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Carol Kaye and why we need help protecting our stuff....

#161
electracoyote said:
+1

Or write a book. If she made it interesting and compelling enough, I'd buy it.

You know this woman has stories and background information that would be fascinating to musician and non-musician alike, and I don't mean just the sordid stuff.
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While she never wrote a tell all or an autobiography, like I and Roy said in the other posts her books, which have been published for decades, are now being scanned into computers and shared via torrent. Problem is she didn't do it or authorize it. Same with the DVDs.
 
#162
Here is another point. Instead of arguing over the nuance of copyright and songwriting/publishing, how about we all just be vigilant and when we see or hear something that could very well be an infringement we contact the artist or label and let them know. That would go a long way to helping.

I got another call from the rapster's lawyers yesterday. This one was very apologetic. Seems after my conversation (and my contacting a few music attorneys I still know) I stirred the pot enough that they now acknowledge they may not have properly gotten the rights to use some of the stuff. In the letter they thanked me (huh?) and said they are in the process of rectifying the situation.

I'm guessing they aren't doing squat, but the call was a start. My guess is that the next song they release will have some of my songs ripped in it, just to spite me.

Either way, all I am saying is that while I enjoy new songs, reworked songs and mashups, I agree with the other poster in the thread who said its great to revisit these things, and it should not be stifled. "JUST PAY FOR IT."

From my perspective we have beaten this thread to death. I'm gonna move on now to something much more interesting.
 
#163
Thanks Tom for another thought provoking thread.

It was a different time back then...Studio work was more like punching a clock.

There a lot to comment on but I just keep it at a high level.

First off let me just say, I'm also no fan of hip hop, however I do work a little in it currently and worked with a lot of artists over the years. Lets not judge all hip hop producers and artist the same.

I'm working with Artist and Producer right now that are great talented people they use there real share of real players with sequencers.

If you find yourself in that type of situation I would urge you to have a basic contract that defines you a writing credit. Do be greedy, insulting, act humble, but stand by your work. Remember they are the artist and I'm sure the producer has a heavier hand in than You.

PS I just written out the long statement about why the major labels are not a bad as folks think, but I deleted it. (I refuse to open that box and get into that debate). I'll just say this unless you worked with them in some capacity you will most likly never know they did to shape the music industry in a positive way.
 
#165
Thank you Tom for alerting all of us to Carol's situation. I have been playing bass for 40 years and am well aware of who she is and what she has accomplished. I used to enjoy her lessons in guitar player magazine back before bass player magazine existed. About time I stepped up and paid for those lessons. Ordered $70.00 worth of books and discs from her, and friended and liked her FB pages. I know it's a drop in the bucket, but if enough of us did this it can make a difference. Aside from the legal debate I have been following in this thread, this is real way to put money in her hands right now. The Christmas gift giving season is nearly apon us. I'm sure some of you know young aspiring bass players who can benefit from her books. How about it?
 
#166
narud said:
all flea is doing is grooving along to a pre-existing groove set up by a guitar sample. the same thing any half-way decent player that gets called in to do a session would do. that theme is what sets up the song, not the fills he plays that surround the main rhythmic figure.
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Not to beat a dead horse but WHACK!!! and +1. hearing the original track and seeing where the main bass riff came from put's Flea's whole "I only made 2-3 hundred bucks from that" thing in a different perspective.
 
#169
TRichardsbass said:
While she never wrote a tell all or an autobiography, like I and Roy said in the other posts her books, which have been published for decades, are now being scanned into computers and shared via torrent. Problem is she didn't do it or authorize it. Same with the DVDs.
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Yeah, I own a bunch of that stuff, got it direct from Carol. It's a damn shame that it's being given away for free.

BTW, great topic of discussion. As a player who also writes, co-writes, and does his time in the studio, I'm always interested to throw this stuff around. It's educational and thought-provoking, a complex subject that more musicians should be aware of, and I hardly have all the subtleties figured out.
 
#175
How can people here on TB deny that a bassline can "make the song"?

Hell, sometimes it makes TWO songs...

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And what about all the illegal uploads on YouTube? I use YouTube all the time to access music I otherwise wouldn't be able to access in any way shape or form...
 
#176
Just learning about her......it brings tears to my eyes to hear what is happening to her. Just watching video's and things about her, she seems like such a great person...
Heres hoping that everything works out for her
(in the process of buying stuff off her site)
And if a war ever starts against (C)rap, count me in as a front line soldier, I cant stand that music....
 
#177
I think, regardless of who got paid for what and why in Carole Kaye's career, one thing to bear in mind going forward is that it's becoming ever more difficult to make a living from recording music.

While there's some good attitudes and good advice in this thread, perhaps it would be wise to advise the younger generation who are just starting out to think twice about trying to support themselves with a recording career. Even if you're talented and lucky enough to get a steady stream of well-paid work (few are), and you can get points for the parts you record (even fewer!), the law can't protect your rights any more.
 
#178
TRichardsbass said:
While she never wrote a tell all or an autobiography...
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Yeah, I'm aware. I think her publications are more aimed at musicians.

A more autobiographical or topical account of her life and times as a female session musician would be a good read for a more general audience. Not necessarily a tell-all, I get the impression she's far too classy for that, but a legitimate chronological bio which would no doubt be full of fascinating information about her background and how she became a solid session cat and the various sessions and musicians she has encountered along the way. A legit publishing house could do her justice, protect her work, and get her paid, and I suspect the book would do very well.
 
#179
Ive had the privilege of taking lessons from CK. Great teacher and methods. She knows her stuff and her materials are great. Really helped my jazz and solo development. Highly recommend her jazz improv book and cd.
 

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