Noel is a favourite of mine and a good songwriter. Bono I can take or leave. But this is too much. A couple of rich guys in their underwear arguing over which jet to fly to Paris on and “sweating lager” .
An almost coherent article or maybe it’s me. It does touch on licensing your cover or tribute act to play legally in a club. But basically, bottom line, is that bands doing tributes and covers are not making any money really, even, and/or especially, the touring ones.
“Gunnstaks says there’s a difference between Beatlemania, a “high-dollar production with big-name producers,” and tributes such as Dallas’ Hard Night’s Day, which, its manager says, doesn’t have a license. These smaller, local acts may receive good pay relative to what most musicians make, but they aren’t raking in enough to make them worth suing, Gunnstaks says.
“Dead folks are less likely to come after them cause they’re not in competition with them anymore,” Gunnstaks says. “The argument could be made that every Elvis impostor is actually helping Elvis’ estate by continuing to generate sales of original Elvis.”
Acts like Kiss — which still performs in full regalia and will in Dallas tomorrow — often conclude that a good tribute band is beneficial to their image and will also help them sell records. The Observer asked Mötley Crüe’s manager, Konstanze Louden, how the band feels about their tribute acts. “[Mötley Crüe] don’t do kickbacks,” Louden said via email.
“When you’re looking at bands that are touring on a club circuit, the profits are fairly minimal when you factor in lodging,” Gunnstaks says. “There’s no intent to cheat or defraud. They’ll say, ‘We’re not pretending to be AC/DC or the Doors. We do this to honor them. This is our tribute. We’re fans; we’re not businessmen.’”
I always knew this was the case. There must be a middle ground.
Uhm, The world is yours.
Some good advice here on the following:
Struggle #1: The local music scene seems cliquey.
Struggle #2: You’re getting low show attendance.
Struggle #3: People don’t buy records like they used to.
Struggle #4: You’re reluctant to accept help.
AWSOME Performance by all. WE don’t die.
More here: http://www.rollingstone.com/music/news/see-living-colours-fervent-come-on-on-seth-meyers-w502481
Shade is Living Colour’s first new album in eight years; the LP was inspired by a Robert Johnson tribute performance in 2012. “I think the blues is overlooked in its complexity,” Reid told Rolling Stone. “We see it so much that we don’t even see it anymore, because the familiarity breeds a kind of conceptual contempt, you know? You stop hearing ‘hellhound on my trail …,’ and what that means. So we really wanted to try to reconnect with the existential aspect of what the blues is talking about.”
A few minutes after we dropped Vlad asked how long before the effects would kick in, and I said about half an hour or so. I said he’d feel a sort of rising sense of excitement at first – maybe a bit of loopiness of thought…
“Okay,” he said, “then I want to tell you this now. Before.”
“I shouldn’t tell you this at all, but I have to tell someone. And I know you will not speak a word of this to anyone. I just need you to know why all of this is so… difficult for me.”
We’d left the apartment and were walking beside the Marne. He’d stopped and was leaning against the concrete balustrade, looking out over the river. There were a few people around, but nobody too close.
“You see, this man I’m watching – they’re going to kill him. I don’t know how, or when, or even why… but I know he is going to be killed, and that I will be a part of his death. And that will be a first time for me, and I don’t know how I feel about it.”
I said “Oh.” and just stood silently. There wasn’t really anything I could say. I definitely understood the gravity of it though, and kind of wished he’d mentioned it before we’d dropped the acid.
“And every day when he goes by I think to myself I could tell him. I could stop the whole thing if I wanted to. But in reality I know I can’t. No matter how I did it, they would find out. It would mean my death.”
“So I just wanted to tell you that. And that I know this is only going to be the first. If I go back to Russia, there will be more. It will probably never end. And that’s why all of this is so hard for me, and so strange.” His eyes begin to well up and he shook it off. “This… this will change me, I’m sure of it. But I just wanted to tell you, these last days, with you and the girls… they have been my happiest. They may always be my happiest. You are a crazy hippie, but you are a very good friend…”
“Aw shit Vlad…”
The Kraftwerk sections from the BBC Four documentary “Krautrock: The Rebirth of Germany” originally aired Friday 23 October 2009.