The Grammys have taken a stand on this whole AI issue and released this statement last week …
They have updated their guidelines to make any works created solely using AI not eligible for awards.
According to Noise 11, The Recording Academy will not recognize work that “contains no human authorship” in any category. However, the academy decided that songs containing elements of AI would be considered, as long as they also have “meaningful contributions” from a human.
Recording Academy CEO Harvey Mason Jr. commented: “If there’s an AI voice singing the song or AI instrumentation, we’ll consider it. But in a songwriting-based category, it has to have been mostly written by a human. The same goes for performance categories — only a human performer can be considered for a Grammy.
“At this point, we are going to allow AI music and content to be submitted, but the Grammys will only be allowed to go to human creators who have contributed creatively in the appropriate categories.”
What’s more, to win the prestigious Album of the Year prize, the creator, be it a featured artist, credited artist, songwriter, producer, and so on, must have contributed a minimum of 20 per cent of the work across the LP.
The update to the rules comes amid a rise in AI-generated music, with even Sir Paul McCartney set to reunite with the late John Lennon on the final Beatles song, thanks to the technology.
The surviving member of the legendary rock’n’roll group revealed they used artificial intelligence (AI) on an old demo to extract Lennon’s vocals. (kk)
UPDATE: Not to be too cynical here, but it sounds like there was a little bit of backlash back-pedaling going on by the end of the week.
The idea that a major star (and a Beatle no less!) is publicly embracing the new AI technology was certain to raise a few eyebrows.
But on Thursday, McCartney released the following statement:
Been great to see such an exciting response to our forthcoming Beatles project. No one is more excited than us to be sharing something with you later in the year. We’ve seen some confusion and speculation about it. Seems to be a lot of guess work out there. Can’t say too much at this stage but to be clear, nothing has been artificially or synthetically created. It’s all real and we all play on it. We cleaned up some existing recordings - a process which has gone on for years. We hope you love it as much as we do. More news in due course – Paul
And I guess if you compare that to his original statement, it does seem to clarify things a bit. However, there is still a bit of a gray area. (Then again, the word is that The Beatles have considered releasing their new take on John’s “Now And Then” a couple of times now, but abandoned the idea on both occasions. Perhaps thru the art of AI technology, they were finally able to get the track “clean” enough for release by better isolating John’s original bits and pieces.)
Earlier in the week, Paul said:
“(Peter Jackson) was able to extricate John’s voice from a ropey little bit of cassette. We had John’s voice and a piano and he could separate them with AI. They tell the machine: ‘That’s the voice. This is a guitar. Lose the guitar.’ So when we came to make what will be the last Beatles record, it was a demo that John had and we were able to take John’s voice and get it pure through this AI. Then we can mix the record, as you would normally do. So it gives you some sort of leeway.”
So despite my own comment (clearly wrong in hindsight), they didn’t digitally do anything to “duplicate” or “recreate” John’s vocals … they’ve just been separated from any background clutter, cleaned up and brought to the forefront so that the other former Beatles could add their own voices and instrumentation, which it sounds like “The Threetles” did back in 1994 as part of the Anthology project.
No more specifics have been announced regarding how and when the world will finally get to hear this new creation … will it be just a special stand-alone release … or is it part of another Beatles archive compilation?
At this point, it really doesn’t matter … millions and millions and millions of us will download the track the moment it becomes available … and The Beatles will once again prove their 60 year domination of music trends. (kk)
Speaking of The Beatles, former Apple Corps. Exec Peter Brown and Author Steven Gaines have teamed up again to bring the world another new Beatles book.
Titled “All You Need Is Love: An Oral History Of The Beatles,” it is due to be released on April 9th of next year.
The book will offer previously unpublished interviews that they conducted with Paul McCartney, George Harrison, Ringo Starr, Yoko Ono, Cynthia Lennon, Pattie Harrison and Maureen Starkey, as well as other members of their families, friends and business associates.
It promises to be the perfect follow up to their previous joint venture “The Love You Make: An Insider’s Story Of The Beatles.” (kk)
The Beatles
Rock And Roll Hall Of Fame Exhibit continues to draw folks in (and will run thru the end of the year … I can't believe I haven't seen this yet!!!)
Titled “From ‘Get Back’ To ‘Let It Be,” the exhibit will take you through the whole 1969-1970 experience …
You’ll see high quality film clips (including the entire rooftop concert) as well as original handwritten song lyrics, clothing worn by The Beatles and more.
And check this out …
A brand new “Abbey Road” tribute album is about to be released!
Power Pop Icon MATTHEW SWEET Leads A Cast Of All-Stars And Legends On A Trip To Revisit THE BEATLES’ “ABBEY ROAD!”
Album features performances by Jellyfish's Roger Joseph Manning Jr., Vulfpeck's Charles Jones, British guitar legend Snowy White, Billy Idol guitarist Steve Stevens, GnR cohort Ron Bumblefoot Thal, Paul Shafer, God Of Hellfire Arthur Brown and lots more!
It probably comes as no surprise that Athens, GA indie rock icon Matthew Sweet has a fondness for The Beatles. From his 1986 debut album to his early ‘90s breakthrough, including the MTV smash hit “Girlfriend,” on through to his most recent albums, Sweet has pulled off the same kind of melodically driven, seemingly straightforward but stealthily complex songs that turned the Liverpudlian foursome into a worldwide phenomena and one of the most influential artists of all-time. Recently, Sweet was invited to participate in a truly remarkable revisitation of The Beatles’ incredible crowning glory, the brilliant Abbey Road, and the results couldn’t be more satisfying.
Sweet sings, plays guitar and even adds a little bass to a brand new version of Abbey Road’s punchiest blast of rock psychedelia, “Polythene Pam.” The fourth segment of the album’s magnificent Side B medley, “Pam” is the perfect showcase for Sweet’s deft interplay of rapid fire vocals and powerfully overdriven guitars. Assisting in the track’s creation is fellow singer/guitarist Jason Berk, who adds texture with his acoustic guitar, and Fernando Perdomo who supports Sweet’s guitar with some tasteful Hammond organ. Perhaps the only thing that can be said against the track is that, with a running time of 1:27, it leaves too soon. But then, that’s what the repeat button is for!
Stream/download the single: https://orcd.co/matthewsweet_polythenepam
Abbey Road Reimagined, produced by Perdomo and packed with an astounding array of musical all-stars, will be hitting the digital and physical shelves on August 18. Order your copy today!
Order the CD/Vinyl: https://cleorecs.com/store/?s=Abbey+Road+Reimagined&post_type=product
Pre-save the digital: https://orcd.co/abbeyroadreimagined
TRACK LIST:
1. Come Together - Durga McBroom (Pink Floyd), Jackie Lomax (Apple Records
Artist) & Snowy White (Pink Floyd)
2. Something - Charles Jones (Vulfpeck) & Sonny Landreth
3. Maxwell's Silver Hammer - Roger Joseph Manning Jr. (Jellyfish)
4. Oh! Darling - Eric Dover (Jellyfish) & Carmine Appice (Vanilla Fudge)
5. Octopus's Garden - Matt Axton & Brian Auger (Rod Stewart)
6. I Want You (She's So Heavy) - Arthur Brown & Steve Stevens (Billy
Idol)
7. Here Comes The Sun - Ron Bumblefoot Thal (Guns N' Roses)
8. Because - Rebecca Pidgeon & Patrick Moraz (The Moody Blues)
9. You Never Give Me Your Money - Graham Bonnet (Rainbow) & Rick Wakeman
(Yes)
10. Sun King - James Booth & The Return, Albert Lee & Geoff Downes
(Yes)
11. Mean Mr. Mustard - Jack Russell (Great White)
12. Polythene Pam - Matthew Sweet
13. She Came In Through The Bathroom Window - Adam Gaynor (Matchbox 20) &
Paul Shaffer
14. Golden Slumbers - Terry Reid
15. Carry That Weight - Gregg Bissonette
16. The End - Frank Dimino (Angel) & Steve Hillage (Gong)
17. Her Majesty - Gary Wilson
JOE COCKER "WITH A LOT OF HELP FROM HIS FRIENDS" BY MARK BEGO WITH INTRODUCTION BY WOODSTOCK LEGEND MELANIE-COMING IN NOVEMBER, 2023 FROM YORKSHIRE PUBLISHING
“Describing him, people most commonly used the words ‘kind,’ ‘innocent,’ and ‘naïve.’ Although I never met him, he seems to have been outwardly ‘likeable.’ However, as I delved into Joe’s history, I found that throughout his life he had only one enemy to fight against for his survival: himself. Joe Cocker is a textbook case of a life-long battle of career and personal self-destruction. While the rock & roll “side of the road” is littered with the sagas of characters that ruined their lives with drugs, liquor, cigarettes, and depression, it seems that few did it as long and hard as Joe Cocker.”
So begins the opening of celebrity-author Mark Bego’s 68th book, on 60’s mainstay-vocalist JOE COCKER. The book, titled With A Lot Of Help From His Friends, contains the exploits of one of the most gifted and well-remembered singers ever.
Woodstock-legend Melanie penned the introduction to the book: “When I think of Joe Cocker, I think of the word “authenticity.” The feeling I always got from him was that he was a “true artist,” and it was the music that was most important to him. I absolutely loved him. I thought he was so great, and he was so talented as a singer and as a performer that I got the sense he was from another planet. Because we were both performers at the original Woodstock Music Festival in August of 1969, Joe and I will forever be part of that exclusive club of singers and musicians. There was no experience quite like Woodstock, and we were both in awe of the magnitude of the event, and the importance of being associated with it.”
From his debut album (With A Little Help from My Friends) on – including his second self-titled album which contained a sizzling version of The Beatles’ “She Came In Through The Bathroom Window” - to his signature work with The Grease Band and his exploits with Leon Russell on the huge Mad Dogs & Englishmen tour, Cocker captivated a sizeable and loyal audience throughout his extensive career.
In 1969, Cocker performed at the history-making Woodstock event in Bethel, NY. They performed several songs, including "Feelin' Alright?,” "Something's Comin' On,” "Let's Go Get Stoned,” "I Shall Be Released" and "With a Little Help from My Friends.” Cocker would later say that the experience was, "like an eclipse ... it was a very special day.”
With hits like “The Letter,” “Feeling Alright?” and “You Are So Beautiful” Cocker cultivated a huge and loyal following. Teaming up with vocalist Jennifer Warnes on the 1982 track “Up Where We Belong” (An Officer and a Gentleman) - it led to an Oscar award for Best original Song. Cocker and Warnes performed the song at the awards ceremony.
Cocker is still heard daily worldwide on classic-rock radio. His “With A Little Help From My Friends” is a radio staple.
Bego delves into the artistry; triumphs and failures of Cocker’s provocative career. The book will be released in November by Yorkshire Publishing.
I have to admit that I am really looking forward to this one. I guess I always liked the most obvious Joe Cocker tunes … he could certainly interpret a song like no other … but then after I happened to see him in concert … (not something I had ever attempted to do before … but he wound up being the opening act for The Guess Who’s big 2001 Reunion Tour) … I was completely blown away and became a much bigger fan. (I got to see him again a few years later when he performed at one of The Drive’s Birthday Parties … another great show.)
Joe definitely had his demons … but had a style unique unto himself (unless you happened to be John Belushi, of course!) Man, their “Dueling Cockers” bit on Saturday Night Live was amazing … how do you DO that with the literally standing and singing right next to you?!?!
Yep, this one goes right on my “Must Read” list. (I’m a big Mark Bego fan anyway! Lol) kk
Thanks! ... me, too ...
We'll definitely do a give-away, too! (I’ll have to come up with some Cocker questions!)
DIS
Brian Wilson celebrated his 81st birthday last Tuesday (June 20th) so there was naturally a lot of press about his triumphs. (Talk about having your own demons!!! Lol)
Forgotten Hitter Harvey Kubernik sent us a link to this interview that he did with Brian Wilson … https://bestclassicbands.com/brian-wilson-interview-kubernik-7-3-21/
What’s next for Rod Stewart?
How about a Big Bands / Swing album???
While Rod is currently out touring, doing a Greatest Hits Tour … and has very successfully conquered the Standards / Great American Songbook genre, he says next on the agenda will be a new big band / swing album … with a follow-up tour to support it.
Apparently, some folks in the media took this to mean that he was abandoning the hits that made him famous … but Stewart says nothing could be further from the truth …
I’d like to clear up any confusion that I may have caused with my dear fans and the media. I shall never retire! I was put on this earth to be a singer and will keep doing so for as long as the good Lord lets me. I’ll be playing the hits as advertised for the UK, US, South America and Vegas and into 2024 but no retirement as such.
During recent interviews, I’ve mentioned my newest passion is big band/swing music and when we wrap this greatest hits tour, it’s something I’m very eager to share with you.
I could never turn my back on the songs that I’ve written and and sung over the last six decades. They are like my children. I created them and I love them. I’ll always come back to them, just like I did after The Great American Songbook series, which I shall boastfully add, sold 26 million albums!
I look forward to seeing you on the road with all the hits, and I can’t wait to introduce you to my new swing album next year.
--Rod Stewart
kk:
Last Saturday Cousin Brucie Interviewed Paul Peterson.
Gave Him A Reason To Play "MY DAD" (Mann - Weil) -- The Day Before Father’s Day.
Paul Has Been Fighting To Pass Laws To Protect Child Actors. Different States --Different Laws.
Cousin Brucie Asked Him How He Got Started With Protecting Child Actors.
Paul Said When He Found Out His Friend Rusty Hamer (The Danny Thomas Show) Committed Suicide In 1990 At 42 Years Old He Swore He Would Never Let That Happen Again. He Called Up His Friend Jay North (Dennis The Menace) & Told Him He Was Coming Over His House To Help Him Address His Problems.
Touching Interview.
FB
Hi,
Kent -
Hope we can get some feedback about that LP cover. It seems I'm the only person
(that I know of) that noticed the "famous" people in the cover photo.
While reading some miscellaneous stuff on the Net
about the Beatles, it struck me that over all the years that I've had that
Peter Knight & His Orchestra version of the "Sgt. Pepper" album,
I STILL haven't read or heard one word regarding the use of those
"modified" photos of radio (and TV) personalities which are strewn
all over the cover. I'm assuming it's because the LP wasn't very good,
and obviously didn't sell.
Clark Weber told me, personally, that Mercury Records did NOT receive
permission to use those pictures.
I'd love to make contact with someone who was working for Mercury Records here
in Chicago during that time period, and possibly get some insider info.
It'd be interesting to make contact with 1960s-era radio listeners from the
east and west coasts to see who else we might identify in that picture. I
know there are DJs from the NYC area, but I'm not familiar with them - except I
believe one of them is "Cousin Brucie" Morrow.
As I mentioned earlier, it appears that Vicki Lawrence was not amused by her
being pictured.
Wondered if you'd received any other comments regarding that LP since we last
discussed it.
Hope to see you in Hobart this Sunday for the second showing of the Biondi
film.
Mike
I don’t know that we’ll ever get to the bottom of this one. We’ve run the photo a few times now and just keep coming up empty. (But I do know that other jocks are also featured in the full photo.)
And one last quick reminder … There’s a special screening of the new Dick Biondi documentary, “The Voice That Rocked America,” this afternoon (Sunday, June 25th) at The Hobart Art Theater in Hobart, Indiana. More info below. (kk)
Talking about great documentaries, Denny Tedesco, who did the wonderful Wrecking Crew documentary a few years ago, has a new project that’s starting to make the film festival circuit called “Immediate Family.”
To a degree, it spotlights the next generation of studio musicians who played on an enormous amount of hit recording sessions in the ‘70’s, backing such luminaries as James Taylor and Carole King, Jackson Browne and many others. (To paraphrase the film, all you had to do was look at the liner notes of many of the albums you were buying back then to find that you were running across the same group of names performing on these records.)
There are sneak peeks already scheduled in Los Angeles (June 26th) and Maui (June 30th … thanks, Timmy!) … and this three minute clip will show you why you will want to see this film! (kk)
https://vimeo.com/746004513/3c31637960
Kent,
Sam mentioned HIGH SCHOOL U.S.A. by Tommy Facenda. I am fortunate enough to have the 28 versions plus the national version. But it was brought to my attention many years later that Tommy's version for Oklahoma (City primarily) had one or two flaws in it. Something I did not notice through the years. (Yes, I never really paid attention to the lyrics of songs. Like the kids said on AMERICAN BANDSTAND, if it had a beat and you could dance to it, I would give it an 85.)
But the two flaws in Facenda's version of Oklahoma was that there was listed one Junior High School and one Junior College. Facenda had a follow-up that went nowhere. To be honest, I have no idea if Tommy Facenda is alive or has passed away.
Larry
Facenda died just recently, on November 18th, 2022. He was 83 years old.
Prior to going off on his own, Tommy was a member of Gene Vincent’s Blue Caps, singing background vocals under the nickname “Bubba.” (Not coincidentally, his follow-up single to “High School USA” was something called “Bubba Ditty!” As you suggested, it failed to chart.) In 2012, The Rock And Roll Hall Of Fame inducted Tommy as part of The Blue Caps, correcting the error made when Gene Vincent was inducted alone in 1998.
After his music career ended, he became a firefighter in Virginia, which is where he was from. (He also died there.)
The Virginia version of “High School USA” was issued as Legrand 1001. Atlantic Records picked up the track and had Tommy record 28 “localized” versions.
It was a clever gimmick to be sure! Each version was specifically recorded and released to capitalize on the local audience of each major city, naming schools from around the city it was focused on. (Tommy also released a national version, which peaked at #28 in 1959. Despite a Chicago version, this record didn’t chart at all here in Chicago.) kk
Kent,
I read the article today which mentioned the High School USA recordings, of
which there were at least 28 that I know of.
Are you looking for the Chicago one? Both HS's I attended are
mentioned!
Mike
Years ago, all 28 versions were released on a CD compilation, which I bought just for novelty’s sake. (Quite honestly, after about the third version play-through, this one got old REALLY quickly! Lol)
But we’ll feature the Chicago version here today, just for fun. (Other cities covered include Los Angeles, San Francisco, Nashville, Cincinnati, Seattle, Buffalo, Memphis, Detroit, St. Louis, Minneapolis/St. Paul … and then state versions as well, such as Texas, Oklahoma, New York, Florida and more. (kk)
When I first learned that “High School USA” had been released as 28 different versions, I remember trying to collect them all … not an easy task as this wasn’t really a big seller! But then somebody put the complete collection out on CD so I just bought that instead. I can send you copies of any cities you might want to feature. Just let me know.
Ed
I bought the same compilation … a whole lot easier than trying to track them all down (in various stages of condition) and having them all in one place, should I ever need one … which has maybe happened one or two other times in the past 25 years!!! (lol) I actually had to dig this one out, it had been so long since I played it! (kk)
When it comes to the Summer Hits, I don't care what the order is. I would just like to have them playing non-stop while I dance around the garden, beach, washing the car, or cooking outside. Just breathing in summer!
And none of this fire smoke and pollutants. Could be my memories are clearer than the air ever was, not sure.
Shelley
#161 - GRAZING IN THE GRASS - Friends of Distinction (1969) xx
This has always been a fave summer song for me!!!
David
Hi again FH readers –
As I am always telling people, the more you learn about music, the more you realize how much more there is out there to learn.
I just discovered a new summer song that I hadn't been aware of before last night.
I happened to be checking a chart from July 16, 1962, for KJR Seattle, when I noticed another summer song by Brian Hyland called “Summer Job.” Well, since it was out at the same time as his big hit “Sealed With A Kiss,” I assumed that “Summer Job” was probably the B side of “Sealed With A Kiss,” but not necessarily. It could have been an album cut as well. I didn't want to just assume, because as my dad always said, "To assume makes an ass out of u and me."
So this morning I checked Wikipedia, and sure enough, “Summer Job” is indeed the B side of “Sealed With A Kiss.”
I seriously doubt that this song made the Billboard charts, but I suppose it's possible. But I wonder how many other top forty stations had this song on their charts in the summer of 1962?
I actually like “Summer Job” better than “Sealed With A Kiss” now, because unfortunately, oldies stations have played that song to death. “Summer Job” is just a fun summer song, like “Vacation” by Connie Francis, or “Here Comes Summer” by Jerry Keller, or “Summer Means Fun” by Bruce and Terry.
It's a job with a twist, and I don't want to ruin your finding out what
the job is, but you can check out this song at:
https://www.youtube.com/watch?v=gELZMpk7hyk
Well, then I got an interesting surprise. The original version of “Sealed With A Kiss” was not recorded by Brian Hyland. It was recorded by a group called the Four Voices back in 1960 and it did NOT become a hit. Their biggest hit was a song from 1958 called “Dancing With My Shadow.” Well, what can I say? It's interesting to hear the Four Voices' version of this song because it is the original version. But I can see why it did not become a hit. But to me anyway, it was still interesting to listen to. You can check this original version of “Sealed With A Kiss” out at:
https://www.youtube.com/watch?v=nKGk9qg9A9k
So as I say, the more you learn about music, the more you realize that there is so much more out there to learn.
Sam Ward
No, “Summer Job” did not chart on any of the national charts. I like Brian Hyland’s music … the very first 45 I ever bought was “Itsy Bitsy Teenie Weenie Yellow Polka-Dot Bikini” … and he’s coming to The Arcada Theatre in August (with Little Peggy March no less!), so maybe I’ll finally get a chance to see him. (Brian has participated with Forgotten Hits a few times over the years … and he’s still making new music.)
As for The Four Voices, it’s very much of the time … not a bad recording, but as you said, not a HIT recording. (This one actually “bubbled under” in Cash Box for three weeks in 1960, ultimately peaking at #109.) kk
And, if you’d like to view a quick (30 minute) music history lesson, you might enjoy this piece sent in by Timmy and featuring Dr. Demento and Art LaBoe!
https://www.youtube.com/watch?v=CO4gR2KC498 (Part One)
https://www.youtube.com/watch?v=hZ3NcV5mSuM&t=355s (Part Two)
And this from Clark Besch regarding the pending sale of the Queen music catalog …
Is it worth it? Likely YES!
(I think Dr Evil bought this for "1 BILLION DOLLARS!")
How Real Is Queen’s ‘Billion-Dollar Catalog Deal’?
by Jem Asdwad
Daily Variety - June 1, 2023
After months of murmurs, news broke just
before the long Memorial Day weekend that, according to unnamed sources, the
surviving members of Queen were in the process of selling the legendary group’s
catalog for a mind-boggling $1 billion. Universal Music Group, the
world’s largest music company, was said to be the likely buyer.
Three sources tell Variety the deal is in advanced stages — although another
close to the situation says it is very preliminary — and that the
billion-dollar price tag is “real.” However, exactly what is included in the
package is not entirely clear.
The deal “is Universal’s to lose,” two sources said — although Sony Music is
said to be waiting in the wings — owing to the company’s longstanding
relationship with the group, which signed with EMI in 1972 and remained with
the company, which was acquired by Universal in 2011, throughout its career.
However, in 1991 it signed a licensing deal with Hollywood Records for U.S. and
Canadian recorded-music rights only, which led to a later acquisition by the
company of those assets — and therein lies one of the complicating factors.
If true, the acquisition would dwarf the largest such deals on record, which
include Bruce Springsteen selling his publishing and recorded-music to Sony for
a reported $600 million and Bob Dylan selling his publishing to Universal for a
price said to be nearly $400 million. Biggest of all, sources told Variety in
February that the Michael Jackson estate is in the process of selling half of
the late singer’s music catalog to Sony and an unspecified financial partner
for between $800-900 million, although that deal apparently had not closed at
the time of this article’s publication.
To be sure, Queen’s music catalog is among the most valuable in the world —
with classics like “Bohemian Rhapsody,” “Another One Bites the Dust,” “Radio
GaGa,” “39,” “Somebody to Love” and “You’re My Best Friend” as well as the
perennial stadium-shakers “We Will Rock You” and “We Are the Champions,” the
songs are globally popular and enormously lucrative.
Reps for Queen, Universal and Disney all declined comment, although a source
close to the situation tells Variety that Hollywood has no current or future
plans to sell its rights.
But a billion dollars speaks loudly.
Obviously, whether or not that sum is realistic depends on what is included in
it. Three sources tell Variety the publishing assets of the bandmembers — Brian
May, Roger Taylor, John Deacon and the estate of Freddie Mercury, all of whom
are equal shareholders in Queen Productions Ltd. — are on the table, although
another says they are not. That situation may or may not be complicated by the
fact that the group’s songs were almost entirely written by individual members
up to the 1982 “Hot Space” album, when they agreed to be collectively credited
on each song no matter who actually wrote it.
Yet the real wild card is Hollywood’s ownership of the North American rights to
the catalog, which presumably would be a separate or related transaction if the
company were to change its mind about selling. While the group’s catalog is
certainly enormously valuable in most other parts of the world, the U.S. is the
world’s largest music market by a long stretch and Canada is no slouch at No.
8, according to the IFPI’s 2022 report. The absence of those two markets, not
to mention publishing rights, would seem to drop the catalog’s value
substantially below $1 billion.
Indeed, Hollywood’s 1991 deal with the group has turned out to be one of the
most far-sighted in the industry. At the time, lead singer Freddie Mercury was
widely rumored to be afflicted with AIDS, although he did not confirm the
reports until the day before his death the following year. Peter Paterno, the
then-new label’s CEO, was lambasted for overpaying a reported $10 million
licensing deal with the group and, absent other major hits on the label,
stepped down from his post after his contract expired in 1993; he has long
since returned to his previous status as one of the industry’s top attorneys.
While details are unclear, at some point the group sold those rights to
Hollywood: A series of 2011 reissues and all streaming credits bear a Hollywood
copyright line, rather than the previous “Queen Productions under license to
Hollywood Records Inc.” Queen is one of the most business-savvy major recording
artists — and like many such artists, they signed a deal early in their career
that they later regretted financially and legally — and it seems
uncharacteristic for the group to sell off any of its considerable assets. But
at the time of the sale, which probably took place sometime in the 2000s, the
music industry had lost half of its value due to illegal downloading, and the
bandmembers may have considered it a good time to sell. However, they probably
wish they’d waited: Streaming brought the music industry back to health and, as
the Dylan, Springsteen and (presumably) Jackson deals show, the value of such
assets has grown exponentially over the past decade-plus.
Be that as it may, some sources suggest that, as often happens in such catalog
deals, the exact details are unconfirmed and players may be leaking information
in order to goose up the price as a deal approaches its close. One source tells
Variety that such a tactic may be in play with the Queen deal — that the talks
are still in early stages and the media reports are being used in an attempt to
solidify a billion-dollar price tag, a.k.a. a “stalking horse.”
Time will tell. Variety will have more on this situation as it develops.
After selling the rights to his solo catalog to Sony Music in 2021, Paul Simon has now relinquished his rights to his songs from the Simon and Garfunkel catalog.
The new deal was struck with BMG and, although no official
details have been released, all parties in the know keep referring to it as
“substantial.”
Incredibly, the duo of Simon and Garfunkel only recorded five studio albums together … but one of those was “Bridge Over Troubled Water” … and Paul Simon’s songwriting credits during that era include eight more Top Ten Hits, including four #1’s: “The Sound Of Silence” (1966); “Mrs. Robinson” (1968); “Bridge Over Troubled Water” (1970) and “Cecilia” (1970)
Simon released a brand new album last month called “Seven Psalms.” He appeared his morning on CBS Sunday Morning to discuss his current state of affairs. (kk)
Some final thoughts from Chuck Buell …
And now, Forgotten Hitter, Chuck Buell, presents, "As the Record Turns," or "What's in a Word?!"
I saw this the other day, quite possibly from a "Purest," but I did think, maybe they do have an argument in respect for the medium.
Yes, they were "pressed" on or into vinyl, but that's a "material.” The end result is a physical item, a "record," short, no doubt, for a "recording" by definition, I'm now considering.
They're not "Wax" or "Platters," or "Discs," per se, nor "my little flat friends!" They are indeed . . . "Records!"
"She made a Record! I bought her Record! Here, listen to her Record!"
"She made a Vinyl! I bought her Vinyl! Here, listen to her Vinyl!" ( Nope, that just doesn't work! )
Now, for those who wish to call things by what they're made of rather than what they are, if you'll excuse me, I'm going to put on my Denim, Cotton and Faux-paux Leather, hop into my Iron, Steel, Plastic and Rubber and drive away to my Wood, Glass, Asphalt and Drywall and call it a Calendar's Marked Measurement!
CB!
