Universal boss on 2008 fire: “The loss of even a single piece of archived material is heartbreaking”

The blaze destroyed material from some of the biggest acts in music

Universal Music Group CEO Lucian Grainge has sent out a memo reassuring his staff and artists after new details recently emerged over the 2008 fire at Universal Studios Hollywood.

The blaze raged through the film lot for almost 24 hours on June 1 2008, destroying sets including one from Back To The Future. As the fire continued, it hit the huge Building 6197 warehouse, which was home to Universal Music Group’s master recordings.

Documents obtained by The New York Times recently revealed that “some of UMG’s most prized material” was destroyed.

Unheard tracks from the likes of Nirvana, R.E.M, Soundgarden, Beck, Janet Jackson, Eminem, Nine Inch Nails and many more were wiped out in the blaze.

In his letter to staff, Grainge, who became global CEO of Universal Music in 2011, said he was “somewhat relieved by early reports from our team that many of the assertions and subsequent speculation are not accurate”.

However, he appeared to concede the losses had been extensive.

“Even though all of the released recordings lost in the fire will live on forever, losing so much archival material is nonetheless painful,” he wrote.

Grainge said the company has set up a special team specifically to field artist requests and will be “redoubling our efforts to be a leader in preserving the rich cultural legacy upon which our industry is based.”

He added: “Again, none of this takes away the pain of losing any recording or video from our archives. But I want you all to be clear about how seriously we take this.”

You can read the full memo below:

Dear Colleagues,

By now most of you have seen the articles relating to the fire in 2008 at the NBC Universal Studios lot that destroyed archived recordings, videos and related materials.

Even though that event happened more than a decade ago, and while I’ve been somewhat relieved by early reports from our team that many of the assertions and subsequent speculation are not accurate, one thing is clear: the loss of even a single piece of archived material is heartbreaking.

When I was 17, I acted as a courier to pick up the 2-inch multitracks and quarter-inch Boomtown Rats masters just after they finished their album at Rockfield Studios in Wales. I can still remember being repeatedly warned not to travel by subway to the mastering studio because the magnetic energy could destroy the recordings. It was then I first realized how precious these items were, and the care with which they needed to be treated.

This is just one small anecdote. I know so many of you have your own individual stories about how and why you’re working here. But all of us came into this business for one reason: a love of music. Our artists and songwriters count on us to be the stewards of their art – today and for the future.

And that’s one reason why the stories about the extent of the 2008 fire have resonated with all of us. Even though all of the released recordings lost in the fire will live on forever, losing so much archival material is nonetheless painful. These stories have prompted speculation, and having our artists and songwriters not knowing whether the speculation is accurate is completely unacceptable.

So, let me be clear: we owe our artists transparency. We owe them answers.

I will ensure that the senior management of this company, starting with me, owns this.

If any of you hear from an artist asking about the status of archived assets, please immediately have them contact Pat Kraus (Pat.Kraus@umusic.com), our SVP of Recording Studios & Archive Management. In the past few days, Pat has formed a special team specifically to field these requests and respond to them as promptly as we can.

One final note:

At UMG we have the greatest collection of musical recordings, videos and artwork in the world – millions of assets in total – dating back to the late 1800s. We invest significantly in preserving and protecting those treasures around the world—in technology, in infrastructure and by employing experts. I know how deeply committed our archival and catalog teams are to preserving our archives for generations to come. Part of “owning this” is redoubling our efforts to be a leader in preserving the rich cultural legacy upon which our industry is based.

Again, none of this takes away the pain of losing any recording or video from our archives. But I want you all to be clear about how seriously we take this.

Lucian