Deal With It #2 – Neil Greenberg

Who is Neil Greenberg?

Neil Greenberg is extremely experienced in A&R, international deal-making, business development and exploitation and administration of master rights in the music industry.

With over 20 years of experience running music companies at a general manager level, both in his native South Africa where he was appointed head of Gallo Music Group – adding digital music roll out, label services and publishing to the record company. Strategic catalogue and front line at Warner Music South Africa and now the UK.

Currently living in the UK, Neil Greenberg is currently providing top-level consultation to Twanky Records’ Judith Owen in the US.

Q1. What was your first introduction to Daft Springer?

I was requested to preview the sandpit model for navigation and comment, asked to ascertain simplicity or complications and what my initial thoughts were during the beta phase.

Q2. What is the problem Daft Springer solves for you?

The tech and system simplified many older record label disciplines for me, – labels continue to adhere to some outdated legal/business affairs/ brokering mechanisms or tools used in practice, as it has been the “standard” or “preferred” method of brokering – Daft Springer in my eyes is the equivalent of moving from CD to Streaming…. A NEW  technology in an old wold, simplifying all aspects, saving time and money, clarity and transparency, and protection.

Q3. What is the worst deal you have ever made?

I will skate across this  – unfortunately, where any deal may have been or gone bad, a lot of people would have participated with hard work and diligence to get to a point of finality and an anticipated success – if such a deal failed – I would prefer not to tarnish the support and care invested by all sides of the deal…  (offline I would be happy to discuss in confidence)

Q4. What is the worst deal you have been offered?

A digital artist/catalogue deal from a broker where the outcome would have been destructive and endangering to artist, composers/publishers

Q5. Who do you think could benefit most from being offered a revshare contract?

All depends on the success indicators, and this is a broader discussion point, the benefit is at the inception of the deal, giving the artist/performer etc a better position both financially and creatively for the future projects, I also see this deal process opening a plethora of contacts and opportunities for all involved

Q6. Who would you most like to offer a Daft Springer deal to, dead or alive?

No, not dead or alive, sadly Peter Burns is passed away, next question?