios in London in November 1971. The re-recording is a glam rock song that uses melodic and harmonic hooks, as well as percussion and guitar influenced by heavy metal. On the album, the song directly introduces the character Ziggy Stardust, who describes himself as a bisexual alien rock superstar who will save the Earth from the impending disaster described in the opening track "Five Years". It features saxophone played by Bowie and a guitar solo and string arrangement by Ronson.

"Cracked Actor" is a song by English musician David Bowie, released on his sixth studio album Aladdin Sane (1973). The track was also issued as a single in Eastern Europe by RCA Records in June that year. The song was written during Bowie's stay in Los Angeles during the American leg of the Ziggy Stardust Tour in October 1972. Co-produced by Bowie and Ken Scott, it was recorded in January 1973 at Trident Studios in London with his backing band the Spiders from Mars – comprising Mick Ronson, Trevor Bolder and Woody Woodmansey. A hard rock song primarily led by guitar, the song describes an aging Hollywood star's encounter with a prostitute, featuring many allusions to sex and drugs.

<span class="mw-page-title-main">Survive (David Bowie song)</span> Song by David Bowie

"Survive" is a song by the English musician David Bowie from his 1999 album Hours. It was later released in remixed form as the album's third single on 17 January 2000, reaching number 28 in the UK. Written by Bowie and Reeves Gabrels, it is a reflective number detailing the end of a relationship. Musically, it recalls the sound of Bowie's folk rock music of the late 1960s, and 1971's Hunky Dory. Its music video echoes the reflective quality of the recording, portraying Bowie levitating at a kitchen table with an egg. Praised as a highlight of Hours, Bowie performed "Survive" frequently through 1999 and 2000.

"Soul Love" is a song by English singer-songwriter David Bowie, released on his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars by RCA Records. Co-produced by Bowie and Ken Scott, it features Bowie's backing band known as the Spiders from Mars — comprising guitarist Mick Ronson, bassist Trevor Bolder and drummer Mick Woodmansey. It was recorded on 12 November 1971 at Trident Studios in London and features a saxophone solo from Bowie and a guitar solo from Ronson. Lyrically, the song is about numerous characters dealing with love before the impending disaster that will destroy Earth as described in the album's opening track "Five Years". Like most tracks on the album, the song was rewritten to fit the Ziggy Stardust narrative.

<span class="mw-page-title-main">The 1980 Floor Show</span> David Bowie musical spectacle

The 1980 Floor Show was a rock musical spectacle featuring English rock musician David Bowie as the protagonist, held at the Marquee Club in Soho, London, on October 18–20, 1973. It was broadcast in the United States by NBC on November 16, 1973, as part of the series The Midnight Special, and presented the last performance of Bowie as his character Ziggy Stardust.

"Let Me Sleep Beside You" is a song written and recorded by English singer-songwriter David Bowie. It was recorded on 1 September 1967 at Advision Studios in London and marked the beginning of Bowie's working relationship with producer Tony Visconti, which would last for the rest of Bowie's career. A departure from the pop and music hall-influenced material of Bowie's 1967 self-titled debut album and other singles for Deram Records, the song displays a more rock-oriented sound with a cello arrangement from Visconti. The impressionist lyrics also depart from Bowie's prior works, describing love using the act of sleeping together rather than through emotional attachment. The song was rejected by Deram for release as a single, purportedly due to the risqué title. It remained unreleased until 1970's The World of David Bowie compilation.

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  30. 1 2 3 Jones, Dylan. David Bowie : The Oral History. pp. 255, 256. ISBN   978-0-451-49784-0.
  31. 1 2 3 Trynka, Paul (18 July 2011). David Bowie : Starman. p. 290. ISBN   978-0-316-13424-8.
  32. ↑ Trynka, Paul (2011). David Bowie : Starman. p. 305. ISBN   978-0-316-13424-8.
  33. ↑ Trynka, Paul (2011). David Bowie : Starman. p. 340. ISBN   978-0-316-13424-8.
  34. ↑ "David Bowie – Poster Friends of The Earth Save The Whale Benefit". recordmecca.com. 3 December 2014.
  35. ↑ Trynka, Paul (2011). David Bowie : Starman. p. 341. ISBN   978-0-316-13424-8.
  36. 1 2 Trynka, Paul (2011). David Bowie : Starman. pp. 346–348. ISBN   978-0-316-13424-8.
  37. ↑ Jones, Dylan. David Bowie : The Oral History. p. 321. ISBN   978-0-451-49784-0.
  38. ↑ Trynka, Paul (2011). David Bowie : Starman. pp. 351, 352. ISBN   978-0-316-13424-8.
  39. ↑ Trynka, Paul (2011). David Bowie : Starman. p. 350. ISBN   978-0-316-13424-8.
  40. ↑ "Mick Ronson: Slaughter On 10th Avenue (RCA APLI-0353); Roxy Music: Stranded (Atco SD 7045) - Michael Gross, Crawdaddy! July 1974". Rocksbackpages.com.
  41. 1 2 Spitz, Marc (2009). Bowie : A Biography . pp.  430, 431. ISBN   978-0-307-46239-8.
  42. 1 2 Spitz, Marc (2009). Bowie : A Biography . pp. 497, 498. ISBN   978-0-307-46239-8.
  43. ↑ Jones, Dylan. David Bowie : The Oral History. pp. 449, 450. ISBN   978-0-451-49784-0.
  44. ↑ Jones, Dylan. David Bowie : The Oral History. pp. 456, 457. ISBN   978-0-451-49784-0.
  45. 1 2 "Mick Ronson: Taking Care Of Business - Ray Fox-Cumming, Disc, 16 November 1974". Rocksbackpages.com.
  46. ↑ "Mick Ronson: Play Don't Worry - Charles Bermant, Washington Post 9 March 1975". Rocksbackpages.com.
  47. ↑ Spitz, Marc (2009). Bowie : A Biography . p.  274. ISBN   978-0-307-46239-8.
  48. ↑ "Mick Ronson: Ziggy's Axeman - David Sinclair, Rolling Stone, 24 June 1993". Rocksbackpages.com.
  49. ↑ Spitz, Marc (2009). Bowie : A Biography . p.  276. ISBN   978-0-307-46239-8.
  50. ↑ Wawzenek, Bryan (12 April 2017). "Revisiting John Mellencamp's Only No. 1 Album, 'American Fool'". Ultimate Classic Rock. Retrieved 21 March 2023.
  51. ↑ "CLASSIC TRACKS: John Cougar 'Jack & Diane'". Richard Buskin.
  52. ↑ Trynka, Paul (2011). David Bowie : Starman. p. 284. ISBN   978-0-316-13424-8.
  53. ↑ Jones, Dylan. David Bowie : The Oral History. pp. 268, 269. ISBN   978-0-451-49784-0.
  54. ↑ Trynka, Paul (2011). David Bowie : Starman. pp. 415, 416. ISBN   978-0-316-13424-8.
  55. ↑ Trynka, Paul (2011). David Bowie : Starman. pp. 413, 414. ISBN   978-0-316-13424-8.
  56. ↑ Trynka, Pual (18 July 2011). David Bowie : Starman (1st ed.). pp. 431, 432. ISBN   978-0-316-13424-8.
  57. ↑ Trynka, Paul (2011). David Bowie : Starman. pp. 421, 422. ISBN   978-0-316-13424-8.
  58. ↑ Spitz, Marc (2009). Bowie : A Biography . pp. 721, 722. ISBN   978-0-307-46239-8.
  59. ↑ "The Whole Story Behind David Bowie's $55 Million Wall Street Trailblaze". Billboard.
  60. ↑ Spitz, Marc (2009). Bowie : A Biography . pp. 724, 725. ISBN   978-0-307-46239-8.
  61. ↑ "Capitol Records, LLC et al v. Defries et al". Law360.com. Retrieved 2016-01-21.
  62. ↑ "David Bowie's Ex-Manager Unable to Elude his $9.5M Judgment – Journal of Law and the Arts". lawandarts.org. Retrieved 2019-01-12.
  63. ↑ Lowe, Steve (March 2003). "Q200 – David Bowie". Q . No. 200. p. 62.
  64. ↑ DeFries, Anthony; Denis, Andrew (1998). "United States Patent: 5,729,607 - March 17,1998 Non-linear digital communications system".
  65. ↑ Defries, Anthony; Denis, Andrew (2001). "United States Patent: 6,178,217 - January 23, 2001 Nonlinear digital communications system". Patft.uspto.gov.
  66. ↑ "David Bowie, Businessman: A Deep Dive Into The Musician's Visionary Dealmaking". Billboard .
  67. ↑ "Tony Defries LinkedIn Optical Wireless Tech". Linkedin.com. Retrieved 21 March 2023.
  68. ↑ "Plasmon-assisted chemical reactions startup at Caltech 2005 - Matter, Boyd, Defries, California Institute of Technology". innovation.caltech.edu.
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