Justin is adustin’ to the odor from Theodore’s Evergreen Incense
But aroma therapy don’t make him any younger than Oliver’s All Liver Supplements
His late mate Marrilee merrily said immortality can’t be bought in a jar
This just in: Justin’s had enough of cure-alls,
Gonna quiz the neighbor kid with the fish on his car
Newsboys - “Take Me To Your Leader” (Take Me To Your Leader, 1996)
Alice In Chains - "Brush Away" (Alice In Chains, 1995)
We start this Five the same way we ended last week’s—with a spooky sounding AIC tune. On second thought, is there any other kind of AIC tune?!
Collective Soul - "Skin" (Blender, 2000)
Say what you will about Ed Roland and Collective Soul, but I used to have a huge crush on this band and tried to get my hands on everything they put out. But things started falling apart, Ross Childress left, the band started running into label issues, and I lost interest. As an aside, I think some of Ed’s solo projects held more interest for me than latter-day Collective Soul, especially his Sweet Tea Project. Anyway, at this point in the game, Collective Soul was experimenting with electronic textures and drum machines, but I still like this.
Victor - "The Big Dance" (Victor, 1996)
There’s no way you could convince me that this is Alex Lifeson if I didn’t already know it. Victor is all over the sonic map, some of it really good, some of it not so much. This tune finds Alex and I Mother Earth’s vocalist Edwin channeling their inner Nine Inch Nails. Good for an occasional listen, but not something I would go to often.
Judas Priest - "(Take These) Chains" (Screaming for Vengeance, 1982)
One of my all-time favorite Priest songs!
Scorpions - "Holiday" (Lovedrive, 1979)
Ditto for this Scorpions tune, and a fine way to end this Five. Have a great weekend, Fivers!
Here’s another PledgeMusic campaign for you to contribute to. This time it’s Devin Townsend with a project he is calling Casualties of Cool. He describes it as
…this weird, dark, not evil but verging on it, bluesy, Johnny Cash-y, strange, quiet folk record. But I love it, it’s the one record that I’ve done over the past 10 or 15 years where I can truly say, ‘This is where I am right now.’
Apparently Devin met his goal in mere hours, and with 3033 pledges at the time of this writing, he sits at 275% of the goal. Excess funds will go toward future projects like the upcoming massive Ziltoid sequel Z2. Additionally, a percentage of pledges will help charities that work with animals that are homeless or in shelters.
Devin will be singing on about half of the material, with the remainder featuring Vancouver artist Ché Aimee Dorval, who sang previously on Devin’s album Ki. You can check out a sample of the new album (as well as Dorval’s singing) at the Casualites of Cool project page—the bluesy, ethereal “Forgive Me.”
Here’s what Devin has to say about the project:
Casualties Of Cool has been something I’ve been working on for years, a real passion project. Not since Ocean Machine (my first record) have I had the opportunity to do music for the sheer sake of the love of it…
It’s not a metal album, nor is it meant to be a statement about my interest in metal. It’s a side project from my work with DTP, Ziltoid and my touring band. I love that music, and always will…this is something different. This is something that I would write late at night while working on other projects as sort of a ’release’…a way to make music for myself, without pressure from ANYONE to do things a certain way. It’s an independent release, and it’s dark, quiet, and special…
Casualty is something that I’ve done without any pressure, without anybody telling me what to do, without showing it to anyone, it’s just what evolved when I wasn’t thinking about it…
What we are trying to prove with this pledge campaign, beyond raising funds, is to make a statement to the industry at large that we have a killer fanbase, an army of folks that prove the worth of this type of thinking that will tell the industry it is a force to consider. I know we can do it.
Go pledge to get access to the album and any of the extras or if you simply like Devin and want to help him achieve his artistic vision and goals.
Toad the Wet Sprocket - “The Moment” (New Constellation, 2013)
For every path you follow there’s another left behind
Every door you don’t kick open there’s a million more to try
And for everything you’ve taught me here’s the one I’ve learned the best
There is nothing but the moment, don’t you waste it on regret
The Beatles - “She’s Leaving Home” (Sgt. Pepper’s Lonely Hearts Club Band, 1967)
I have a cover of this tune that Billy Bragg did for something called Sgt. Pepper Knew My Father where his accent is much thicker than Paul’s ever was.
Ozzy Osbourne - "Little Dolls" (Diary of a Madman, 1981)
That may be a “guide” solo on the track (per the AllMusic guide), but Randy’s work on this album is stellar. Funny story—just last night I was driving with my 14-year-old son with the radio on one of the local classic rock stations, something I almost never do (because for the most part, those stations suck balls). “Over the Mountain” came on, and Randy’s solo was enough to pull his face out of his new-to-him iPhone 4 long enough for him to exclaim, “Whoa!” And this is a kid who is mostly into hip-hop and rap.
Dierks Bentley - "Draw Me A Map" (Up on the Ridge, 2010)
I know next-to-nothing about Dierks Bentley, but I love this song. As I mentioned before, I’m not much of a “new country” fan, but this has enough of the elements I really like in country music to make the cut and remain in my library.
Alice In Chains - "Dirt" (Dirt, 1992)
An archetypical spooky-sounding AiC song with a burning Cantrell solo. Not sure what else to say.
The Future of Music Coalition has posted an interesting article on its blog detailing the legal entanglements De La Soul may have put themselves in by offering up free downloads of their back catalog for 24 hours last week. I’ve sampled (see what I did there?!) some of the meat of the issue, but to get the whole gist, you really need to read the entire post over at their website.
This giveaway comes with a complicated backstory, one marked by deep frustration with the state of sample clearances…
Contrary to many headlines, De La Soul didn’t actually give away their entire catalog, rather the portion controlled by their former label Warner Brothers Records—albums currently unavailable on any digital service… It seems the WB material is stuck in a sort of major-label license-negotiating purgatory due to De La Soul’s jazzy sound collages…
…It’s unlikely that De La Soul were within their legal rights in making their own catalog available for download. Their former label Warner Bros likely own the master recordings of the De La cuts; various parties control the sound recording and composition copyrights for samples running the gamut from from Steely Dan to Billy Joel to Kraftwerk. (And contrary to what many internet users believe, you don’t have to be making money to be committing copyright infringement and ultimately liable for statutory damages). On the other hand, it’s possible that by framing the giveaway as a “gift to their fans,” De La Soul have created a situation where any potential litigant would face a PR nightmare if they filed suit.
(Bizarrely, the MP3s distributed by De La Soul seem to be sourced from illegal Russian sites; did no one have a CD copy available? Or is this perhaps a subtle dig at Warner Bros and/or sample rightsholders, implying that their failure to clear samples over the last decade drove consumers to obtain the music unlawfully?)
When music sits in record company vaults or is relegated to the grey market of free downloads, no one makes any money (except perhaps online ad services and file sharing sites): not the artist, not the performers or composers of the original samples. Artists, record companies, and publishers all have an incentive to make it easier to solve these problems. As Posdnous has said in an interview for Kembrew McLeod and Peter DiCola’s Creative License: The Law & Culture of Digital Sampling, “We understand that if you sample someone, you should pay for it. If someone wants to get paid for it, I understand. They made it.” It’s not as if any party is claiming the samples are fair use…
So the question becomes: are there policy provisions that could allow for some kind of sensible middle ground, making it easier and more economically feasible for diverse kinds of musicians to license samples, driving more content out of the grey market of “mixtapes” and toward legal licensed uses that generate revenue for musicians and songwriters? Might there be ways to do this that still allow artists to say no to uses they deem offensive?