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Amen, Charles.
Oh, the old horse has been giddy
since 4 am.
Don McLean - American Pie
This case got the ball rolling;
What made it different is that Harrison jacked the melody........a PA copyright "No No."
The Chiffons - He's So Fine
They picked on the wrong guy.
It seems to me that there is no limit to the damage done by
the combination of ignorance and greed. They both run rampant
in the music business.
Ed Townsend - For Your Love
To be clear,
I only know what the plaintiffs counsel should have known.
I wouldn't be surprised if Sheeran counter sued for this frivolous
lawsuit. It became obvious to me long ago, that there's no
such thing as bad publicity in the entertainment business.
Sheeran will benefit greatly, but in this case, I think the Townsend
estate will wind up paying out a lot of money with no upside.
I'm surprised the jury took 3 hours
to reach that decision. It was a no-brainer based on the evidence.
As I recall, among his other achievements,
Ed Townsend was a lawyer. He knew there was no case for
the writer, but after he passed away, I presume the "estate"
filed this lawsuit fishing for money..
Ed Townsend's estate only holds a PA
(writer's) copyright on the melody, words and vaguely, the chord changes
on Let's Get It On. While a lot of the changes are similar, they're not exclusive,
and the melodies are totally different. IMO, the suit will fail based on all of that being true.
The rightful party to sue Sheeran, in this case, would be Motown Records, who
holds the SR copyright (a particular & unique configuration of sounds).
on the actual recording, from which it was sampled, if they were used
w/o permission.
Most probably, a fee was paid to obtain those samples from the original record, as
is now the absolute necessity in big time production.
John Coltrane - Giant Steps (full album)
A Green - Kennedy Center Honors
Hardly, Larry!
Just saying that it's a tough time for humanity.
Well enough, cap; thanks
for asking.....but "I've stepped in the middle of seven sad forests ·
I've been out in front of a dozen dead oceans & I've been ten thousand miles
in the mouth of a graveyard."
Ray Charles - Sticks & Stones
Soul Stirrers - Jesus Be A Fence Be Around Me
Mighty Rocky - Don't Fence Me In Your Society
Coltrane's manuscript for "A Love Supreme"
https://www.openculture.com/2023/04/behold-john-coltranes-handwritten-outline-for-his-masterpiece-a-love-supreme.html
John Coltrane - Ballads (full album)
Still checking, Myth
I have an extra sensory feeling that it was Chips Moman??
This reminds me of days long past, when Groucho
Marx would say to a departing loser "I'll give ya 50 bucks
if you can tell me who's buried in Grants Tomb?"
I think so; let me check.
Aretha Franklin - I Never Loved A Man the Way That I Love You
Aretha Franklin - Chain Of Fools (complete)
I admired his work,
and I had no idea who he was!
Elvis Presley - Suspicious Minds
James Carr is the
\white Eddie Hinton.
I love the players; a different bunch of funky Southern
white boys. They made great records.
.
These calls are gettin' to be
"Dime a Dozen," Myth
John Coltrane - Naima
Mighty Dells - Does Anybody Know I'm Here
Well, thank you, Larry.
I watched it, cap;
I assume you are currently at work, so I'll save any "exchange"
until you are back on the board. I will say, as you know, that tone
originates from the guitar itself. Fenders inherently sound different
from Gibsons because of the physical construction of the guitars and,
of course, the pickups that come stock on the axe. Amps play a huge
role in the tone created, but in my experience, most of the guitar players
that I knew and recorded plugged into the board directly, while sitting in
the control room, or into a direct box in the studio when a session was
"live" with everyone playing at the same time.This technique, widely
practiced, left any tone manipulation entirely up to the engineer/producer
sitting at the board using outboard gear.
I've seen many variations of this technique including having both a close
miced amp, as well as a direct line mixed with it, either before the sound hits "tape,"
or in post production. Occasionally, amps were placed outside the studio itself,
sometime in another room or even in a hallway or stairwell to get some live
reverb. This may sound somewhat ethereal but I think unique tone comes
from the players hands themselves, and their familiarity with the guitar they are playing.
All of this is historical, because given digital technology, lots of guitar parts are
overdubs that are "phoned in" from locations other than the actual studio/control room.
Specifically, I recall being at breakfast with Sonny Landreth one morning when
"E.C." called him from England, wondering what exactly he wanted him to play
as an overdub during the making of a recording being produced of Sonny and
some illustrious guests. In this case I assume Clapton recorded it dry and the tone was
created by Sonny and the engineer in post production and mixing.
Same people; but with "clothes" on
https://www.oregonlive.com/news/2023/03/portland-cyclists-mark-last-day-of-winter-with-worst-day-of-the-year-ride.html
It's that money "thingie" Myth
Never under estimate
the Ivy League. Their best teams play smart and with steely discipline.
That bow tie the players are wearing is a tribute to one of the coaches
who brought back "smart and disciplined" to March Madness; Pete Carril.
You're right, Myth;
there are quite a few that I like more than the originals.
Some, because they're re done for "business," deserve
to die quietly.
In Elvis' dry period, RCA had him recording, and often covering,
crap, because of business arrangements between various publishers,
Col Parker & the producers. It wasn't until Chips Moman stood
firm and wouldn't surrender the publishing on the classics
he produced for Elvis that rejuvenated "The King's" career.
In this case, they weren't covers, but Moman, through his own
publishing interests controlled them. This is how it works.
Suspicious minds written by Mark James is the pearl in the oyster of
those sessions.
In my modest endeavors, I covered it myself.
Aretha Franklin - Border Song
Some covers I can't resist!
(A stellar lineup...........producer's dream)
DeeDee Warwick - Foolish Fool
Ann Peebles - Feel Like Breakin Up Somebody's Home
Millie Jackson - Hurts So Good