Totally Guy Songs (warning-these lyrics may be offensive to women-but maybe not)

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"Markem" wrote in message

That artist/band _always_ pays for the recording in a "recording contract" ... it wouldn't happen any other way.
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Swingman wrote:

album that they could afford some studio time. The explanation I heard was "creative stagnation." True?
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"Bob Schmall" wrote in message

Actually, "That" should have been "The". My typo.
The band _always_ pays.
Either they pay themselves upfront, which is much more common these days, or under a "recording contract" the record company pays, but recoups the recording/production costs out of record sales.
The fact that they had a "recording contract" ("recording" being the operative word), and not a "Distribution deal", indicates the latter.
Either the way, the artist/band always pays recording and production costs in some manner, so you're most likely correct in that it was "creative stagnation" in Boston's case.
Then again, it could be just plain old unharmonious band politics ... after an unspecified amount of time, bands are worse than the UN when it comes to agreeing on _anything_! ;)
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Swingman wrote:

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I designed and built a few PA systems and played a little, so my familiarity with the business is probably more in-depth than is healthy... but somehow, I always avoided rehab.
Half of my friends are musicians, the other half are sober businessmen. I get invited to both parties. What ties us together, is the hobby we share: we collect nude picture of Bea Arthur and Helen Reddy.
r
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Robatoy wrote:
> What ties us together, is the hobby we share: we collect nude picture > of Bea Arthur and Helen Reddy.
ROTFLMAO as the coffee comes spewing out of my mouth.
Lew
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"Bob Schmall" wrote in message

Nothing "ex" about it. :)
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Bob Schmall wrote:

Maybe Tom Scholz needed time to design and build new effects, before he could start another record. <G>
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If I understand the way a typical contract works the label gets most, or all of the profit from album sales while the group makes money from concerts. Assuming of course, that they do make money.
Boston's second album sounded a lot like the first. So much so that many folks thought of them as a 'one-hit wonder' that managed to stretch that hit over two albums. OTOH had the second album been radically different, it might have bombed.
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That's pretty close ... the more famous you are, and the more albums you have with a track record, the more favorable the terms you can negotiate on a typical recording contract. Basically, the first time or two out of chute, you get shafted ... labels, like any entity who writes the contract, can be very creative in what comes out of gross to figure net.
For most any on in the music/recording business, the _real_ money is in the publishing, not record sales, so those who write their own songs and manage to hold onto the publishing rights can make a bundle.
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"Bob Schmall" wrote in message

I wished I had a nickel for every studio time dollar that was wasted back in the early 80's trying to emulate Tom Scholz's guitar sound. Then he came out with the "Rockman" processors ... one of the most brilliant folks in the music business.
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Swingman wrote:

Those things were all kinds of noisy, and not very roadworthy, though.
It's too bad they couldn't have made a "Pro" line that was less noisy and used switches and connectors better than Radio Shack's cheapest!
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"B A R R Y" wrote in message

They were noisy in the studio, for sure. I still have a bass rockman around somewhere that hasn't seen the light of day in 20 years or more.

Oh well ... cheap was better than the 5 grand worth of vintage tube gear it took to emulate in the studio, and that was at 80's prices.
I was proud to see someone come in with one ... that way "we" got the sound he wanted without me having to jump through hoops, and most didn't play quite enough for the noise to matter, or the amp was noisier to start with.
My only personal "gadget" for the past ten years or so has been a "SansAmp" Bass driver DI.
... it's probably "vintage" now. ;)
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Swingman wrote:

Those were the only times I ever needed to gate bass DI's during live shows for non-artistic reasons. <G>
Rockmans actually worked OK live for bass (which we would usually compress anyway for hard rock & metal), but I thought the guitar versions were a tad over compressed for live shows, they make the guitar sound kind of plastic and lifeless. I've seen more guitar players mess up the sound and sustain of an 80's+ Marshall (the JCM's with the "screen" (not vinyl & piping) face) with too many effects.
I think I still have a Bass Rockman around too. It made a decent headphone amp. My complaint about the switches comes from seeing more than one change settings (or become suddenly silent) because a switch didn't make properly.
But you're right... For the price? Excellent! And for the technology of the time, very small!
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I submit
Lemon Tree (I prefer the Belafonte rendition)
and double down on
Long Black Veil - Dave Matthews

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Totally Guy Songs?
Marty Robbins - pretty much every gunfighter ballad Johnny Cash - Folsum Prison Blues Waylon Jennings - Good Old Boys (theme song from The Dukes of Hazard) Kenny Rogers - The Coward of the County Jerry Reed - When You're Hot, You're Hot Credence Clearwater Revival - Bad Moon Rising Dave Dudley - Six Days On The Road Michael Martin Murphy - Cowboy Logic Hank Snow - I'm Movin' On Jan & Dean - Little GTO Merle Haggard - Workin' Man Blues Toby Keith - Courtesy Of The Red White & Blue Dean Martin - Standing On The Corner Gordon Lightfoot - The Wreck of the Edmund Fitzgerald Johnny Horton - Ballad Of The Green Berets.
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Leon Russell: A Song for You or Tight Rope
--
NuWave Dave in Houston



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Just Wondering wrote:

Are you sure of that?
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Sgt. Barry Sandler is the guy known for it. A quick Wikipedia lookup doesn't show anything about Johnny Horton.
Puckdropper
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Wise is the man who attempts to answer his question before asking it.

To email me directly, send a message to puckdropper (at) fastmail.fm
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Bill in Detroit wrote:

In case this was before your time, and your question comes from the word "Beret" in the title, here are the lyrics. You decide if it's a Guy song.
Fighting soldiers from the sky Fearless men who jump and die Men who mean just what they say The brave men of the Green Beret
CHORUS: Silver wings upon their chest These are men, America's best One hundred men will test today But only three win the Green Beret
Trained to live off nature's land Trained in combat, hand-to-hand Men who fight by night and day Courage peak from the Green Berets
CHORUS
Back at home a young wife waits Her Green Beret has met his fate He has died for those oppressed Leaving her his last request
Put silver wings on my son's chest Make him one of America's best He'll be a man they'll test one day Have him win the Green Beret
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