DOCSLIB.ORG

Business, the Arts & the Role of the Copyright

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Business, the Arts & the Role of the Copyright Vanderbilt Journal of Entertainment & Technology Law Volume 6 Issue 1 Issue 1 - Fall 2003 Article 9 2003 Business, the Arts & the Role of the Copyright Act Keith C. Hauprich Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Keith C. Hauprich, Business, the Arts & the Role of the Copyright Act, 6 Vanderbilt Journal of Entertainment and Technology Law 213 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol6/iss1/9 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. wo recent court decisions examined, seemingly paternalistic intent of the legislative history addressed, and adjudicated parallel issues potentially underlying the 1976 revisions to the Copyright Act,8 determining the scope of rights of legions of the Court ruled in favor of the freelance authors. recording artists and freelance authors. While the The protection of one's copyright interests core of each case centered on the fact that the as secured by the United States Constitution9 cannot agreements between each of the respective litigants exist in a vacuum. Only through legislative did not expressly grant (or reserve) the exercise of amendments and ever-evolving case law can the the particular rights in dispute, the decisions of the intent behind Article I, Section 8, Clause 8' ° be courts have seemingly antithetical results. A review preserved. This article is intended to illustrate the of each court's application of the governing law to evolving nature of the meaning of this clause through the disparate facts of each case presents an a side-by-side review of the two cases set forth interesting illustration of the relationship among above. business, the arts, and the role of the CopyrightAct.' In Greenfield v.Philles Records, Inc.,2 the New York State Court of Appeals relied on "long-settled common-law contract rules"3 to determine the breadth of rights transferred under the terms of a 1963 recording agreement. The court's seemingly cold and sterile application of common law led it to modify a lower court's ruling,4 rendering such lower court's judgment in favor of the recording artists In 1963, the Ronettes, comprised ofVeronica little more than a Pyrrhic victory. Bennett, 2 Estelle Bennett, and NadraTalley,signed a In New York Times Co., Inc. v. Tasini, the five-year recording agreement with producer and Supreme Court of the United States considered the composer, Phil Spector. In exchange for a one-time merits of the assertion that section 201 of the $15,000 cash advance 3 and the potential of CopyrightAct 6 permits a publisher to reproduce and additional royalties when, and if, revenue generated distribute contributions to a collective work within from the sales of master recordings exceeded such a searchable electronic database.7 Citing the initial cash advance,' 4 Spector's production company, r CS IS I 44k, ts Philles Records, Incorporated, acquired ownership industry standards.23 of the master recordings embodying the Ronettes musical performances. Despite the commercial success of Billboard-charting songs such as "Be My Baby," "Walking in the Rain," and "Do I Love You,"'" In New York Times Co. v. Tasini,25 numerous as well as recording and delivering dozens of freelance authors26 were separately engaged as additional masters to Philles, 6the Ronertes never independent contractors by one or more of the received any royalties. In 1967, the Ronettes publishers of such periodicals as The NewYork Times, disbanded, and shortly thereafter Philles Records New York Newsday, and Sports Illustrated to provide went out of business. However, even when Philles articles for their periodicals.2 7 Each article was Records went out of business, the rights in and to registered with the United States Copyright Office the Ronertes'masters were retained by Philles' owner, in the name of the respective author. Additionally, Phil Spector. Subsequently, with the resurgence of public interest in '60's music and the advent of Wi new recording s technologies, most notably,the compact disc or "CD," Spector began to grant third parties the a right to synchronize the N Ronettes' masters in audio-visual works, such as the use of "Be My Baby" in the 1987 film Dirty Dancing.7 Not stopping with the granting of these synchronization each edition of the periodicals was registered, as a rights, Spector also began to grant third parties the collective work, in the name of the respective right to produce and distribute the Ronettes' masters publisher. for redistribution within the United States. 8 Despite The New York Times, New York Newsday,and this new market for their music, and the resultant Sports Illustrated each had separate agreements with newly found revenue streams, the Ronettes never Lexis/Nexis, the owner and operator of NEXIS, a received any royalties from Philles or Spector. computerized database that stores information such In 1987, the Ronettes brought suit against as periodicals in text-only format.28 These Spector in New York state court asserting that the agreements authorized Lexis/Nexis to copy and sell 1963 recording agreement did not provide the any portion of the articles previously appearing in defendants with the right to license the subject the publishers' periodicals. 9 NEXlS subscribers were masters for synchronization or for domestic able to search for articles within the database using 9 redistribution. The trial court awarded damages a diverse range of criteria such as author, subject, or and interest to the plaintiffs on the theories of breach key terms, as each article was "coded" to facilitate of contract and unjust enrichment.20 On appeal, the computerized retrieval." Such search results would Appellate Division affirmed the lower court's appear as separate, isolated, stories without any decision concluding that the defendant's actions were visible link to the newspaper or magazine in which not authorized by the agreement because such an article originally appeared.3' A subscriber could agreement did not specifically transfer the right to then view, print, or download each article generated issue synchronization licenses or third party by their search.32 2 distribution licenses. ' TheAppellate Division further In December 1993, the freelance authors held that the plaintiffs were entitled to receive 50 filed a copyright infringement action in the United percent of income derived from synchronization and States District Court for the Southern District of third party licensing" consistent with current New York against the publishers of the various periodicals, specifically alleging copyright media and the failure of an existing written infringement." In response to the plaintiffs' suit, the agreement to address such exploitation, the issues defense filed a motion for summary judgment before the courts were framed in substantially asserting the privilege accorded to collective work different manners. As the creation of the masters in copyright holders pursuant to section 201 (c) of the Philles pre-dated the extension of federal statutory Copyright Act. The District Court granted the copyright protection to master recordings, which defendants' motion for summary judgment, 4 holding did not occur until 1971. 9 the parties' dispute and that the use of the articles within NEXIS was subject its resolution were not governed by the United to a statutory privilege extended to the owners of a States Copyright Act. Rather, the issue before the copyright in a collective work.35 On appeal, the trial Philles court was whether the recording artists' court's decision was reversed, and the use of the transfer of full ownership rights to masters also articles within NEXIS was found to be beyond the conveyed the unconditional right to redistribute the scope of section 201 (c).36 same in any technical format.' However, in Tasini, both the authors' articles and the publishers' 4 periodicals were subject to copyright protection. 1 The issue, therefore, was whether use of an article in a searchable electronic database was subject to In both Philles and Tasini, one of the central the privilege granted to the owner of a collective problems was that the agreements between each of work featuring such article pursuant to section the respective parties, the Ronettes and Philles in 201(c). 42 This privilege allows a publisher to Philles and the authors and the publications in Tasini, reproduce and distribute an article as part of any of did not expressly grant (or reserve) the exercise of three categories of collective works: (i) "the collective the particular rights upon which the plaintiffs' claims work to which the author contributed such work;" and the subsequent litigation were based. Indeed, (ii) "any revision of that collective work;" or (iii) "any 43 the Philles court noted that, although the plaintiffs later collective work in the same series." conceded that the agreement unambiguously granted the defendants unconditional ownership rights to the masters, the plaintiffs then argued that the agreement "does not bestow the right to exploit The Philles court set the parameters of its such masters in new markets or mediums since the decision by noting that if an agreement is,on its face, agreement is silent on those topics."37 In Tasini, the reasonably susceptible to only one meaning, a court authors were engaged pursuant to agreements that is not free to alter the agreement to reflect its did not secure consent for the placement of an personal notions of fairness and equity.44 The court article, by the publisher or any other third party, then stated that the standard for introducing within an electronic database.
Load more

Recommended publications
  • Began Her Professional Career in 1966 at the Cafe Wha? in Greenwich
    SUSAN COLLINS began her professional career in 1966 at the Cafe Wha? in Greenwich Village singing with Jimi Hendrix in Jimmy James and the Blue Flames, the ground-breaking guitarist’s group just before he left NYC for London. Then a sophomore straight out of Brooklyn’s Lafayette High, Susan was managed by singer-songwriter Richie Havens, with whom she later attended Woodstock, flying in by helicopter. In 2011 Susan’s close friend and musical director of 35 years, Paul Shaffer stated: “Susan Collins is my favorite singer…period!” Paul calls her “my BFF and a singer’s singer - what a voice!” In 2006 Susan sang a song she co-wrote with Paul, on a bill with Harry Shearer, Marshall Crenshaw, and They Might Be Giants at NYC’s Canal Room. Of this performance, Fox News.com’s Roger Friedman wrote: “Collins is terrific. She can hold her own with Ronnie Spector any day of the week.” Susan appeared with Spector, Lesley Gore, Lala Brooks et. al. at Lincoln Center’s girl group tribute SHE’S GOT THE POWER in the summer of 2011. YOU CAN TAKE THE GIRL OUTTA BROOKLYN, Susan’s autobiographical musical revue (originated at bergenPac NJ before its NYC run), tells the story of how she started singing a cappella on the street corner of her housing project in the 1960s and went on to a career in the music business, making key vocal contributions to numerous hit records, TV shows, movies and advertising. Recipient of the ASCAP Award for songwriting, Susan’s first day job was writing for legendary producer/TV host and 2012 Rock & Roll Hall of Fame inductee, the late Don Kirshner.
    [Show full text]
  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 20 BE MY BABY, The Ronettes Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 116 1963 Billboard: #2 DA DOO RON RON, The Crystals Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 112 1963 Billboard: #3 CHRISTMAS (BABY PLEASE COME HOME), Darlene Love Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 119 1963 Did not make pop charts To hear folks talk, Phil Spector made music out of a solitary vision. But the evidence of his greatest hits insists that he was heavily dependent on a variety of assistance. Which makes sense: Record making is fundamentally collaborative. Spector associates like engineer Larry Levine, arranger Jack Nitzsche, and husband-wife songwriters Jeff Barry and Ellie Greenwich were simply indispensable to his teen-art concoctions. Besides them, every Spector track featured a dozen or more musicians. The constant standouts were' drummer Hal Blaine, one of the most inventive and prolific in rock history, and saxophonist Steve Douglas. Finally, there were vast differences among Spector's complement of singers. An important part of Spector's genius stemmed from his ability to recruit, organize, and provide leadership within such a musical community. Darlene Love (who also recorded for Spector with the Crystals and Bob B. Soxx and the Blue Jeans) ranks just beneath Aretha Franklin among female rock singers, and "Christmas" is her greatest record, though it was never a hit. (The track probably achieved its greatest notice in the mid-eighties, when it was used over the opening credits of Joe Dante's film, Gremlins.) Spector's Wall of Sound, with its continuously thundering horns and strings, never seemed more massive than it does here.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Leon Russell – Primary Wave Music
    ARTIST:TITLE:ALBUM:LABEL:CREDIT:YEAR:LeonThisCarneyTheW,P1972TightOutCarpentersAA&MWNow1973IfStopP1974LadyWill1975 SongI Were InRightO' Masquerade &AllBlueRussellRope The Thenfor Thata Stuff CarpenterYouWoodsWisp Jazz LEON RUSSELL facebook.com/LeonRussellMusic twitter.com/LeonRussell Imageyoutube.com/channel/UCb3- not found or type unknown mdatSwcnVkRAr3w9VBA leonrussell.com en.wikipedia.org/wiki/Leon_Russell open.spotify.com/artist/6r1Xmz7YUD4z0VRUoGm8XN The ultimate rock & roll session man, Leon Russell’s long and storied career included collaborations with a virtual who’s who of music icons spanning from Jerry Lee Lewis to Phil Spector to the Rolling Stones. A similar eclecticism and scope also surfaced in his solo work, which couched his charmingly gravelly voice in a rustic yet rich swamp pop fusion of country, blues, and gospel. Born Claude Russell Bridges on April 2, 1942, in Lawton, Oklahoma, he began studying classical piano at age three, a decade later adopting the trumpet and forming his first band. At 14, Russell lied about his age to land a gig at a Tulsa nightclub, playing behind Ronnie Hawkins & the Hawks before touring in support of Jerry Lee Lewis. Two years later, he settled in Los Angeles, studying guitar under the legendary James Burton and appearing on sessions with Dorsey Burnette and Glen Campbell. As a member of Spector’s renowned studio group, Russell played on many of the finest pop singles of the ’60s, also arranging classics like Ike & Tina Turner’s monumental “River Deep, Mountain High”; other hits bearing his input include the Byrds’ “Mr. Tambourine Man,” Gary Lewis & the Playboys’ “This Diamond Ring,” and Herb Alpert’s “A Taste of Honey.” In 1967, Russell built his own recording studio, teaming with guitarist Marc Benno to record the acclaimed Look Inside the Asylum Choir LP.
    [Show full text]
  • "Fiddler on the Roof"
    CAPITOL'S FISCAL '63-'64 "Fiddler On The Roof"- BEST YEAR IN HISTORY A Hurricane On Broadway e HOLLYWOOD-Sales of Capitol Ree- collection of vocal performances that NEW YORK - "Fiddler On The Jerry Bock and Sheldon Harnick who )rds for the fiscal year ended last achieved best-seller status on 'pop' Roof," the new Zero Mostel musical, have garnered raves in the past for e June 30 reached the highest level in charts; and a number of complete- opened on Broadway last week with the "Fiorello" of a few years ago, 1 :he label's 22 -year history. opera recordings, including 'Andrea the force of a Fall hurricane and "She Loves Me" of last season, and d Glenn E. Wallichs, chairman of the Chenier' and `Samson & Delilah,' that heralded the new musical theater for the New York World's Fair pro- d ooard and chief executive officer, dis- drew unanimous praise from critics season with one of the brightest and duction, "To Broadway With Love," _losed last week that Capitol's net and consumers alike. most widely acclaimed shows to bow which closed only because of poor sales totalled $57,460,133, an increase "The past fiscal year saw Capitol in many a year. The new Bock and Fair attendance. The score is pub- of $8,855,187 over the previous fiscal terminate its activities in the elec- Harnick show has been likened to lished by Tommy Valando's Sunbeam year. Net income for the year was tronics field through the sale of this "How To Succeed," "Hello, Dolly" Music, BMI's most prolific publisher a $1,952,533, an increase of $951,517 aspect of its business.
    [Show full text]
  • Personalbest P N S
    S MU IC S L EC IA T C I E O PERSONALBEST P N S A SALUTE TO THE STARS WHO MAKE OUR HEARTS SING 2018 HAIRSTYLIST: MARISA FRANCO; MAKEUP ARTIST: HAE KYUNG YOO; FOOD STYLIST: JAMIE KIMM; ILLUSTRATION BY STEPHANIE SHAFER. OPPOSITE, BOTTOM, FROM LEFT: COURTESY RONNIE SPECTOR; GETTY IMAGES I’VE ALWAYS loved simple food. When I was growing up, my mom, Sandwich Beatrice Bennett, waitressed at King’s Donuts, a Harlem luncheonette next door to the Apollo Theater. My sister, Estelle, and I would stop there on the way home from school, and my mom would stick us down- of Love stairs in the employees lounge to do our homework. After about an Ronnie Spector cooks hour and a half, she let us come upstairs and sit at the counter; booths burgers with two were for big-time customers. Estelle and I always had burgers and fries with a Coke. They toasted generations’ worth of care the buns. I loved those burgers! Medium well, the way I still like them. 62 AARP THE MAGAZINE / Real Possibilities PHOTOGRAPHS BY DAVID WILLIAMS I’d look out the window onto 125th My mom’s burgers at home were Street, see lines around the block for even better than the ones she made at the Apollo and get this pang in my work. She’d take an onion, then chop RECIPE stomach: That’s what I want—lines and chop and chop till the pieces were around the block for me! really tiny. She said that that way, the The Apollo’s owner had a crush on next day my breath wouldn’t smell my mother.
    [Show full text]
  • SIR 371 Chapel of Love Vocal By: Tony Oxendine Release Date: Vinyl, MP3 and CD – 2009 / 07
    SIR 371 Chapel Of Love vocal by: Tony Oxendine Release Date: Vinyl, MP3 and CD – 2009 / 07 Singing Call MS-67 ORIGINAL MUSIC DETAILS: WRITERS: Jeff Barry, Phil Spect or & Ellie Greenwich Hanhurst’s Best Seller listing (July 2009) – No.3 PUBLISHERS: Trio Music Company Inc. EMI Blackwood Music Inc. OBO Mother Original artist: The Dixie Cups Bertha Music Inc. Universal – Songs of Polygram International Inc. Abkco Music Inc. This song, which was previoulsy released by The Ronettes and The Blossoms, was made famous by The Dixie Cups in 1964, spending three weeks at number one on the Billboard Hot 100 (displacing “Love Me Do” by the Beatles). The song tells of the happiness and excitement the narrator feels on her wedding day, for she and her love are going to the "chapel of love," and "we'll never be lonely anymore.". The song was ranked #279 on Rolling Stone's list of the 500 Greatest Songs of All Time! With the help of Doug Bennett, who provided the muisc for this release (see below) we managed to give this track an orchestral sound reminiscent of the way that it would have originally been performed. To make it “Square-Dance-able” we had to speed it up a little, so it becomes a “ballad” with a “faster feel”; somewhat unusual but – in the final analysis – quite effective. The sentiment of the song is quite beautiful and the track builds to a terrific crescendo that should make it a “crowd pleasing - showtune”! Additional Lyrics: Where, When and Who produced the music: Goin' to the chapel - and we're gonna get ma-a-arried I am very happy to tell you that the music for this release was Goin' to the chapel - and we're gonna get ma-a-arried created and recorded – as a special commission – by our very Gee, I really love you - and we're gonna get ma-a-arried good friend Doug Bennett of Global Music Productions.
    [Show full text]
  • True Crime: Phil Spector's Real Defense Attorney Weighs in On
    PHOTO COURTESY: PHILIP V. CARUSO/HBO LINDA KENNEY BADEN AND ACTRESS HELEN MIRREN WHO PORTRAYED HER (PHOTO COURTESY: PHILIP V. CARUSO/HBO) 8 3 2 1 True Crime: Phil Spector’s Real Defense Attorney Weighs in on HBO Movie A Q&A with Linda Kenney Baden. How close does David Mamet’s film get? March 20, 2013 Catherine Green Crime 5 Comments The tagline for David Mamet’s film Phil Spector, which premieres this Sunday (March 24) on HBO, starts off by warning viewers who expect journalistic accuracy: “The truth is somewhere in the mix.” A fictionalized blending of events, the movie imagines what might have happened on the night when actress Lana Clarkson was shot dead inside Spector’s Alhambra mansion then follows Spector’s subsequent murder trials and the media circus surrounding them. How true to life is this account? Criminal defense attorney Linda Kenney Baden, whose work on Spector’s behalf in the 2007 trial forced the jury into deadlock, is cagey about the details. “I can’t confirm anything, because to confirm would be breaching the attorney-client privilege,” she says when asked about her impressions of the film, which stars Helen Mirren in a role based on Baden. “I think what David [Mamet] is doing, and what juries do, is they try to see what could have happened behind the scenes.” Could the defense team have gathered a focus group to gauge the sympathy factor in Spector’s case? Could they set up elaborate reenactments of what happens when you startle a woman with a gun in her mouth? Could they conduct blood splatter analysis to determine whether Spector’s white jacket could have been left nearly immaculate standing arm’s length from an explosive, fatal gunshot? “Sure,” Baden says.
    [Show full text]
  • The Daily Egyptian, November 21, 1996
    Southern Illinois University Carbondale OpenSIUC November 1996 Daily Egyptian 1996 11-21-1996 The Daily Egyptian, November 21, 1996 Daily Egyptian Staff Follow this and additional works at: https://opensiuc.lib.siu.edu/de_November1996 Volume 82, Issue 66 This Article is brought to you for free and open access by the Daily Egyptian 1996 at OpenSIUC. It has been accepted for inclusion in November 1996 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. .,Inside: Glyph inY,estiga~es Stµdem: Progra,mrping Council's :rble-.in campLis'entertainment Ii. November Thu rs~-. _YB_ ~-. _Daily gyptian . 1996 &:, iL Southern llhno1s University at Carbondale · : . ···· · ~-- · Vol. 82, No. 66, 12 pages H· I Prov:ost finalists vie for position during meeting ·By William Hatfield· "We have to ask;our.;clv1!$ what Daily Ei;yplian Reporter' we have lo offer lo freshmen:• Winters said. "We need lo explain the differ­ S1udcn1 Affairs anti Academic ences from our competitors 1ha1 Affairs should work 1ogc1hcr lo should make the Uni\·crsily anmc• solve University-wide problems. ti\·c lo undergraduates and their par• two canditlalc.s fo~ SIUC vice chan­ cnls." - ccl ltir of Academic ,\ffairs and Jackson agreed that Stutlenl provost said as they were inlcr­ Affairs and Academic Affairs need vicwcJ in an open meeting to work togc1hcr much more olicn. Wednesday · •·Mv views arc we have become Margaret E. Winlers. a.ssucialc much.to J1..-cornpa1tmen1alizl-tl. and I vice cham:ellor for- Academic think Student Affairs and Academic Affairs. anti John S. Jackson Ill. Affairs have pn:11y much gone their dean oflhe College of LihcrJI Ans.
    [Show full text]
  • Updates & Amendments to the Great R&B Files
    Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the
    [Show full text]
  • Stockton Goes to the Beach Presents Ronnie Spector of the Ronettes
    Stockton Goes to the Beach Presents Ronnie Spector of the Ronettes Coming to the Cape May Convention Center July 29 For Immediate Release Wednesday, June 26, 2013 Contact: Suzé DiPietro Interim Director, Stockton PAC Galloway Township, NJ 08205 [email protected] (609) 652-4927 Galloway Township, NJ – The 12th annual Stockton Goes to the Beach Summer Concert Series continues at the Cape May Convention Center in Cape May, NJ for the summer of 2013, with Ronnie Spector and her revolutionary performing style lighting up the stage on Monday, July 29 at 8 p.m. Spector’s sensuality, dress, attitude and sound have served as an inspiration for a generation of rock ‘n’ roll women. Tickets are priced at $35 and may be ordered online at www.capemaycity.com or by calling 1-855-708-9699 or by going to the Cape May Convention Center. Beginning in 1963, Ronnie Spector - as lead singer of the ultimate girl group, The Ronettes - recorded a long string of classic pop hits: powerful, poignant teen anthems such as the Grammy Award-winning “Walking in the Rain,” “Do I Love You,” “Baby I Love You,” “The Best Part of Breaking Up,” “I Can Hear Music,” and the international Number One smash, “Be My Baby.” Only a few artists in history have been capable of defining an entire era in pop music. Ronnie Spector is one of those artists: the embodiment of the heart, soul, and passion of female rock and roll in the 1960s. And to this day, no one has ever surpassed Ronnie's powerful Colpix label.
    [Show full text]
  • ALBUMS EAG -ES, "HOTEL CALIFORNIA" (Prod
    DFDICATED TO THE NF SINGLES ALBUMS EAG -ES, "HOTEL CALIFORNIA" (prod. by Bill SPINNERS; "YOU'RE THROWING A GOOD LOVE AMERICA, "HARBOR." This trio has Szymczyk) (writers: Felder -Henley - AWAY" (prod. by Thom Bell) (writ- mastered a form-easy-going, soft rock Frey) (pub. not listed) (6:08). Prob- ers: S. Marshall & T. Wortham) built around three-part harmonies and ably America's hottest group on bath (Mighty Three, BMI) (3:36). The group (on its more recent Ips) the sweet pro- the album and singles levels, The has slowed the tempo from its romp- duction and arrangements of George Eagles have followed the stunning ing "Rubberband Man" but main- Martin. "Don't Cry Baby," -Now She's success of "New Kid In Town" with tains the eclectic sound that has Gone" and "Sergeant Darkness" fill the the title track from their platinum made them a major force through- prescription most eloquently. They'll Ip. A mild reggae flavor pervades out pop and souldom. The track is never be in dry dock. Warner Bros. BSK the tune. Asylum 45386. from their forthcoming Ip. Atl. 3382. 3017 (7.98). THE MANHATTANS, "IT FEELS SO GOOD TO THE ISLEY BROTHERS, "THE PRIDE" (prod. by BAC -ëMAN-TURNER OVERDRIVE, "FREE- ItF LOVED SO BAD' (prod. by The The Isley Brothers) (R. Isley-O. Isley- WAYS." With "Freeways," BTO has Manhattans Co./Bobby Martin) (Raze R. Isley-C. Jasper -E.. Isley-M.Isley) reached a new stage of its career. zle Dazzle, BMI) (3:58). The group (Bovina, ASCAP) (3:25). A growling Hinted at previously _but fully devel- opens the tune with one of its by guitar and loping bass sound sets oped now, the group has retained its now obligatory narrative exhorta- the pace for the group's best effort power while moving to a more melody tions which sets the tors.
    [Show full text]