It’s claimed, for example, that Aftermath held back too much on vinyl sales of albums including “Slim Shady,” “Marshall Mathers,” “Eminem Show,” “8 Mile Soundtrack,” and “Curtain Call.” The record label also allegedly made accounting errors on units sold at U.S. You’ll also see above that the auditor turned up all sorts of underreported income apart from the digital music issue. claims is owed by Aftermath for this time period: It represents the years when iTunes first burgeoned as an income source for the record industry. But we’ve gotten ahold of one audit report, prepared by plaintiff’s auditing expert Gary Cohen, which covers the period between Jand December 31, 2009. Many of these audit reports remain under seal. In preparation, both sides investigated the spoils of Eminem’s lucrative career.
#AFTERMATH ALBUM EMINEM TV#
It also shows the other ways that record labels supposedly withhold too much income from artists, from overstating the costs of advertising on TV to not sharing the proceeds of litigation winnings. The report, which is being vigorously disputed by the defendants, represents millions of dollars in claimed revenue from digital downloads. In advance, THR has obtained the audit report prepared by the plaintiff’s accounting expert that F.B.T. Productions, the 9th Circuit Court of Appeals largely blessed the “license” interpretation, remanding the case down to the district court level to figure out what was owed by Aftermath Records, a subsidiary of Universal Music Group.Īt an upcoming jury trial, the two sides will fuss over exactly how much money is due to Eminem’s production team. In 2010, in a breakthrough case involving Eminem’s producers, F.B.T.
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