Can A Decent Man Achieve Success In This...
Society & Culture14 mins ago
Just So You Know, The Art Of Plaigarism Was Alive And Well In The 1970's!
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Check out this by Todd Rundgren from 1973 -
Of course, the genius at work is Todd, who wrote I Saw The Light, and all the songs on his double album Something / Anything, for which he played every instrument, one by one (no computers then!) mixed them, and then sang all the vocals as well.
The copying, consciously or not, was done by co-writer Ben Findon who co-wrote all Billy Ocean's early hits, and the same for The Nolans, so maybe it wasn't on purpose, only they know!
Of course, the genius at work is Todd, who wrote I Saw The Light, and all the songs on his double album Something / Anything, for which he played every instrument, one by one (no computers then!) mixed them, and then sang all the vocals as well.
The copying, consciously or not, was done by co-writer Ben Findon who co-wrote all Billy Ocean's early hits, and the same for The Nolans, so maybe it wasn't on purpose, only they know!
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goodgoalie - // Not for nothing is there the saying: where there's a hit, there's a writ. Ask George Harrison, Richard Ashcroft, Ed Sheeran.... //
Your point is true, but it can be for different reasons.
For example - George Harrison was found guilty of plagiarism for lifting the melody of The Chiffons' He's So Fine, for his own hit My Sweet Lord, and although he denied intent, he was still prosecuted and fined and royalties were re-assigned.
The Richard Ashcroft scenario was not about plagiarism, but copyright - The Verve used a sample for Bittersweet Symphony lifted from the Andrew Loog Oldham Orchestra version of The Stones' The Last Time, having obtained permission from Decca Records to use a five-note sample. The band's ex-manager, who owns copyright, sued the band claiming they used more than the agreed sample, and he won his case. All royalties were signed over to Jagger and Richard as composers, and then Andrew Loog Olddham sued as well for his copyright claim and was successful, meaning that The Verve have earned no money from their biggest worldwide hit.
To add insult to injury, Nike Sportsewear approached The Verve to use a sample for an advert, and the band refused - but Verve then approached Andrew Loog Oldham, who gave his permission, and the song was used against the band's wishes.
It's tough being a pop star!
Your point is true, but it can be for different reasons.
For example - George Harrison was found guilty of plagiarism for lifting the melody of The Chiffons' He's So Fine, for his own hit My Sweet Lord, and although he denied intent, he was still prosecuted and fined and royalties were re-assigned.
The Richard Ashcroft scenario was not about plagiarism, but copyright - The Verve used a sample for Bittersweet Symphony lifted from the Andrew Loog Oldham Orchestra version of The Stones' The Last Time, having obtained permission from Decca Records to use a five-note sample. The band's ex-manager, who owns copyright, sued the band claiming they used more than the agreed sample, and he won his case. All royalties were signed over to Jagger and Richard as composers, and then Andrew Loog Olddham sued as well for his copyright claim and was successful, meaning that The Verve have earned no money from their biggest worldwide hit.
To add insult to injury, Nike Sportsewear approached The Verve to use a sample for an advert, and the band refused - but Verve then approached Andrew Loog Oldham, who gave his permission, and the song was used against the band's wishes.
It's tough being a pop star!
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