Tuesday, November 29, 2022

AoN versus Prodigy x 2

"the masters of the headstrong" - yes, arguably

" the ultimate hardcore scream-up" - not quite

probably a nice bit of wedge Liam got for a track he could have done in his sleep, or possibly had lying around anyway and could slot in some stems (never heard the original and have no intention of seeking it out) 

but then in the battle of the paydays, it gets decidedly assymetric as Prodge do AON a BIG favor with "Firestarter", where the "hey! hey! hey!" is from "Close (To The Edit)"

As a result the publishing for "Firestarter" is divided between Liam Howlett /Keith Flint /Kim Deal / Anne Dudley /Trevor Horn / J.J. Jeczalik / Gary Langan / Paul Morley

Of course that doesn't mean the publishing is divided equally - but even so, it's a nice thought that a steady flow of royalties (think of the radio play, globally) would be chuntering in to Ann D and Paul M et al for years to come

Kim Deal too for the riffage nicked from this Breeders tune 

Sometimes I think I got involved in the wrong end of this business! I have no tunes in me but I could have / should have hooked myself up with some genius hitmaker and done the lyric. 

Mind you, most musicians, it's a pathway to penury.

Still, there is always that hope, that dream, that chance of scoring the one big smash, a radio regular in perpetuity

I read somewhere that the woman who co-wrote the lyric for "Don't Fear the Reaper" received a check for 50 grand a year for decades, it being such a classic rock staple

(However, checking now, it appears Buck Dharma wrote the words and music on his tod. However on the single of "Don't Fear", the B-side "Tattoo Vampire" has a contribution from someone called Helen Robbins. And given that the B-side gets 50 percent of a single's proceeds - she would have made some dough there. But it wouldn't be an annual harvest, given nobody plays the B-side. 

In America (I think I've got this straight) radio plays remunerate to the writers of the song (and the song publisher), but not to the performers who recorded it. So nobody else who played on the record gets a dime, no matter how often it gets played. That seems extremely unfair. Think of all the pleasure  - one example out of countless - the drummer in the Steve Miller Band has given me and millions. He should have a river of dosh irrigating his bank account in perpetuity. 

(In the UK, the writers and the performers both get paid per radio spin, I believe. Much more equitable). 

(In the US system, does the orientation towards songwriters and songpublishing company, again mean that the record company - who put out the record, developed the artist, promoted etc etc - gets nothing from radio play? Again, that seems unfair. How did this way of do things ever get set up?)

(What about MTV etc - does anyone get paid when a video gets played, or are they supposed to be grateful for the promotion? Talking back in the day, obviously - MTV should be renamed TV without the M given how it's dispensed with the music bit) 

1 comment:


Instruments of Darkness seems like an unusual choice of track for The Prodigy to remix. I wonder how that arrangement came about. Given it was an older release from AoN, I would have expected something more upbeat to be selected.

Was it a connection to the end of apartheid negotiations that were taking place at the time (even though the Prodigy remix omits the political speeches?)

Had completely forgotten about the Close To The Edit video. Hadn't seen that since I was a small child in the 80s - it was quite striking at the time! Of course, you'll probably have clocked the 'Close To The Edge' sample in Liquid Crystal's 'The Power Within'.

In terms of odd Prodigy remixes, I guess their remix of The Time Frequency is also up there - sounds nothing like the original, which is a good thing! I can't stand TTF!