Posted on 07/01/2021 4:51:30 PM PDT by Kaslin
Since IHurtRadio.”owns” more radio stations than any other hedge fund front, and since they control most of the “music” produced now, and since they scoff at anything not in the 18-34 demo, well, then, there you have the real root of the problem….payola on the grandest scope imaginable..
Angel’s Revenge had “ shine your love” partially in it.
Sam Moore’s heyday was during the first President Johnson Administration.
I would love to see Sam Moore. He was great. But Isaac Hayes and David Porter wrote most of the songs for Sam & Dave.
Lol Hah..Not THAT Johnson aka
President Andrew (Methusula) Johnson.
who needs talent if ya got Autotune?
How long before iTunes starts charging your account for playing music?
They also dominate control of the nation’s civic owned venues
DOJ Approves Live Nation Owner’s Increased Stake in iHeartMedia
INDUSTRYLEGALTOP STORY July 17, 2020 Dave Clark
https://www.ticketnews.com/2020/07/doj-approves-live-nation-owners-increased-stake-in-iheartmedia/
Live Nation Entertainment owner Liberty Media got approval from the Department of Justice to dramatically increase its stake in iHeartMedia, over the objection of anti-monopoly advocates. Liberty, which already controls Sirius XM and Pandora in addition to its 33 percent stake in Live Nation and Ticketmaster, got approval to increase its shares in iHeartMedia – owner of over 850 AM and FM radio stations across the country – to 50% – 10 times its current 5% ownership stake.
Sam Moore had a “comeback” as one half of The Swanky Modes in Tapeheads in the 1980s
https://www.youtube.com/watch?v=emkef_SG0rs
Catchy hook to that song. It would have had a completely different effect if they slowed the tempo down to a 4/4 beat. Someone like Issac Hayes or the great Barry White could have pulled that performance off quite well.
A velvet baritone singing/ speaking the melody with a mild echo.
I know that this performance here could not have been slowed down that much. When you work with a movie script, you have to conform to it and the time available.
The glory days are long gone and have been. Top 40 is dead and gone along with Casey Kassem.
Dione is a has been and the amount of money she would get would not solve her financial problems.
If this is fair then what about royalties for painters and artists.
Something slower:
Tapeheads Soundtrack - Swanky Modes (Sam Moore and Junior Walker) Audience For My Pain
https://www.youtube.com/watch?v=BxZms2TrQMA
And an uptempo 60s throwback
Tapeheads Soundtrack - Swanky Modes (Sam Moore and Junior Walker) - Betcher Bottom dollar
https://www.youtube.com/watch?v=7w-3mK10_34
Bingo. There's not a line of talent sitting on the sidelines waiting for their chance. It's quite the reverse. The industry is so hurting for talent they're playing the same stuff over and over as they try to grab any new artist they can to try to meet the demand.
I certainly don’t willingly listen to pop music, but sometimes get exposed while in a store that plays music. Current pop music is, to say the least, some some of the most wretched, boring, uncreative “music” I have ever had the misfortune to experience. The primary ingredients for music are melody, rhythm and harmony., and the contemporary drek is sorely lacking in all three elements, and even autotune can’t make up for that lack.
Freaking insanity.
No song of Dionne Warwick should even be under copyright anymore. We apparently have the best congress money can buy.
And they have fired, basically, all of the local air talent and engineering staff in the small and mid markets. We have six stations owned by IHurt in this market and NO LIVE TALENT anymore. How does that serve the public interest? It doesn’t.
Gotta disagree on the talent bit. If anything, there's an enormous number of talented musicians out there. Incredible players are getting younger and younger. I think that's because gear's cheaper than it was 50 years ago and Americans have alot of leisure time.
The problem with making a splash today, or for that matter a living in music, is that the music markets are absolutely flooded with indie music. Everyone with a laptop and cheap interface puts their music on the internet. Some of it's very good, far more of it sucks. YouTube is packed with it. Same with Spotify, SoundCloud and the rest of the popular streaming platforms. So for a band to poke up above all the noise without a ton of cash behind them is now nearly impossible; as impossible as it was for most bands back in the pre-internet days to score a major label record contract.
By the way, Payola's alive and well. Now, instead of paying to have your song played on the radio one pays an outfit to have their music placed on popular Spotify playlists.
Playlists are one way to get a spotify hit.
Server farms with racks of machines playing your album are the real way they do it, though.
And Drake bought his way to a platinum hit by having Spotify suggest it to all users even those listening to old time bluegrass, gospel, EDM, Death Metal, or Tibetan chants.
There have always been an enormous number of talented musicians. Always. Even now.
The problem is to find that unique combo of song-writing, musicianship and performance.
Maybe it is just the scouts don’t know what to look for anymore, if scouts even exist today.
Perhaps they just sit in an office listening to demo digits instead of heading out the bars and venues.
And perhaps there are no acts today that rise above all the others.
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