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DandelionPowderman
My copy has this running list:
Under that logic, Mick Taylor and Brian Jones should have gotten credit for some songsQuote
DandelionPowdermanQuote
bakersfieldQuote
CaptainCorellaQuote
exilestones
I remember reading/hearing Preston would kind of take over a song the Stones were working on and kind of turn it into a Billy Preston song, like Melody, I guess.
Whoever told you that has got it 100% the wrong way round.
Melody started off the other way round. From Bill and picked up and owned by The Glimmer Twins.
It was Keith. I've also seen that quote where he says that 'brilliant players like Billy Preston' would put their stamp on a song and 'you end up with a compromised track'.Can't be sure he meant Melody. However, I find Mick and Keith's reluctance to give song writing credit where it is due one of their less appealing characteristics. If they have, as is rumoured, given Andrew Watt a song writing credit on the new album I suppose that reflects the fact that albums sell in smaller quantities these days and so they aren't losing so much my sharing the royalties.
I'm pretty sure he meant in general, and that he wanted to get the band's sound back together.
Regarding Andrew Watt, in the music business today (at least for the last 15 years) it's normal that the producer gets song writing credits if he/she (for instance) suggests or shows a bridge that he thinks suits the song. It could be less, too. Look at today's credits: many names behind most of the songs.
In the old days, this was merely the producer's job, developing the songs and putting them into shape if they lacked something.
I suspect something like this happened here.
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Taylor1Under that logic, Mick Taylor and Brian Jones should have gotten credit for some songsQuote
DandelionPowdermanQuote
bakersfieldQuote
CaptainCorellaQuote
exilestones
I remember reading/hearing Preston would kind of take over a song the Stones were working on and kind of turn it into a Billy Preston song, like Melody, I guess.
Whoever told you that has got it 100% the wrong way round.
Melody started off the other way round. From Bill and picked up and owned by The Glimmer Twins.
It was Keith. I've also seen that quote where he says that 'brilliant players like Billy Preston' would put their stamp on a song and 'you end up with a compromised track'.Can't be sure he meant Melody. However, I find Mick and Keith's reluctance to give song writing credit where it is due one of their less appealing characteristics. If they have, as is rumoured, given Andrew Watt a song writing credit on the new album I suppose that reflects the fact that albums sell in smaller quantities these days and so they aren't losing so much my sharing the royalties.
I'm pretty sure he meant in general, and that he wanted to get the band's sound back together.
Regarding Andrew Watt, in the music business today (at least for the last 15 years) it's normal that the producer gets song writing credits if he/she (for instance) suggests or shows a bridge that he thinks suits the song. It could be less, too. Look at today's credits: many names behind most of the songs.
In the old days, this was merely the producer's job, developing the songs and putting them into shape if they lacked something.
I suspect something like this happened here.
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TravelinManQuote
DandelionPowderman
My copy has this running list:
It appears "Keep Your Motor Running" is actually all from Texas, and I believe the unreleased album included songs from Philly. I can't figure out why one song is mono though.
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DornQuote
TravelinManQuote
DandelionPowderman
My copy has this running list:
It appears "Keep Your Motor Running" is actually all from Texas, and I believe the unreleased album included songs from Philly. I can't figure out why one song is mono though.
actually all but "Happy" and "YCAGWYW are from Philly on "Keep Your Motor Running"
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bakersfieldQuote
CaptainCorellaQuote
exilestones
I remember reading/hearing Preston would kind of take over a song the Stones were working on and kind of turn it into a Billy Preston song, like Melody, I guess.
Whoever told you that has got it 100% the wrong way round.
Melody started off the other way round. From Bill and picked up and owned by The Glimmer Twins.
It was Keith. I've also seen that quote where he says that 'brilliant players like Billy Preston' would put their stamp on a song and 'you end up with a compromised track'.Can't be sure he meant Melody. However, I find Mick and Keith's reluctance to give song writing credit where it is due one of their less appealing characteristics. If they have, as is rumoured, given Andrew Watt a song writing credit on the new album I suppose that reflects the fact that albums sell in smaller quantities these days and so they aren't losing so much my sharing the royalties.
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TravelinManQuote
DandelionPowderman
My copy has this running list:
Yep, this was my first copy as well. My dad had "Ft Worth Express" back in the 90's, which was great.
It appears "Keep Your Motor Running" is actually all from Texas, and I believe the unreleased album included songs from Philly. I can't figure out why one song is mono though.
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DandelionPowderman
Regarding Andrew Watt, in the music business today (at least for the last 15 years) it's normal that the producer gets song writing credits if he/she (for instance) suggests or shows a bridge that he thinks suits the song. It could be less, too. Look at today's credits: many names behind most of the songs.
In the old days, this was merely the producer's job, developing the songs and putting them into shape if they lacked something.
I suspect something like this happened here.
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retired_dog
The problem, at least as I recall it, was the so-called "re-recording clause" in their original contract and/or settlement with ABKCO that prevented them from releasing any re-recordings, regardless whether studio or live, of material that was controlled by ABKCO for a period of 5 years after termination of their former contract. Thus, a live "re-recording" of, let's say "JJF" from 1972 or 1973 could not be released in the period between 1971-1975. At least not without the permission of ABKCO, that is. And, of course: permission = money...
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Mathijs
In The Netherlands there is a famous band manager who has played 'banana shaker' on more than a thousand songs.
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MathijsQuote
DandelionPowderman
Regarding Andrew Watt, in the music business today (at least for the last 15 years) it's normal that the producer gets song writing credits if he/she (for instance) suggests or shows a bridge that he thinks suits the song. It could be less, too. Look at today's credits: many names behind most of the songs.
In the old days, this was merely the producer's job, developing the songs and putting them into shape if they lacked something.
I suspect something like this happened here.
What's also happening more and more is that as producers have gotten more famous, and studios more expensive, a producer can demand a share of the royalties of a track, even if he didn't write anything. In The Netherlands there is a famous band manager who has played 'banana shaker' on more than a thousand songs. A famous radio DJ would only play music of bands he was the 'executive producer' for, in the end he 'produced' literally hundreds of bands while not being in the studio once.
Mathijs
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Taylor1
Would George Martin today have gotten writer’s credit for a lot of Beatle’s songs?
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MathijsQuote
DandelionPowderman
Regarding Andrew Watt, in the music business today (at least for the last 15 years) it's normal that the producer gets song writing credits if he/she (for instance) suggests or shows a bridge that he thinks suits the song. It could be less, too. Look at today's credits: many names behind most of the songs.
In the old days, this was merely the producer's job, developing the songs and putting them into shape if they lacked something.
I suspect something like this happened here.
What's also happening more and more is that as producers have gotten more famous, and studios more expensive, a producer can demand a share of the royalties of a track, even if he didn't write anything. In The Netherlands there is a famous band manager who has played 'banana shaker' on more than a thousand songs. A famous radio DJ would only play music of bands he was the 'executive producer' for, in the end he 'produced' literally hundreds of bands while not being in the studio once.
Mathijs
So under that standard Ringo would get credit for A Hard Day’s NightQuote
Palace Revolution 2000Quote
MathijsQuote
DandelionPowderman
Regarding Andrew Watt, in the music business today (at least for the last 15 years) it's normal that the producer gets song writing credits if he/she (for instance) suggests or shows a bridge that he thinks suits the song. It could be less, too. Look at today's credits: many names behind most of the songs.
In the old days, this was merely the producer's job, developing the songs and putting them into shape if they lacked something.
I suspect something like this happened here.
What's also happening more and more is that as producers have gotten more famous, and studios more expensive, a producer can demand a share of the royalties of a track, even if he didn't write anything. In The Netherlands there is a famous band manager who has played 'banana shaker' on more than a thousand songs. A famous radio DJ would only play music of bands he was the 'executive producer' for, in the end he 'produced' literally hundreds of bands while not being in the studio once.
Mathijs
Very true. I work in a studio, and and we used to do a lot of Hip Hop sessions. You can have a guy suggest one single word, and they'd be up for a co-write. especially if it is in the hook.
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Palace Revolution 2000Quote
MathijsQuote
DandelionPowderman
Regarding Andrew Watt, in the music business today (at least for the last 15 years) it's normal that the producer gets song writing credits if he/she (for instance) suggests or shows a bridge that he thinks suits the song. It could be less, too. Look at today's credits: many names behind most of the songs.
In the old days, this was merely the producer's job, developing the songs and putting them into shape if they lacked something.
I suspect something like this happened here.
What's also happening more and more is that as producers have gotten more famous, and studios more expensive, a producer can demand a share of the royalties of a track, even if he didn't write anything. In The Netherlands there is a famous band manager who has played 'banana shaker' on more than a thousand songs. A famous radio DJ would only play music of bands he was the 'executive producer' for, in the end he 'produced' literally hundreds of bands while not being in the studio once.
Mathijs
Very true. I work in a studio, and and we used to do a lot of Hip Hop sessions. You can have a guy suggest one single word, and they'd be up for a co-write. especially if it is in the hook.
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Sighunt
While we are the topic of music producers, and forgive my ignorance here as I don't work in the biz, but what exactly does a music producer do? The most famous producer I certainly learned about growing up was George Martin due to his association and contributions with the Beatles. so is Martin like the template that you would see with other artists? Please feel free to clarify and expand my knowledge on this topic. Thanks.
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MathijsQuote
Sighunt
While we are the topic of music producers, and forgive my ignorance here as I don't work in the biz, but what exactly does a music producer do? The most famous producer I certainly learned about growing up was George Martin due to his association and contributions with the Beatles. so is Martin like the template that you would see with other artists? Please feel free to clarify and expand my knowledge on this topic. Thanks.
[en.wikipedia.org]
Mathijs
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SighuntQuote
MathijsQuote
Sighunt
While we are the topic of music producers, and forgive my ignorance here as I don't work in the biz, but what exactly does a music producer do? The most famous producer I certainly learned about growing up was George Martin due to his association and contributions with the Beatles. so is Martin like the template that you would see with other artists? Please feel free to clarify and expand my knowledge on this topic. Thanks.
[en.wikipedia.org]
Mathijs
Thanks for posting that Wiki article. It pretty much confirms what my confusion has been all these years: that a producer (per a separate google search) really can be many things involving "a range of creative and technical leadership roles!" LOL
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MathijsQuote
SighuntQuote
MathijsQuote
Sighunt
While we are the topic of music producers, and forgive my ignorance here as I don't work in the biz, but what exactly does a music producer do? The most famous producer I certainly learned about growing up was George Martin due to his association and contributions with the Beatles. so is Martin like the template that you would see with other artists? Please feel free to clarify and expand my knowledge on this topic. Thanks.
[en.wikipedia.org]
Mathijs
Thanks for posting that Wiki article. It pretty much confirms what my confusion has been all these years: that a producer (per a separate google search) really can be many things involving "a range of creative and technical leadership roles!" LOL
The most important thing for a producer is to get 'the best take', meaning a take where all players shine, at the best possible sound quality. A producer directs the band, and works closely with the engineers.
Mathijs
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TravelinMan
Whats the story behind the 1972 compilation being played on radio Cleveland?
As a native Ohioan, I find this really interesting. Brussels is always talked about, but I am just finding out about this.
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rattler2004
What WMMS probably played was a bootleg, they had done it before. They played Led Zeppelin Destroyer, a well known bootleg from the 1977 tour stop at Richfield Coliseum.
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Rocky DijonQuote
rattler2004
What WMMS probably played was a bootleg, they had done it before. They played Led Zeppelin Destroyer, a well known bootleg from the 1977 tour stop at Richfield Coliseum.
Nico's entry below. It's highly unlikely there was a bootleg on the market a couple weeks after the tour finished. The source was inside the organization and likely a reaction to Klein killing the project or making it financially infeasible.
720811A 11th August: THE ROLLING STONES. US radio (WMMS)/(Radio Cleveland).
Broadcast of the unreleased 1972 tour live-album.
- You Can't Always Get What You Want (MJ/KR) - Houston 25.06.72, 1st show
- Sweet Virginia (MJ/KR) -Philadelphia 21.07.72, 1st show
- Bitch (MJ/KR) -Philadelphia 20.07.72
- All Down The Line (MJ/KR) -Houston 25.06.72, 1st show
- Happy (MJ/KR) -Fort Worth 24.06.72, 1st show
- Tumbling Dice (MJ/KR) -Philadelphia 20.07.72
- Rip This Joint (MJ/KR) -Fort Worth 24.06.72, 1st show
- Gimme Shelter (MJ/KR) -Philadelphia 20.07.72
- Brown Sugar (MJ/KR) -Philadelphia 20.07.72
- Uptight/Satisfaction (Sylvia Moy/Henry Cosby/Stevie Wonder)(MJ/KR)
-unidentified source, July 1972
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MathijsQuote
DandelionPowderman
Regarding Andrew Watt, in the music business today (at least for the last 15 years) it's normal that the producer gets song writing credits if he/she (for instance) suggests or shows a bridge that he thinks suits the song. It could be less, too. Look at today's credits: many names behind most of the songs.
In the old days, this was merely the producer's job, developing the songs and putting them into shape if they lacked something.
I suspect something like this happened here.
What's also happening more and more is that as producers have gotten more famous, and studios more expensive, a producer can demand a share of the royalties of a track, even if he didn't write anything. In The Netherlands there is a famous band manager who has played 'banana shaker' on more than a thousand songs. A famous radio DJ would only play music of bands he was the 'executive producer' for, in the end he 'produced' literally hundreds of bands while not being in the studio once.
Mathijs
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DandelionPowderman
They started the broadcast with two slow numbers?
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TravelinManQuote
Rocky DijonQuote
rattler2004
What WMMS probably played was a bootleg, they had done it before. They played Led Zeppelin Destroyer, a well known bootleg from the 1977 tour stop at Richfield Coliseum.
Nico's entry below. It's highly unlikely there was a bootleg on the market a couple weeks after the tour finished. The source was inside the organization and likely a reaction to Klein killing the project or making it financially infeasible.
720811A 11th August: THE ROLLING STONES. US radio (WMMS)/(Radio Cleveland).
Broadcast of the unreleased 1972 tour live-album.
- You Can't Always Get What You Want (MJ/KR) - Houston 25.06.72, 1st show
- Sweet Virginia (MJ/KR) -Philadelphia 21.07.72, 1st show
- Bitch (MJ/KR) -Philadelphia 20.07.72
- All Down The Line (MJ/KR) -Houston 25.06.72, 1st show
- Happy (MJ/KR) -Fort Worth 24.06.72, 1st show
- Tumbling Dice (MJ/KR) -Philadelphia 20.07.72
- Rip This Joint (MJ/KR) -Fort Worth 24.06.72, 1st show
- Gimme Shelter (MJ/KR) -Philadelphia 20.07.72
- Brown Sugar (MJ/KR) -Philadelphia 20.07.72
- Uptight/Satisfaction (Sylvia Moy/Henry Cosby/Stevie Wonder)(MJ/KR)
-unidentified source, July 1972
What’s weird is they would do overdub sessions in October after that though. I can’t imagine they were sticking it to Klein then going back in to work on it. I could believe a bootleg of a particular show being aired right away but a compilation?