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The Music Thread


#41

@davidm


#42

Britpop isn’t really a sound though - Morning Glory doesn’t sound like Common People which doesn’t sound like The Universal which doesn’t sound like Caught by the fuzz which doesn’t sound like Animal Nitrate. Not much of it sounds like stuff from the 60s either.

Of course I’ll go in to bat for Oasis - there’s not really anything of theirs that sounds like the Beatles or particularly 60s-ish until their 4th album in 2000. There’s an Oasis sound and it’s on display particularly in Supersonic and D’you know what I mean.


#43

“Whatever” doesn’t sound like the Beatles? :open_mouth:


#44

That was why I used the “not really” qualifier - it’s the closest they came until 2000, but would anyone really mistake it for the Beatles?

Even describing something as sounding like the Beatles is weird. What is the Beatles sound? (My pick would be “Hello Goodbye”.) Something doesn’t sound like A hard days night, which doesn’t sound like Yesterday which doesn’t sound like Helter Skelter, which doesn’t sound like Tomorrow never knows which doesn’t sound like Come Together.


#45

That’s setting a bar that rules out anything that isn’t a straight tribute band. :smile:

I wouldn’t mistake this for the Beatles even though it’s a self confessed tribute.


#46

I can dig it, but one (non-album) song in three albums - a lot of acts have the odd track that can loosely be described as Beatley. Billy Joel, Blur, Elliott Smith, Franz Ferdinand, NERD, New Kids On The Block, Regina Spektor, Scissor Sisters…


#47

Did I say they didn’t? You raised a defence of Oasis, I never even mentioned them. :smile:


#48

For “Britpop” read “Oasis et al.”


#49

It’s true, though :wink:


#50

A very poor court ruling. The songs are completely different apart from the opening 2 bars.

I don’t think the Beatles ever had to pay out for ripping off (far more obviously) the opening to Revolution, which is a way more significant part of the song.

Seriously, just listen to the first few seconds of each:


#51

Talking of court rulings. Radiohead are suing Lana Del Ray for this song. I usually find these claims are pretty spurious but listening to the first couple of minutes of this it is pretty much the same song as ‘Creep’.

It comes with added irony as Radiohead themselves were sued over the song as it bore a resemblance to a Hollies tune.


#52

Yes, it’s not just the chord progression and melody (which is often what these kinds of claims revolve around) but also the arrangement and even the singing style that sound similar here.


#53

The Radiohead song sounds more like the Hollies song than it does this one. I find this to be a pretty questionable lawsuit.


#54

In these cases much of it is always in the ear of the beholder. There are lots of obvious similarities but the songs clearly aren’t identical either. It’s quite a tricky area of law so who knows how it will turn out.

For her part, she has said this:

That’s not necessarily an admission of guilt of course, just an acknowledgement that they were willing to offer some degree of payout to avoid litigation.


#55

That’s pretty common practice though and I’m sure it’s Radiohead’s lawyers looking for a little shakedown and not Thom Yorke sitting around thinking she stole his song. It’s getting a bit ridiculous though. I thought the Tom Petty/Sam Smith one was ridiculous too.


#56

Yeah, I’m sure the artists themselves are not directly instigating this stuff.

I understand why ownership rights need to be protected and enforced but I agree that these cases can sometimes seem like a stretch.


#57

Written by the dad of that guy from The Strokes.


#58

Funny enough Tom Petty never sued the Strokes but he did sue Sam Smith.


#59

This is the one I remember most when The Rolling Stones got 100% writing credit for Verve’s Bittersweet Symphony.

It’s done because the real money in music is in the residuals from writing credits. There’s an entire sub-industry based around controlling these rights. It’s why Elvis (or at least his management) required that he share a writing credit for anything he recorded. I was at a small Jesse Malin show not long ago where he talked about a cover album he did that got great radio play but made him no money because he didn’t write any of the songs.


#60

That one is a little different because the Verve got permission to use a sample from the orchestral version of the Stones song and then used more than agreed upon. They really didn’t have much of a case even if turning over 100% of the royalties seems harsh.