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Post by Alan Turrell on Aug 25, 2013 19:50:52 GMT
Now this clip might be well known to alot of people here but not myself so can anyone identify it for me it cut's off after 2mins 18secs thanks for any help. www.youtube.com/watch?v=hOSgfpYPPyo
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Post by nicadare on Aug 26, 2013 13:46:25 GMT
Not sure where the clip is sourced from, but I know Alan Price receives the royalties for the song and the other band members get nothing.
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Post by Deleted on Aug 26, 2013 19:06:53 GMT
Not sure where the clip is sourced from, but I know Alan Price receives the royalties for the song and the other band members get nothing. Wouldn't surprise me. He got a "Trad arr Price" credit IIRC, which would enable a nice flow of royalties to come his way. Always the best way to cause ructions in a band; having 1 or 2 writers scoring publishing royalties in addition to mechanicals and sales, meaning they can "drive around in Ferraris while everyone else is still starving" to quote Roger McGuinn (I think) from The Byrds.
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Post by Richard Marple on Aug 26, 2013 19:22:50 GMT
A few bands have agreed to always share writing credits on original songs so the royalties are shared out fairly.
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Post by Deleted on Aug 26, 2013 20:33:24 GMT
That's the best way, Richard. R.E.M. come to mind, The Manic Street Preachers & I think The Clash did too. Way fairer and keeps the band together. Queen did eventually after a lot of fallings out over royalties, especially with B sides, which generate as much publishing as the A side. Roger Taylor really lucked out with I'm In Love With My Car, which was B side to Bohemian Rhapsody, much to the resentment of other band member(s).
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Post by Richard Marple on Aug 26, 2013 21:48:46 GMT
Interestingly Roger Taylor didn't write the A-side of a single until Radio Gaga.
Queen eventually started to have a collective credit.
I think New Order shared royalties.
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Post by williammcgregor on Aug 26, 2013 22:41:27 GMT
Seemingly, The Moody Blues had their own brand of altruism... a song was credited to whoever came up with the idea. If Ray Thomas walked in and said he had an idea for a flute part that went like this, (plays 6 notes), the song would be credited to Thomas, regardless of whether Justin Hayward or whoever, wrote the chords, melody, and lyrics. Likewise, if someone came up with a title, and the other guy actually wrote the song. Whoever came up with the title, became the songwriter. I think this is discussed in the very good documentary on The Moodies which has been on SKY ARTS recently?
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Post by Alan Turrell on Aug 27, 2013 5:18:27 GMT
I wonder where this clip comes from is it uk tv , you have the applause at the start of the clip so it's from some tv show but which one .
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Post by Deleted on Aug 27, 2013 8:09:29 GMT
It's not TOTP is it??? I wondered that on first viewing, but thought, "No, can't be ..."
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Post by Rich Cornock on Aug 27, 2013 8:43:39 GMT
Just before the end of the clip you can briefly glimpse a card with some French words on it. Not sure what they say but i guess its a clue to the clips origin
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Post by Alan Turrell on Aug 27, 2013 16:40:09 GMT
Yes well spotted Rich so probably from some french tv show
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Post by Patrick Coles on Aug 28, 2013 9:51:00 GMT
Re The Moody Blues:
Mike Pinder & Justin Hayward were already composers (Mike initially co-writing with Denny Laine in the earlier 'Go Now' 1964-66 period, Justin had cut a single of his 'London is Behind Me' prior to joining the group in 1966)
they had their own distinctive style of songs and normally the lead singer was the songwriter - a few collaborations are credited as between Hayward & Thomas with a lone Pinder-Lodge 1969 song ('Out And In') , while Edge-Hayward wrote 'You And Me' on 'Seventh Sojourn' album (1972)
Early on it's noticeable Justin Hayward would take vocals on the Hayward-Thomas songs, plus that Edge-Hayward track and even sang most of Pinder's 'Dawn is A Feeling' at Mike's choosing (Pinder sang the bridge section)
they sang some John Lodge songs in four part lead harmony, while Hayward & Lodge co-sang lead on Lodge's songs; 'Candle of Life' and 'Isn't Life Strange ?' It is true that they each 'chipped in' their 'pennyworth' of ideas to each other's songs with say Hayward coming up with the guitar lines, while Mike Pinder added the 'overall symphonic sound' to most of their songs, most notably the orchestral wave on 'Nights in White Satin' & was the band's 'arranger'
Ray Thomas has said you sometimes had to 'bite the bullet' and accept it if the songwriter rejected a 'great idea' you had for their song, but then so did they if it was your song...
you can see that Hayward penned the most commercial very memorable wistful & also the rockier material, Lodge too (often writing the gentler love songs with the odd uptempo song ), Thomas wrote the more humourous 'pithy' & quirkier songs with the odd reflective song, while Pinder wrote the deepest 'spacier' songs often with strong classical overtones (something they later badly missed)
they all jointly took a credit on the weird track; 'Procession' (1971) on 'Every Good Boy...' album
Graeme Edge initially only wrote the poetry (mostly read by Mike Pinder) , later they all helped him on his songs from 1969 onwards ('Higher And Higher' & instrumental 'Beyond' etc) but gave Edge the sole composer credit ('Bless 'em' Edge recalls in that 'Classic Artists' DVD)
- Edge said his first complete sole song composition was: 'Little Guy' (aka: 'I'll Be Level With You' on 'Octave' in 1978) & we assume his songs therafter ('The Spirit' in 1986 co-written with Pinder's successor keyboardist Patrick Moraz)
Hayward or Lodge wrote all the band's UK singles from 1967 after Mike's 'Love And Beauty'. After Pinder retired from the band in 1978 it was notable that alot of the songwriting responsibility fell on Justin Hayward, whose songs kicked off ALL the later albums, and wrote most singles either alone or collaborating with Lodge
with Hayward thereafter writing most, Lodge was second prolific later songwriter plus 'Hayward-Lodge' as Ray Thomas and Graeme Edge's contributions largely tailed off after 1983 and 1986 respectively ...with the odd exception much later on prior to Ray's retirement in 2002.
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Post by Alan Turrell on Aug 28, 2013 18:09:17 GMT
It's not TOTP is it??? I wondered that on first viewing, but thought, "No, can't be ..." If only it was.
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Post by Paul Watkins on Aug 28, 2013 19:27:51 GMT
The french writing is
"Listen to what is the sound of success"
no help whatsoever with identifying what show though.
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Post by markg on Aug 29, 2013 16:05:11 GMT
When "Alice Cooper" was a band (i.e. all the albums up to "Muscle of Love"), the songwriting was done by all combinations of the band members, so it seems.
Particularly on the "School's Out" album, by no means did Vince/Alice have his name on all of them.
Mind you, all the band got named credit on the title track. Because they weren't daft.
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