The Deservedly Short Pop Career of Ricky Gervais

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Ricky Gervais, host of this year’s Golden Globe Awards, is the comedic writer and actor who created, among other stellar TV shows, the original British The Office documentary-style sitcom, which in turn spawned 9 seasons of an American cash in adaptation.

But few fans on this side of the pond (or probably on the other, for that matter) realize he was a failed 80’s would-be pop star.

seonaIn 1983, while attending University College of London Gervais and friend Bill Macrae formed Bowie-esque synth duo Seona Dancing and released two singles on London Records.

The group split in 1984 after neither “More to Lose” or “Bitter Heart” cracked the British top 40.

But then something weird happened. According to Wikipedia:

In 1985, DWRT-FM (then known as 99.5 RT, now 99.5 Play FM), a radio station in Metro Manila, Philippines, started playing a song billed as “Fade” by Medium (also billed as “Medium” by Fade). DWRT-FM deliberately misnamed the artist and song title to prevent anyone from finding the record and playing it themselves. Additionally, to stop other radio stations from recording it and playing it, DWRT-FM inserted a station ID midway through the track. A year later, another radio station, DWXB-102, revealed the true identity of the song as “More to Lose” by Seona Dancing.[1]

The song, which utilises an opening piano riff to convey the sound of falling teardrops, became a major radio and club hit as well as a favourite at high-school dances during the 1980s and beyond. AllMusic critic Michael Sutton wrote that the track was “the theme song of angst-ridden New Wave youths in the Philippines” and “an ’80s anthem as ubiquitous as Peter Gabriel’s ‘In Your Eyes’, but with the eternal hipster cool of Joy Division’s ‘Love Will Tear Us Apart’.”

And as for “Bitter Heart”, despite its poor showing as a pop single it too had a second life of sorts.

Fans of the original Office may remember David Brent’s ridiculous dance, when he “sort of fused Flashdance with MC Hammer shit”. But the accompaniment seems to be the riff from none other than “Bitter Heart”.

After the demise of Seona Dancing, Gervais managed other pop bands in the late 80’s for a spell before landing on London’s alternative XFM radio station, where he met and hosted a Saturday afternoon radio show with Stephen Merchant, with whom he co-wrote and directed the work for which he’s best known, The Office, which has been remade in  Sweden, France, Germany, Quebec, Brazil and, of course, the United States.

But if you’ve never seen the original with Gervais himself playing the part of obnoxious and delusional boss David Brent, do check it out.

Seona Dancing comes slighly less recommended.

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The Time John Fogerty Was Sued for Ripping Off John Fogerty

fogerty

(via mental floss)

by Ethan Trex)

In 1993, former Creedence Clearwater Revival singer John Fogerty found himself at the center of a case being argued before the United States Supreme Court. The country’s highest court wasn’t debating whether Bayou Country or Green River was the superior CCR album. Instead, Fogerty was in the middle of an important, somewhat obscure corner of copyright law.

The seeds for Fogerty’s day in court traced back 23 years to 1970. That April, CCR released the Fogerty-penned “Run Through the Jungle” as a single that would eventually be certified gold by the RIAA.

“Run Through the Jungle” is a solid tune, but it didn’t really grab headlines until 1985 when Fogerty released a solo track called “The Old Man Down the Road.”

“The Old Man Down the Road” is a pretty nice song, too; it even cracked the top 10 on the singles charts. One person wasn’t a fan, though. Saul Zaentz, who owned CCR’s old label Fantasy Records, also owned the copyright to “Run Through the Jungle.” Zaentz felt that “The Old Man Down the Road” was simply “Run Through the Jungle” with different words. In other words, John Fogerty had plagiarized a John Fogerty song to which he didn’t own the copyright.

Zaentz felt he had a case, so he sued Forgerty in federal court for copyright infringement…

Read more: http://mentalfloss.com/article/27501/time-john-fogerty-was-sued-ripping-john-fogerty

How Paul McCartney and John Lennon Lost Ownership Of The Beatles Catalogue

paul and mike

via Celebrity Net Worth

by Brian Warner

In 1982 Michael Jackson flew to England to record the song “Say, Say, Say” with former Beatle Paul McCartney at the famous Abbey Road studio. This was the second musical collaboration between Paul and Michael, the first being 1981’s “The Girl is Mine” which was featured on Jackson’s smash hit album “Thriller”. While working on “Say, Say, Say”, Paul invited Michael to stay with him and his wife Linda at their home in suburban London. One fateful night, after the three finished dinner, Paul took out a thick leather bookl and laid it out on the dining room table. This particular book listed every song and publishing right that Paul had acquired over the last 10 years. He made it clear to Michael that owning publishing rights was the only way to make really big money in the music industry. Paul further bragged that in the last year alone, he had earned approximately $40 million off his music catalogue.

“Every time someone records one of these songs, I get paid. Every time someone plays these songs on the radio, or in live performances, I get paid.”

Paul also clarified that none of those earnings came from Beatles songs because amazingly, he did not own them. Ironically, this free advice would come back to bite Paul in the butt two years later when Michael purchased the entire Beatles catalogue for $47.5 million. Paul felt appropriately back stabbed and his relationship with Michael was damaged forever. But how on earth did Paul McCartney and John Lennon lose ownership of The Beatles catalogue in the first place??!!

Read more: http://www.celebritynetworth.com/articles/entertainment-articles/how-michael-jackson-bought-the-beatles-catalogue-then-turned-it-into-a-billion-music-empire/

On This Day in 1970…

moon

(via The College of Rock and Roll Knowledge)

The Who’s drummer, Keith Moon decided to go to the Red Lion Pub in Hatfield, Hertfordshire, UK on Jan. 4, 1970. Keith went with his wife and some other friends. Keith’s friend and driver Neil Boland, drove them in Keith’s Bentley.

The people in the pub were more working class than Rock Star class (some say it was a skin head crowd). They started giving Keith and his friends trouble so they decided to leave. The crowd moved outside and started throwing rocks at the car and started rocking it. Boland got out of the car to try to cool off the crowd. However, Keith got scared and decided to make a get away by driving the car himself. What he didn’t know was that the crowd had pushed Neil under the car. The car ran over Neil and dragged him for a ways, killing him.

Moon was arrested and charged with a number of crimes. 6 weeks after the incident, Neil’s death was ruled accidental.

Neil’s death continued to bother Keith until his own death.

Video of the Week: Natalie Prass–“It is You”

Honey-voiced Natalie Prass strips away the orchestration that adorns this track on her debut album, bringing an amazing voice–and some wonderfully sympathetic acoustic guitar–front and center.

Songs You May Have Missed #563

high llamas

The High Llamas: “Pilgrims” (1996)

There are albums that, on first listen, are difficult to absorb due to their sheer abundance. They Might Be Giants’ Flood comes to mind, or Elvis Costello’s Get Happy. Downside is, it takes some time and patience to digest the wealth of musical ideas they offer. But the upside is they often (eventually) become favorites of your collection.

The High Llamas’ third album Hawaii may not stand with the classics I mentioned, nor indeed with the works that seem to have inspired it, Brian Wilson’s Pet Sounds and Smile LPs. But across its sprawling 29 tracks (and six more on a bonus disc) it does share with all those albums a wide artistic scope and a richness of sonic detail.

Some of the orchestral soundscapes songwriter Sean O’Hagan achieves are unlike anything you’ve previously heard on a pop record. But most often when this music does evoke something familiar, it’s nervous breakdown-era Brian Wilson. In fact, the lack of hit singles aside, listening to this record must be rather like the experience first-time listeners to those Beach Boy records had.

“Pilgrims” also evokes for me some of the gentler ballads in the Steely Dan catalogue.

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