I had forgotten about that. when I was starting out our local newspaper had the same thing. Remember something from the Hollies Carousel or Marianne I'm not sure whichBack in the 60s when I was first learning to play, every week the local newspaper had a feature in which they printed words and guitar chords to various popular songs at the time. One of the ones I remember was "Looking Out My Back Door" by CCR. When I saw it I grabbed the scissors, cut it out, and probably played it all day long. Simpler times.
On a related note, Stu's main bass is going up for auction:
CREEDENCE CLEARWATER REVIVAL: STU COOK SIGNED 1968 WOODSTOCK STAGE-PLAYED FENDER BASS GUITAR (WITH PHOTO) - WITH NFT
A 1968 Fender Precision bass guitar used extensively by Stu Cook of Creedenwww.julienslive.com
Moby Grape immediately comes to mind.They are probably the most notorious example of getting shafted in the music business I've ever heard of.
Indeed. And that has happened a lot to bands. Heck, even the Beatles had most of their publishing sold out from under them. Bad mgrs have screwed their clients countless times. I doubt many have been shafted more than many of the black artists of the 40's/50's/60's. By mgrs, promoters, and club owners (even on the "Chitlin Circuit"! ) In the 80's, I worked as a lighting and sound tech at a local college (it got me free tuition!) and they started the annual PG County Bluebird Blues Festival while I was there. Prior to that, artist payment protocol was being paid by check after the performance. Well most of the old blues guys refused to go on stage until they had cash in their pocket! Our Student Activities Office had to go to the bank and get tens of thousands in cash to pay every one. That came from a lifetime of being screwed at every turn. They all had stories of having to pull a knife or gun on a promoter/club owner just to get a taste of the fees they were promised. Never mind their nonexistent recording royalties. They most often were paid $50-100 cash to record a song in a studio, not being able to read or write, scribbled an X to sign the paperwork....which deceitfully handed full ownership of said song to that studio owner. The artist got Zilch for every record sold and never saw a dime from publishing fees for any subsequent cover of that tune. Countless (now) household names died penniless.Moby Grape immediately comes to mind.
As described by Jeff Tamarkin, "The Grape's saga is one of squandered potential, absurdly misguided decisions, bad luck, blunders and excruciating heartbreak, all set to the tune of some of the greatest rock and roll ever to emerge from San Francisco. Moby Grape could have had it all, but they ended up with nothing, and less."
I guess in the Grape's case, they were mostly scammed by their manager. They were great, though.
I suspect the lawsuit might not have been filed had John not included "Mr. Greed" and "Zanz Kant Danz" on the album.I just think the case of John Fogerty stands out above all because of it's sheer outrageousness. I've never heard of anyone else being sued for writing an original song because it sounds too close to another song....that HE also wrote!! That just tops everything IMHO. Just insane! Being sued for being yourself!
If you read all the way down in the listing, the bass comes with the winning bid for the non-fungeable token!I'm about half way through so far. I wouldn't necessarily consider myself a huge Creedence fan, but also never find myself NOT in the mood for some CCR. Interesting documentary!
On a related note, Stu's main bass is going up for auction:
CREEDENCE CLEARWATER REVIVAL: STU COOK SIGNED 1968 WOODSTOCK STAGE-PLAYED FENDER BASS GUITAR (WITH PHOTO) - WITH NFT
A 1968 Fender Precision bass guitar used extensively by Stu Cook of Creedenwww.julienslive.com
Just in time for when people are no longer buying physical media. At least he'll finally get a piece of the pie whenever his stuff is in film....which CCR has been a LOT.Not everyone one in the record company business is a vulture.
John Fogerty - Wikipedia
en.wikipedia.orgThe sale of Fantasy Records to Concord Records in 2004 ended the 30-year estrangement between Fogerty and his former label, as the new owners took steps to restore royalty rights Fogerty had given up to be released from his contract with Fantasy in the mid-1970s.