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Speaker 1: M n H will rip the novels.

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Speaker 2: You're listening to.

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Speaker 3: Matt Connorton unleashed on W m n H ninety five

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point three.

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Speaker 4: I'm a just a memory and confuse down, a mental

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break down, and the mental lose part of me is

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killed the other kids.

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Speaker 1: I had to choose these broken pieces left to me

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while I'm sending them. Don't you perceive the divined.

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Speaker 4: That before?

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Speaker 5: Will the reason?

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Speaker 6: I know?

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Speaker 1: Oh be bred and delve to proceed? I'm dead by?

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Did you protect your silence?

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Speaker 7: I don't look at the past sons and balance that destruction.

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Brot a edge.

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Speaker 4: I guess my re precedes me.

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Speaker 8: He's saying, I'm compet you special.

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Speaker 1: Just remember Ryan during his company here. I don't perceive

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but delied back before road reason be pretented not to proceed.

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I'm the sad.

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Speaker 2: God, how good.

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Speaker 4: Nobody talking can be pain like that?

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Speaker 7: Somebody talking there by Nobody talking can be pains like this.

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Speaker 1: Somebody talking don't preceive the deed that be tot dere no.

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Speaker 9: Would be preach and then to proceed. I'm de sad

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it is I gotta go, how God?

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Speaker 10: Nobody?

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Speaker 1: Uh.

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Speaker 5: The track is Seance, The band is generations and we're

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gonna be talking with them in just a moment. Welcome everybody.

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We have entered our number three New Marrow trace of

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Matt Connorton Unleashed and we are live from the studios

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of w m n H ninety five point three FM

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and Glorious Manchester, New Hampshire. And of course you can

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listen to the show from anywhere. Go to Matt connorton

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dot com slash live for all of your live streaming options,

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social media links, contact info, show archives, et cetera, et cetera.

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If you are listening live. It is Saturday, Nuary ten,

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twenty twenty six. Jenny is here, of course at the

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news table, and let's get the band in here. So

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I've got the level up here, I know we have

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uh we have Jen Are you there?

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Speaker 10: Can you hear us?

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Speaker 4: Yes, we can hear.

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Speaker 5: Oh excellent, let me, I gotta boost the volume on

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this end. But uh so yeah, so welcome. So we

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have gen X from the band, and you've got your

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cohorts with you. Because I can see I don't think

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you can see me, but I can see you on

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the on the screen. Why don't you go ahead and

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introduce everybody? If you would, or they can introduce themselves.

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However you want to do it.

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Speaker 11: Marco Flivers and we're MIAs one because he's working today

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and he can make Anthony and he plays guitars.

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Speaker 5: Well, gotcha, gotcha? All right, So tell us about I'm

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curious to know how this band came together because you're

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you're in an area you're in? Is it Springfield, Missouri?

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Speaker 2: Yeah?

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Speaker 5: So not exactly known as a hotbed for metal, shall

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we say? But I have no idea what the music

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scene is like there. How did this spand come about?

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And are there I mean, is there a strong scene

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there where you are?

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Speaker 2: I think it's not too bad. The story on how

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we got together kind of funny.

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Speaker 12: I actually know Daniel for a long time and hit

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him up and he've been playing music different bands for

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twenty something years now, and I was like, maybe why

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do we Why did we never jam him?

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Speaker 2: He's like, look, I don't know.

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Speaker 12: We went ahead and got together to the Little Jamon

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and just kind of turned into what we.

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Speaker 2: Got going on there.

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Speaker 5: So is this is this a relatively new project?

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Speaker 4: Yeah, well it has been going for about three years.

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Speaker 11: So when we formed it, we had an original singer

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and then we lost him for the health reasons, and

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then we went through about a year and a half

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of just going through different vocalists, you know, trying new

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things vocally, and then we blessed to run into this

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kick over here.

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Speaker 2: Yeah that's the fun from there. I mean you hear

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seal she's amazing.

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Speaker 5: Yeah, absolutely, absolutely so. And having a you know, a

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female fronted band is still it's weird. It's it's you.

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You would almost think it'd be it wouldn't even be

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a big deal at this point, right, But it seems

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like in the industry when you have a female fronted

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metal band, it still kind of turns heads. People say, oh,

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isn't that interesting, even though there's been many many female

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fronted bands. But I mean, jen X, I'm curious how

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you feel about that and is that something that you

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really kind of try to push to the forefront in

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terms of how the band is marketed and perceived or

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do you think about that part or is it just

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this is what it is, or how do you approach that.

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Speaker 4: So I've been doing this long time. Springfield, you know,

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is probably not well known, but Bramson is, oh yeah,

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well known. My parents were entertainers there for twenty years.

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Speaker 10: I was a child.

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Speaker 4: Entertainer there growing up. Oh wow, professionally performing since I

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was five. Okay, so classically because growing up there it's

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mostly country. I did a lot of country. But this

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is me, this is the music that I love. I

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remember screaming at the top of my lungs to Offspring

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when I was like nine years old. Does genuinely love it?

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But I didn't have that opportunity to express myself that

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way growing up. Yeah, so this is this is me

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taking that opportunity. I stepped away from performing for about

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twenty years. Oh wow, because I growing up with you know,

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entertainer parents. It's just a different lifestyle and I just

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wanted something different from my kids. And so this is

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this is me coming back out in my own way,

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authentically myself and we are just having a blast.

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Speaker 5: Yeah. Yeah, absolutely. So for twenty years you didn't perform

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at all?

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Speaker 10: Is that correct?

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Speaker 4: Some some a little bit, but not a lot, and

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not a lot professionally. You know, I love karaoking. I

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do it all the time. It's just my little extra outlet.

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Speaker 5: Sure that. But was was it always kind of in

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the back of your mind that you would get back

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to it? Or that you would be doing something like

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this or has this been kind of a kind of

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a twist in your story that you didn't necessarily always

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think would happen.

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Speaker 4: Oh, this is a huge twist. I was so nervous

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coming into this genre, I you know, but everybody has

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just welcomed me with open arms, which which has always

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been great about you know, metal heads in general, I

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feel like they are like the most accepting and so

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it's yeah, I am truly blessed with this opportunity. I

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could not be more grateful. I'm so excited about it.

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These guys just had nothing but faith in me when

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I didn't have it in myself.

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Speaker 5: So yeah, tell me too about the name because so

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the name of the band is Generations, but the way

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that it's spelled and Jen, I even I even asked

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you in an email for clarification because it's spelled Generation

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but I'm sorry, generations but with a Z at the

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end and the Z is capitalized. So what is the

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significance of that? What does the name mean to you?

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Speaker 11: Well, when we started it, we were kind of playing

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on our own music, Like I had two other bands

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going a time. When we started this thing, we were

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playing metal covers, rock cover like, we were playing a

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kind of a broad spectrum of music. So I was like, okay,

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we just be called Generations. Well then when we looked

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up Generations as a band name, there was only one

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of them in Florida and it was a cover band

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that played you know, so like fifties did a middle

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two thousands cover band.

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Speaker 2: So we just changed the name that. We changed the

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E to.

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Speaker 11: A and put a Z on the end of it

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and put the little the time capsule deal on the

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hour glass on.

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Speaker 2: The end of it.

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Speaker 11: And yeah, we didn't think about it being called Generation

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Z until it got played on Rock Rage Radio the

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first time and they.

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Speaker 4: Were like generation Z playing Salence and we were.

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Speaker 5: Like, oh snack, Yeah, I can see, you can see

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where that would happen. But now, so tell us about

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the first single, Seance. Uh, A great, great track and

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it's very and I really like too by the way,

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the production choice with it becomes prominent at the end, uh,

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you know, with with the keyboard in there. I just

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really like the production of the song. But but tell

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us about Seance and and where that song comes from

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and what the meaning is behind those lyrics.

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Speaker 13: Well, Uh, the kind of the meeting behind it is

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more of like a seance that you would kind of

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tell yourself to kind of keep yourself centered, keep yourself focused, motivated,

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to keep going, and to push out all the the

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bs that goes on in live and just kind of

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kind of keep yourself self centered.

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Speaker 2: You know.

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Speaker 5: Yeah, and then like like, what's the so that song

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was played on they played that on rock Rade radio?

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Speaker 2: Is that.

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Speaker 4: It's been on a lot of things? Yeah, Yeah, we've

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been on some online radios in the UK pretty much

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daily for a couple of months now with Excellent. Yeah,

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so it's it's been it's been an amazing journey so far.

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Speaker 5: Well, so you're you're off to a great start then,

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because you know, like like we were saying that the

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project in this iteration is relatively new, right, that's your

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first single, So so yeah, you're you're you're off to

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a great start. That's got to feel good. No, that's wonderful.

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And then what's the live schedule, Like are you playing

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a lot of shows? Are you touring or or what's

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what's happening there?

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Speaker 4: We do have a lot on the books. We we

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are actually have the opportunity to play in February in

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Saint Louis on the road to Point Best.

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Speaker 5: Excellent.

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Speaker 4: It's like a battle of the bands to try to

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actually get to play Point Fest, which.

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Speaker 2: Is one of the which we never heard of that

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looked at.

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Speaker 11: Point Fest in Saint Louis, Massive, massive festival.

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Speaker 2: Yeah, it's yeah, geared.

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Speaker 4: Up and excited for that. And we have another local

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show at Moontown Sound.

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Speaker 2: In Springfield. It's really awesome. And then uh, then we

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have a show in Columbia.

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Speaker 4: Oh yeah, we well we've got stuff further out.

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Speaker 2: Yeah, out in the area.

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Speaker 11: We have stuff in hougust In Columbia, and that's Nebraska.

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We've got Texas coming later in the year as well. Yeah,

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it's a it's getting pretty wild.

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Speaker 4: We are geared up and ready to get out there.

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Speaker 5: No, that's excellent. And then so in terms of the

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live show, because so far, I mean, do you have

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other material that you play live that you haven't recorded yet?

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Speaker 4: Absolutely?

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Speaker 2: Oh yeah, yeah, we got a lot of music.

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Speaker 5: We have a lot of music of the whole album,

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oh fantasy. So you're working on an album now, That's

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That's another thing I was going to ask you, because

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you know, there's so many different ways to release music now,

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A lot of artists will do an album, some will

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do an EP, some will just release singles that eventually

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coalesce into an EP or an album. But so you've

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got you're working on an album currently yep, excellent, excellent.

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For the next song, yeah, oh okay, okay, fantastic, same

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same studio where you recorded, uh a seance and something

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Wicked or.

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Speaker 11: Seance shot to my bud Kevin Dunn at Mercenary Studios.

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Speaker 2: We tracked that song with him.

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Speaker 11: The next batch of songs is done with Jess Smith,

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a studio also amazing engineer.

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Speaker 5: Okay, something Wicked?

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Speaker 2: Oh yeah, because we just released that.

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Speaker 4: We just released that yesterday.

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Speaker 5: So yeah, so something Wicked that hasn't Is that not

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been heard? Is this the first time that will be

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on the radio that track?

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Speaker 2: Yeah?

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Speaker 12: Sure, we just released it last night.

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Speaker 2: We just released it last night.

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Speaker 5: I was gonna say, yeah, that's very new, hot off

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the press. Well that's one of I'm glad we're gonna

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be the first radio station to play it. That's very cool.

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I can I can play my My World premiere bumper

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we Love We Love the World premieres around here. That's great. No,

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that's another great track, very very strong. I really like

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that a lot. And then what what's kind of the

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long term trajectory. I mean, you've got a lot going on,

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You're working on the album, you're you're, uh, you've got

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some some shows lined up. I mean, what what what

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do you feel is in the future for for generations?

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What's what's kind of the the big goal?

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Speaker 11: Well, thin goes just like any other band, you know,

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they tried to professionally get it where we can financially

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swap over.

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Speaker 2: To make enough money make music and.

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Speaker 11: Everything else comes along with making music to you know,

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feed our families and all that fun stuff.

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Speaker 4: Yeah, I love perform, Like I said, I mean, it's

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it's just it's it's my space. But for me, I'm

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just excited to perform. And then then when I realized

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I get to make money doing it as well, I'm like,

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oh yeah, that's cool. That's a bonus for me. But

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like just being able to perform and connect with people

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and just that's my favorite.

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Speaker 5: So yeah, absolutely one. Now what should we know? So

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in a moment, we're going to play this track something

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wicked will well, when we wrap up our conversation, we'll

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play that to kind of end the segment. But I mean,

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what should we know about this before we play it?

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You know, we talked about seance, but again, people are

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going to be hearing this for the very first time

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on the radio. What should we know about this song?

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Something wicked?

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Speaker 2: It was?

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Speaker 13: It was actually kind of inspired.

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Speaker 12: We were sitting around Starley Spring. We had some real

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nasty weather to weather coming through and we just sent

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it to our group chat, texting back and forth and

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I just I probably said something wicked. This way goes

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and did jebitions like that one makes some really cool solos.

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Speaker 2: I'm like, bet so, I sat down start dropping some stuff.

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Speaker 4: Down and then it kind of borphed into what we

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got here.

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Speaker 12: But it all started to get news feed about talking

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about the weather.

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Speaker 2: Yeah, yeah, we really wrote these songs lyrics in our.

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Speaker 5: Band chat, no kidding? Oh that scared Yeah.

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Speaker 4: Well, and I was. I was telling Daniel earlier. Something

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I really appreciate about this project and this group of

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people is that we are just comfortable with each other.

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It's where we give each other the space to be

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ourselves individually creatively, and then we come together and it works.

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And so when it comes to some of the meetings

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for the songs. Also, I think that it resonates differently

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with each of us. I was for something wicked. I

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have also had some mental health struggles throughout my life,

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and I still struggle with PTSD.

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Speaker 5: Okay, so I am having.

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Speaker 4: A PTSD episode sometimes that turns into like inner rage

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that I have to cage. Yeah, and so for me,

305
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that's the something wicked. And so this song particularly is

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kind of coping for me. Yeah, that breakdown is so special.

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I just love it.

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Speaker 5: Anyways, No, I'm glad, I'm glad you. I'm glad you

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explained that because something that comes up on the show

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a lot is, you know, we talk about taking, taking trauma,

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taking PTSD, taking you know, anxiety, depression, whatever, it is,

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all these things that that we deal with from a

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mental health perspective. When you take something like that and

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you create something out of it, you know, you're taking

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something that's negative, but you're creating art. So you're creating

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something positive out of it that not only not only

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does that process hell help you to deal with it,

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but it potentially helps other people who also then hear

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the song or or look at the painting or whatever

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kind of art it is that you're creating. Right, If

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other people can also get something out of it, then

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you've not only you've not only helped yourself, but you've

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helped others and you've done so with something that comes

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from from pain and trauma. So I think that's I

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think that's always a wonderful thing when you can do that.

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So I'm glad you explained that well.

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Speaker 4: And art I think is the greatest form of self expression. Yes,

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obviously is my favorite, but I also think that it's

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the greatest form of self expression. And of course it's

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something that all human beings relate to and that's what

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I do it for. That's what I love so much

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about it, and these guys too.

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Speaker 2: And so if you know.

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Speaker 13: Why we're here, well you also get to make those

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connections with people that you might not have made it

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any other way.

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Speaker 5: So I mean, look here we are talking with you

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exactly exactly well, so I'm looking forward to playing that

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track and sharing it with everybody. But before we let

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00:19:03,000 --> 00:19:06,000
you all go, So, where's the best place to go

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00:19:06,039 --> 00:19:08,400
online to keep up with everything that the band is doing?

342
00:19:08,440 --> 00:19:09,920
Where should people go online?

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Speaker 4: Pretty much everywhere the band's on Instagram and Facebook, of course,

344
00:19:16,839 --> 00:19:20,920
we have our YouTube page. I have personal pages on

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TikTok and Twitter or I guess it's x now and Facebook, Instagram.

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00:19:27,160 --> 00:19:28,160
You'll just find us.

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Speaker 12: Anywhere, okay, Oh yeah, we'll talk on all the platform

348
00:19:32,440 --> 00:19:34,319
definitely is a YouTube music Spotify.

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Speaker 2: Where do you get band or so?

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Speaker 4: We do have a website too, Oh.

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Speaker 5: Yes, I'm looking at that now.

352
00:19:39,839 --> 00:19:40,200
Speaker 2: Yeah.

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Speaker 5: Generations dotnoisyard dot com. You can find everything there. A

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00:19:45,519 --> 00:19:47,640
lot of good information about the band there actually, so

355
00:19:47,720 --> 00:19:52,160
that's great up and your music is there too, outstanding

356
00:19:52,799 --> 00:19:54,319
our YouTube videos.

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Speaker 4: You can purchase merche well, we haven't got it set

358
00:19:56,240 --> 00:19:59,839
fully yet, but eventually you'll see all our shows like

359
00:20:00,079 --> 00:20:03,480
this is everything Generation.

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Speaker 5: Yeah, excellent, excellent, all right, So in a moment, so

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we'll let you go so we can hit this track again,

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the world radio premiere of Something Wicked, the brand new

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track from Generations. But I want to thank you all

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for joining us this morning. It's wonderful to talk with you,

365
00:20:15,880 --> 00:20:18,519
and we'll definitely do this again in the future as

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you're releasing new music. We'd love to have you back on.

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Speaker 2: Thank you.

368
00:20:23,960 --> 00:20:26,720
Speaker 5: Absolutely, you got it, all right, We'll talk to you soon.

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00:20:26,799 --> 00:20:32,279
Take care, bye bye, all right, so that is Generations,

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00:20:32,440 --> 00:20:34,960
and right now it's the world radio premiere of the

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new track from Generations, something Wicked.

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Speaker 2: You are listening to.

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Speaker 1: T wuminh.

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Speaker 5: World premiere.

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Speaker 7: Ruby now lasses General and I am still here no more.

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00:21:34,200 --> 00:21:35,079
Speaker 6: No more.

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00:21:37,119 --> 00:21:39,240
Speaker 10: Lin the match and washing.

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00:21:40,519 --> 00:21:44,880
Speaker 7: Smells him both at this aspire.

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00:21:45,400 --> 00:21:51,279
Speaker 1: I have heard your name, snap of comand.

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00:21:52,079 --> 00:21:53,480
Speaker 4: Snow well left to.

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Speaker 1: Hope your head and the party see snow.

382
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Speaker 5: I'll come on.

383
00:22:05,640 --> 00:22:07,200
Speaker 1: It's no weather to.

384
00:22:09,319 --> 00:22:14,279
Speaker 6: Honey's trust me gun about something rigging this way?

385
00:22:28,519 --> 00:22:57,880
Speaker 1: H M well side that's come toosing. Let me trustfer.

386
00:22:58,279 --> 00:23:02,880
I can't see hit your turn watching off.

387
00:23:04,640 --> 00:23:09,519
Speaker 7: You laugh, lad, I said to you broke me just

388
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falling up from head on.

389
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Speaker 6: Scream from me, h nos, snow of coming.

390
00:23:19,559 --> 00:23:24,519
Speaker 1: Snorwell left to hope you'll head.

391
00:23:24,400 --> 00:23:31,839
Speaker 7: And hearty just begun, snow coming.

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Speaker 1: Snowwell up to.

393
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Speaker 6: Heartey shall be gone out something wacket this wedding.

394
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Speaker 1: Come now I'll come and no man, love you hold

395
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your head and Honey's first be snaw snow to Honey's

396
00:25:11,640 --> 00:25:15,799
just be good. That's something we need this way.

397
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Speaker 5: There's the world radio premiere of the new track from

398
00:25:53,720 --> 00:25:56,720
Generations that is called something Wicked. You heard it here

399
00:25:56,960 --> 00:26:01,680
first on Matt Connerton Unleashed here on WMNH ninety five

400
00:26:01,720 --> 00:26:05,000
point three FM. And thank you again to gen X

401
00:26:05,079 --> 00:26:08,000
and the all the members of Generations who joined us

402
00:26:08,039 --> 00:26:10,039
this morning. It was wonderful to speak with them. I'm

403
00:26:10,079 --> 00:26:12,599
sure we'll do it again in the future. She's got

404
00:26:12,640 --> 00:26:17,039
an interesting history having It's funny because, yeah, it didn't

405
00:26:17,039 --> 00:26:19,400
even occur to me. You know, Springfield, it's right near Branson,

406
00:26:20,000 --> 00:26:23,240
and you know, and then you know she was not

407
00:26:23,440 --> 00:26:27,279
doing anything with music for twenty years, and that's pretty interesting. Yeah,

408
00:26:29,000 --> 00:26:32,759
but we've got let's see, whoops, I actually just accidentally

409
00:26:32,839 --> 00:26:35,440
closed one of the links you sent me, so let's

410
00:26:35,480 --> 00:26:37,519
look at this one first. We got a couple music

411
00:26:37,640 --> 00:26:42,440
news items. Let's see. This is courtesy of you found

412
00:26:42,480 --> 00:26:47,839
this one on Digital Music digitalmusicnews dot com. Los Lobos

413
00:26:48,400 --> 00:26:53,039
files dual lawsuits against Sony Music and Sony Pictures over

414
00:26:53,160 --> 00:26:56,640
alleged non payment of royalties from films. Now I have

415
00:26:56,759 --> 00:26:59,200
not pre read this, but when you said this to me,

416
00:27:00,000 --> 00:27:02,279
when you mentioned that there was this news about Los Lobos,

417
00:27:02,359 --> 00:27:05,680
my first thought was LaBamba. Yeah, because that's what everyone

418
00:27:05,759 --> 00:27:07,960
thinks of. Of course, when you think of Los Lobos,

419
00:27:08,039 --> 00:27:10,880
you think of La Bamba, you think of not only

420
00:27:10,960 --> 00:27:16,000
the song obviously LaBamba, but the movie about Richie Vallence.

421
00:27:16,160 --> 00:27:18,240
Because that's how Los Lobos in the eighties, that's how

422
00:27:18,279 --> 00:27:22,200
they became famous was because of that song. That's I mean,

423
00:27:22,680 --> 00:27:26,400
I don't know if they really even have any other

424
00:27:26,640 --> 00:27:30,759
mainstream Billboard Hot one hundred hit songs necessarily, but that's

425
00:27:30,880 --> 00:27:32,240
the one everybody thinks of.

426
00:27:32,480 --> 00:27:34,960
Speaker 10: You want a quick perusal here, I'm not so sure.

427
00:27:36,960 --> 00:27:40,960
Oh yeah, no, it is in part the LaBamba soundtrack, Okay.

428
00:27:41,039 --> 00:27:43,319
But also it looks like there might have been a

429
00:27:43,480 --> 00:27:47,000
film done in Canada. I'm sorry what there might have

430
00:27:47,000 --> 00:27:48,559
been another film done in Canada? Song?

431
00:27:48,680 --> 00:27:52,680
Speaker 5: Oh oh in Canada. Well, let's see again. This is

432
00:27:52,720 --> 00:27:56,720
from Digital Musicnews dot com. Los Lobos sues Sony Music

433
00:27:56,759 --> 00:27:59,799
and Sony Pictures in two separate lawsuits alleging non payment

434
00:27:59,799 --> 00:28:04,759
of royalties for songs featured in the films LaBamba and Desperado.

435
00:28:05,039 --> 00:28:10,559
Oh that's right, okay, Desperado with Antonio Benderas. That's a

436
00:28:10,720 --> 00:28:13,359
that's a goot about that. That's an underrated movie. That's

437
00:28:13,400 --> 00:28:14,240
a really good movie.

438
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Speaker 10: I haven't watched that in a long time.

439
00:28:15,440 --> 00:28:19,319
Speaker 5: Actually, yeah, that's really good uh. Los Angeles band Los Lobos,

440
00:28:19,359 --> 00:28:22,200
issuing Sony Music and Sony Pictures for two separate instances,

441
00:28:22,680 --> 00:28:27,599
alleging the company underpaid streaming royalties for the group's recordings

442
00:28:28,079 --> 00:28:31,480
used in the nineteen eighty seven Richie Vallens biopic LaBamba

443
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and the nineteen to ninety five Antonio Banderas Western film Desperado.

444
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According to the lawsuit, which the band initially filed in

445
00:28:41,200 --> 00:28:44,880
California state court before Sony filed to move it to

446
00:28:45,039 --> 00:28:49,200
New York federal court, Sony owes a combined total of

447
00:28:49,319 --> 00:28:54,000
at least one point five million dollars in contractual damages.

448
00:28:54,559 --> 00:28:58,920
In both instances. Los Lobos accuses Sony of failing to

449
00:28:59,000 --> 00:29:02,480
pay royalties for the streaming use of their recordings in

450
00:29:02,640 --> 00:29:06,240
these two films in any country outside the US and Canada.

451
00:29:06,559 --> 00:29:09,039
Speaker 10: Okay, now I get it.

452
00:29:09,720 --> 00:29:15,079
Speaker 5: Specifically, the suit against Sony Music Entertainment focuses on unpaid

453
00:29:15,160 --> 00:29:19,599
royalties for the song I don't uh Cancion.

454
00:29:19,799 --> 00:29:22,640
Speaker 10: I feel like I'm gonna murder it if I try

455
00:29:22,680 --> 00:29:23,160
to say.

456
00:29:23,000 --> 00:29:26,079
Speaker 5: It, Kencion del Mariachi.

457
00:29:26,319 --> 00:29:28,319
Speaker 10: You're probably closer than I would have said.

458
00:29:28,359 --> 00:29:32,119
Speaker 5: Maybe, featured in the movie Desperado. Los Lobos alleges that

459
00:29:32,240 --> 00:29:36,039
neither Sony nor its imprint Milan Records have paid any

460
00:29:36,119 --> 00:29:42,160
streaming royalties globally for the track's use Sucker, despite its

461
00:29:42,240 --> 00:29:47,079
recent surgeon popularity as a walkout anthem for Mma Fighter

462
00:29:48,160 --> 00:29:52,880
Ilia l Mattador Topouria, Topouria.

463
00:29:53,319 --> 00:29:54,599
Speaker 10: That explains the resurgence.

464
00:29:54,880 --> 00:29:58,160
Speaker 5: Yes, yes, in that instance, the band is seeking at

465
00:29:58,240 --> 00:30:01,880
least half a million dollars for alleged breach of contract

466
00:30:02,519 --> 00:30:08,440
and requests a formal accounting of damages owed. I need

467
00:30:08,519 --> 00:30:09,559
to gulp of my water here.

468
00:30:10,559 --> 00:30:14,640
Speaker 10: I didn't think about those coming back for streaming, like

469
00:30:14,759 --> 00:30:16,480
when you first brought it up. I'm like, yeah, but

470
00:30:16,599 --> 00:30:19,119
this was back in the eighties, right, The thing is

471
00:30:19,400 --> 00:30:21,799
too now, I didn't think about the streaming aspect.

472
00:30:21,960 --> 00:30:22,079
Speaker 3: Well.

473
00:30:22,119 --> 00:30:25,880
Speaker 5: The thing is when you think about in the music industry,

474
00:30:25,920 --> 00:30:29,920
when you think about how complicated it gets in terms

475
00:30:29,960 --> 00:30:33,759
of paying royalties for publishing and all of it, performance royalties,

476
00:30:33,960 --> 00:30:38,279
mechanical royalties, everything that goes into it, then take that

477
00:30:38,640 --> 00:30:41,799
and compound it with how complicated it gets and how

478
00:30:41,880 --> 00:30:47,039
complicated it's always gotten. When you talk about soundtracks for films,

479
00:30:47,960 --> 00:30:51,039
then it gets a whole new level of complicated and

480
00:30:52,119 --> 00:30:55,000
that seems to have reared its head here. So the

481
00:30:55,119 --> 00:30:59,720
lawsuit says, quote, despite the specific knowledge that the popularity

482
00:30:59,759 --> 00:31:03,160
of the recording was spiking and reaching new audiences, Sony

483
00:31:03,720 --> 00:31:09,960
and its affiliate Imprint Milan still paid nothing, nothing to

484
00:31:10,079 --> 00:31:13,599
Los Lobos for streaming and continues to pay nothing for

485
00:31:13,720 --> 00:31:17,200
streaming anywhere in the world for any time period.

486
00:31:17,599 --> 00:31:20,880
Speaker 10: I because some people lead by example. Yeah, we're just

487
00:31:20,960 --> 00:31:23,960
gonna keep using it. We're gonna ignore you.

488
00:31:24,359 --> 00:31:24,559
Speaker 2: Yep.

489
00:31:25,319 --> 00:31:28,000
Speaker 10: I so hate that. It's not like they they didn't

490
00:31:28,039 --> 00:31:31,559
give him anything, nothing that one dime.

491
00:31:31,720 --> 00:31:32,480
Speaker 5: That's what they claim.

492
00:31:32,599 --> 00:31:32,799
Speaker 2: Wrong.

493
00:31:33,319 --> 00:31:35,960
Speaker 10: You have this music without the artists.

494
00:31:35,880 --> 00:31:40,359
Speaker 5: Right, says Los Lobos also sued Sony Pictures and its

495
00:31:40,400 --> 00:31:45,039
subsidiary Columbia Pictures for allegedly unpaid royalties stemming from the

496
00:31:45,119 --> 00:31:49,559
La Bamba soundtrack, which features several Los Lobos covers, including

497
00:31:49,680 --> 00:31:53,799
Richie Vallen's LaBamba. Their version spent several weeks at number

498
00:31:53,880 --> 00:31:57,079
one on the Billboard Hot one hundred. I think Los

499
00:31:57,160 --> 00:32:00,279
Lobos did the entire soundtrack, if I'm not mistaken thought

500
00:32:00,359 --> 00:32:00,680
they did.

501
00:32:00,839 --> 00:32:01,039
Speaker 2: Yeah.

502
00:32:02,200 --> 00:32:08,160
Speaker 10: I'm not surprised at all by any of this.

503
00:32:08,640 --> 00:32:13,240
Speaker 5: No, not one iota, no, none of this is surprising.

504
00:32:14,759 --> 00:32:17,240
Speaker 10: And we know what also complicates a lot of this too,

505
00:32:17,480 --> 00:32:21,240
is that each individual state has its own laws as

506
00:32:21,319 --> 00:32:25,279
far as like right of succession. Somebody passes away, who

507
00:32:25,359 --> 00:32:30,519
owns it right. So it gets even more convoluted when

508
00:32:30,559 --> 00:32:33,160
you look at the fact that not only is it

509
00:32:33,279 --> 00:32:38,680
so grotesquely full of crazy contracts whatever federal laws, but

510
00:32:38,799 --> 00:32:42,599
each individual state laws and where it signed matters.

511
00:32:45,599 --> 00:32:47,279
Speaker 5: That is true, That is true.

512
00:32:47,640 --> 00:32:49,880
Speaker 10: It kills me. The Lobama was so long ago that

513
00:32:49,960 --> 00:32:50,519
they'd have to.

514
00:32:50,599 --> 00:32:53,000
Speaker 5: Fight for that money. It doesn't surprise me, though.

515
00:32:53,480 --> 00:32:56,319
Speaker 10: It kills me. I'd say surprised, is it? It kills me.

516
00:32:56,839 --> 00:33:00,680
It's like a classic based on true story.

517
00:33:01,200 --> 00:33:01,400
Speaker 8: You know.

518
00:33:03,240 --> 00:33:06,839
Speaker 10: Ah, that's just that's just so wrong. Yeah, it's always

519
00:33:06,880 --> 00:33:09,640
the artist. It's always the artist that's getting ripped off

520
00:33:09,680 --> 00:33:10,480
by these companies.

521
00:33:10,680 --> 00:33:12,680
Speaker 5: Yeah. Well, they're the ones who get paid last.

522
00:33:13,440 --> 00:33:15,839
Speaker 10: Which is so wrong. They should be the ones paid first.

523
00:33:16,000 --> 00:33:18,319
Speaker 5: You know, they're they're at the end of the they're

524
00:33:18,319 --> 00:33:22,519
at the end of the food chain. Yeah, says here, Oh,

525
00:33:22,839 --> 00:33:24,720
let's look at uh yeah, we'll go on to the

526
00:33:24,759 --> 00:33:29,519
next thing. This is from musicnews dot Com. Uh Salt

527
00:33:29,559 --> 00:33:32,839
and Pepa's lawsuit against Universal Music group has been dismissed.

528
00:33:32,839 --> 00:33:34,480
Speaking of we.

529
00:33:34,599 --> 00:33:36,279
Speaker 10: Talked about this when they first filed it.

530
00:33:36,559 --> 00:33:39,000
Speaker 5: We did, but we also it occurs to me, you know,

531
00:33:39,079 --> 00:33:40,920
we were talking earlier about when we talked about the

532
00:33:40,960 --> 00:33:44,960
Ticketmaster lawsuit, how Ticketmasters seems like they're always involved in

533
00:33:45,039 --> 00:33:48,960
some sort of litigation. But uh, Universal Music Group also

534
00:33:49,000 --> 00:33:51,200
seems to always be involved in some sort of litigation.

535
00:33:52,400 --> 00:33:54,599
It says, yeah, says here a judge is thrown out

536
00:33:54,720 --> 00:33:59,279
Salt and Pepa's lawsuit against Universal Music. The suit sought

537
00:33:59,359 --> 00:34:02,799
to retake control of the hip hop duo's master recordings.

538
00:34:03,599 --> 00:34:08,639
Ryl Salt James and Sandra Pepa. Denton attempted to exercise

539
00:34:08,760 --> 00:34:12,639
their so called termination rights under section two oh three

540
00:34:12,679 --> 00:34:16,239
of the Copyright Act, under which artists can draw can

541
00:34:16,400 --> 00:34:22,000
claw back they're masters decades after signing away the copyrights.

542
00:34:22,800 --> 00:34:24,400
By the way, for anyone who doesn't know, I know

543
00:34:24,440 --> 00:34:26,159
a lot of industry people listen to the show. But

544
00:34:26,199 --> 00:34:28,199
if you don't know, when we talk about the masters

545
00:34:28,840 --> 00:34:33,559
means the master recordings, the original recordings that were done

546
00:34:33,800 --> 00:34:37,280
of these. You know, if you're if you're a recording artist,

547
00:34:37,400 --> 00:34:40,199
you ideally you want to own your master recordings.

548
00:34:40,280 --> 00:34:42,519
Speaker 10: He who owns the master owns the song?

549
00:34:42,840 --> 00:34:46,039
Speaker 5: Yes, yeah, so this is what they were trying to do.

550
00:34:46,159 --> 00:34:49,000
They were trying to take take back control. But again

551
00:34:49,119 --> 00:34:51,960
this was a thing where because I remember the original

552
00:34:52,039 --> 00:34:55,199
story about this, when the lawsuit was filed, it got

553
00:34:55,320 --> 00:35:00,039
complicated about who actually owned the masters, because it it

554
00:35:00,159 --> 00:35:02,880
wasn't as simple as they were trying to get their

555
00:35:02,920 --> 00:35:06,159
masters back from UMG. There was this also this other

556
00:35:06,239 --> 00:35:10,159
thing about somebody owned part of the masters or owned

557
00:35:10,199 --> 00:35:13,079
all the masters, like a former manager of theirs or something.

558
00:35:13,159 --> 00:35:15,599
It was this whole convoluted thing.

559
00:35:16,800 --> 00:35:22,119
Speaker 10: Interesting though how this pans out though, because it said

560
00:35:22,360 --> 00:35:25,920
that with their original contract that it was in the

561
00:35:26,039 --> 00:35:30,800
contract that the copyrights would revert back to them after

562
00:35:30,960 --> 00:35:35,119
thirty five years. Yes, but then when you go to

563
00:35:35,199 --> 00:35:41,199
the contract, UMG said, well, Salt and Pepper didn't actually

564
00:35:41,480 --> 00:35:45,360
sign it, oh, right, in nineteen eighty six. Right, they

565
00:35:45,400 --> 00:35:48,719
didn't actually sign the nineteen eighty six record deal with

566
00:35:48,920 --> 00:35:54,239
Imprint Next Plateau Records. So though apparently they thought they did,

567
00:35:54,320 --> 00:35:57,960
and they thought they had this contract, u UMG has

568
00:35:58,039 --> 00:36:00,679
somehow found this loophole and said, oh, well they didn't

569
00:36:01,320 --> 00:36:05,000
actually sign it. And the judge went, oh, just missed

570
00:36:05,039 --> 00:36:10,159
the whole thing, and that's so wrong. In my book,

571
00:36:10,239 --> 00:36:13,960
that is so wrong. That is so wrong. A lot

572
00:36:14,000 --> 00:36:17,079
of these artists too, especially back in the day. You know,

573
00:36:17,199 --> 00:36:21,719
before the Internet, it was really hard for artists to

574
00:36:21,840 --> 00:36:25,440
get any attention. It's so much easier now, not that

575
00:36:25,559 --> 00:36:30,000
it's I shouldn't say easy. Music is more accessible, artistry

576
00:36:30,079 --> 00:36:32,239
is more accessible to the world. Because of the Internet,

577
00:36:32,599 --> 00:36:35,400
people can get their voice out there, even on their own.

578
00:36:35,519 --> 00:36:38,159
You can self publish a book, you can produce and

579
00:36:38,559 --> 00:36:41,320
put your own music out. Back in the day, back

580
00:36:41,360 --> 00:36:44,360
in the eighties, you had to get bound. You had

581
00:36:44,400 --> 00:36:48,280
to find something somebody who would take a notice of you,

582
00:36:48,920 --> 00:36:53,360
and it would It was beyond rare to be noticed

583
00:36:53,880 --> 00:36:57,320
that if somebody did. That level of excitement at that

584
00:36:57,559 --> 00:37:00,440
young age is like, oh my god, we got a

585
00:37:00,480 --> 00:37:04,400
record contract. Who you don't lose your mind. And I

586
00:37:04,599 --> 00:37:10,039
honestly believe that they wholeheartedly believed and had a contract

587
00:37:10,320 --> 00:37:14,039
at that time. I don't know what this is or

588
00:37:14,880 --> 00:37:18,840
but I feel like there's some loophole here because that

589
00:37:18,960 --> 00:37:23,840
one sentence doesn't give me enough information. Yeah, that they

590
00:37:23,920 --> 00:37:27,000
got to take a walk away with all of their artistry,

591
00:37:27,079 --> 00:37:29,440
all of their work and say too bad too, sad,

592
00:37:30,239 --> 00:37:32,519
thirty five years wind have gone by, but we're still

593
00:37:32,599 --> 00:37:34,880
not going to give it back to you because we

594
00:37:35,079 --> 00:37:37,320
want to make as much money off of you as possible,

595
00:37:38,119 --> 00:37:44,119
and they didn't. Right now, the artist is completely left

596
00:37:44,159 --> 00:37:47,599
out in the cold, your creation, your artistry, your heart

597
00:37:47,639 --> 00:37:51,239
and soul, and you don't get nothing, but the multi

598
00:37:51,360 --> 00:37:52,719
billion dollar company does.

599
00:37:53,840 --> 00:38:00,239
Speaker 5: So it says James who assault. Cheryl James told Good

600
00:38:00,239 --> 00:38:03,159
Morning America in August, quote, when you're an artist in

601
00:38:03,199 --> 00:38:06,599
the beginning, you sign a contract saying that the copyrights

602
00:38:06,639 --> 00:38:09,679
will revert back to you after thirty five years. And

603
00:38:09,840 --> 00:38:12,599
we've done all the things legally to get our copyrights back,

604
00:38:13,039 --> 00:38:15,559
but they're just refusing. So we had to see them unquote.

605
00:38:16,920 --> 00:38:21,119
Denton and James further claimed UMG had removed some of

606
00:38:21,199 --> 00:38:25,400
their biggest hits, including push It, from streaming platforms, amid

607
00:38:26,880 --> 00:38:28,239
the legal fight.

608
00:38:29,039 --> 00:38:33,159
Speaker 10: Retaliated against them. Yeah, so they couldn't make money off

609
00:38:33,199 --> 00:38:36,360
of their more popular They're hugely popularis slung push It?

610
00:38:36,639 --> 00:38:36,880
Speaker 5: Yeah?

611
00:38:38,159 --> 00:38:42,199
Speaker 10: That see to add insult to injury.

612
00:38:42,800 --> 00:38:44,559
Speaker 5: Wow, Yeah, that's cool.

613
00:38:44,639 --> 00:38:46,599
Speaker 10: Going to be a special kind of awful human for that.

614
00:38:46,920 --> 00:38:55,360
Speaker 5: Yeah, that's clearly a retaliatory, UMG mentioned I'm sorry. UMG

615
00:38:55,519 --> 00:38:58,480
maintained that Salt and Peppa did not have the termination

616
00:38:58,639 --> 00:39:01,320
rights because they didn't actually sign their nineteen eighty six

617
00:39:01,400 --> 00:39:04,599
record deal with Imprint next Plateau Records.

618
00:39:05,559 --> 00:39:07,159
Speaker 10: Did a manager sign for them?

619
00:39:07,760 --> 00:39:08,320
Speaker 2: You know what I mean?

620
00:39:08,440 --> 00:39:09,199
Speaker 7: Like this?

621
00:39:09,519 --> 00:39:13,519
Speaker 10: This is something here? Yeah, because if that was, if

622
00:39:13,559 --> 00:39:16,119
that was the flat out case all this time, they

623
00:39:16,159 --> 00:39:18,119
would have brought that out a long time ago. They

624
00:39:18,159 --> 00:39:20,639
found some kind of loophole. Maybe the manager signed it

625
00:39:21,039 --> 00:39:25,320
and not specifically the girls, So they're using that as

626
00:39:25,360 --> 00:39:27,599
a loophole of some kind. There's got to be more

627
00:39:27,679 --> 00:39:29,760
to that part. There has to be. This has been

628
00:39:29,760 --> 00:39:31,480
going on for too long for that to suddenly come

629
00:39:31,519 --> 00:39:33,880
out now. I feel like there has to be a

630
00:39:33,920 --> 00:39:34,760
loophole they're using.

631
00:39:35,119 --> 00:39:39,400
Speaker 5: Maybe I'm wrong, what so, how how do they even

632
00:39:39,760 --> 00:39:44,199
This is what I don't get. If they if they

633
00:39:44,320 --> 00:39:49,079
never signed the contract, then then that means there is

634
00:39:49,159 --> 00:39:51,519
no contract, right? So what am I missing here?

635
00:39:51,760 --> 00:39:51,800
Speaker 4: So?

636
00:39:51,920 --> 00:39:53,880
Speaker 10: How come they don't own this stuff anyway because they

637
00:39:53,960 --> 00:39:55,920
never signed a deal to give it to somebody else?

638
00:39:56,159 --> 00:39:56,320
Speaker 6: Right?

639
00:39:56,960 --> 00:39:59,119
Speaker 10: True? The other side of the coin? Yeah, yeah, you

640
00:39:59,199 --> 00:39:59,719
got a good point.

641
00:40:00,000 --> 00:40:00,679
Speaker 5: How does that work?

642
00:40:00,960 --> 00:40:04,000
Speaker 10: But the judge just at hand. Now we don't know

643
00:40:04,039 --> 00:40:06,599
if he dismissed it with prejudice or not. We just

644
00:40:06,760 --> 00:40:09,159
know that he dismissed the entire case.

645
00:40:10,760 --> 00:40:15,280
Speaker 5: Yeah, it says Judge Denise Cody sided with UMG on

646
00:40:15,440 --> 00:40:18,719
Thursday and dismissed the claims entirely as a result of

647
00:40:18,800 --> 00:40:22,199
these findings. In a statement shared with Billboard, a UMG

648
00:40:22,320 --> 00:40:25,400
spokesperson said the company has gratified that the court dismissed

649
00:40:26,000 --> 00:40:29,440
this baseless lawsuit. Salt and Peppa have the right to

650
00:40:29,559 --> 00:40:32,559
appeal the dismissal order if they choose to do so.

651
00:40:33,199 --> 00:40:39,920
Speaker 10: Baseless lawsuit, baseless, it's their artistry. How dare you?

652
00:40:41,679 --> 00:40:41,920
Speaker 2: Yeah?

653
00:40:42,239 --> 00:40:43,480
Speaker 10: How dare you?

654
00:40:44,159 --> 00:40:44,320
Speaker 2: You know?

655
00:40:44,519 --> 00:40:48,039
Speaker 10: This is the big billion dollar company that's got every

656
00:40:48,239 --> 00:40:52,039
rich lawyer at their disposal, with all kinds of resources

657
00:40:52,599 --> 00:40:55,079
against a couple of artists who probably don't make a

658
00:40:55,159 --> 00:41:00,559
heck of a lot offer their music that's streaming insult

659
00:41:00,639 --> 00:41:03,079
to injury. All this time, they've been looking forward to

660
00:41:03,159 --> 00:41:07,679
having their music back thirty five years, waiting for the day,

661
00:41:07,760 --> 00:41:10,280
waiting for the day, And the day finally comes and

662
00:41:11,840 --> 00:41:14,840
the billion dollar industry found a way to get them

663
00:41:14,920 --> 00:41:19,559
yet again. It's so wrong. It's so wrong. It's always

664
00:41:19,639 --> 00:41:21,639
the artist to get the crappy end of the stick

665
00:41:21,719 --> 00:41:25,039
because they can't afford to put up the fights that

666
00:41:25,199 --> 00:41:28,639
these companies can. It's David and Goliath in a lot

667
00:41:28,679 --> 00:41:29,639
of these situations.

668
00:41:30,000 --> 00:41:38,320
Speaker 5: Right, Yeah, So we got a little bit of time left.

669
00:41:38,360 --> 00:41:41,760
We'll we'll, we'll do this. We should talk about the

670
00:41:41,800 --> 00:41:43,199
Gene Simmons, the latest.

671
00:41:44,400 --> 00:41:45,840
Speaker 10: I'm wondering if you were good at it?

672
00:41:45,920 --> 00:41:50,159
Speaker 5: Per fuffl into that. So regular listeners, longtime listeners of

673
00:41:50,239 --> 00:41:52,719
the show. Now, Kiss is my my all time favorite band.

674
00:41:53,920 --> 00:41:58,239
But Jene Simmons, for as long as I can remember,

675
00:41:58,400 --> 00:42:01,880
has had these moments where he upsets people. Here's the

676
00:42:02,000 --> 00:42:05,239
latest little controversy and it involves Peter Cris and the

677
00:42:05,360 --> 00:42:09,519
song Beth. Everybody knows that song Beth. I hear you calling,

678
00:42:10,239 --> 00:42:14,320
all right? So this is from Parade dot com, who,

679
00:42:14,440 --> 00:42:19,000
by the way, shame on parade dot com because in

680
00:42:19,159 --> 00:42:25,199
the uh the picture that they used is not in

681
00:42:25,559 --> 00:42:28,440
the headline. They used a picture of Eric Carr, not

682
00:42:28,679 --> 00:42:32,360
Peter Cris. Eric Carr is not the original singer of Beth.

683
00:42:32,440 --> 00:42:36,079
Peter Cris is, but they use the wrong drummer. Wow

684
00:42:37,199 --> 00:42:38,480
replaced Peter Chris.

685
00:42:40,159 --> 00:42:43,320
Speaker 10: That's really that's a really shoddy journal.

686
00:42:44,119 --> 00:42:47,679
Speaker 5: Really sloppy, really sloppy. All right, here's here's what the

687
00:42:47,800 --> 00:42:51,280
article says. In nineteen seventy six, Kiss released what would

688
00:42:51,320 --> 00:42:55,000
become their biggest hit song, Beth, the power rock ballad

689
00:42:55,039 --> 00:42:58,039
I wouldn't call it a power rock ballad, appeared on

690
00:42:58,159 --> 00:43:01,679
the glam band's fourth studio at Destroyer and started out

691
00:43:01,760 --> 00:43:05,440
as the B side to Detroit Rock City, which is

692
00:43:05,800 --> 00:43:08,519
which is true, which is interesting, and this is not

693
00:43:09,559 --> 00:43:11,960
you know, this has happened with other hit songs. But

694
00:43:13,840 --> 00:43:15,719
but yeah, a lot of people might not know that

695
00:43:15,960 --> 00:43:18,800
Beth was actually the B side. Beth was never intended

696
00:43:18,800 --> 00:43:22,480
to be the single. And you know the reason Beth

697
00:43:22,679 --> 00:43:25,000
was the B side is because, and I remember noticing

698
00:43:25,079 --> 00:43:27,679
this when I was a kid. You know, singles would

699
00:43:27,760 --> 00:43:30,840
usually have on the A side would be what was

700
00:43:30,880 --> 00:43:33,400
supposed to be the single, and the B side would

701
00:43:33,480 --> 00:43:36,000
usually be actually one of the weakest tracks on the

702
00:43:36,079 --> 00:43:40,719
album because they would always record labels would always make

703
00:43:40,800 --> 00:43:43,480
sure that the B side was a song that they

704
00:43:43,519 --> 00:43:45,519
didn't think had any chance. They didn't want the B

705
00:43:45,679 --> 00:43:47,480
side to be something they might want to release as

706
00:43:47,519 --> 00:43:50,760
a single later because so they would put what they

707
00:43:50,880 --> 00:43:53,960
considered to be a throwaway track as the B side,

708
00:43:55,000 --> 00:43:58,960
At least in America. British bands have a history of

709
00:43:59,159 --> 00:44:03,719
actually recording a separate song for the B side that

710
00:44:03,840 --> 00:44:05,400
isn't on the album, so it's kind of like a

711
00:44:05,480 --> 00:44:06,079
bonus track.

712
00:44:06,559 --> 00:44:09,440
Speaker 10: But that's but that which I think is cooler.

713
00:44:09,639 --> 00:44:12,239
Speaker 5: Oh me too, But that was not the case in America.

714
00:44:12,519 --> 00:44:15,280
Hasn't been the case in America generally, so so the

715
00:44:15,400 --> 00:44:18,000
B side to Detroit Rock City. Everyone knows the song

716
00:44:18,079 --> 00:44:22,920
Detroit Rock City, but the B side was Beth. So

717
00:44:23,079 --> 00:44:25,360
Beth reached number seven on the Billboard Hot one hundred

718
00:44:25,400 --> 00:44:28,159
and won the People's Choice Award for Favorite New Song

719
00:44:28,239 --> 00:44:32,679
of nineteen seventy six. In a post on his official website,

720
00:44:32,760 --> 00:44:36,599
Chris Peter Cris has touted Beth as Kiss his biggest hit.

721
00:44:36,800 --> 00:44:39,239
He added that the People's Choice honor was his favorite

722
00:44:39,239 --> 00:44:42,599
award because the people voted, and he's even prouder of

723
00:44:42,679 --> 00:44:45,639
the song decades later than he was in nineteen seventy six.

724
00:44:46,719 --> 00:44:49,960
But in a January twenty twenty sixth interview with the

725
00:44:50,079 --> 00:44:54,039
Professor of Rock podcast Kiss co founder Gene Simmons downplayed

726
00:44:54,400 --> 00:45:00,199
Peter Cris's involvement with the hit song. Now, part of

727
00:45:00,280 --> 00:45:02,960
this story already knew, but part of it I, as

728
00:45:03,039 --> 00:45:04,840
well as I think most Kiss fans, was hearing for

729
00:45:04,920 --> 00:45:08,239
the first time. Okay, here's what Jean Simmons said.

730
00:45:08,320 --> 00:45:08,559
Speaker 2: Quote.

731
00:45:09,039 --> 00:45:10,840
Speaker 5: The history of Beth is that Peter and I were

732
00:45:10,880 --> 00:45:13,679
in a limo and he starts humming. I'm like, that's

733
00:45:13,679 --> 00:45:14,400
a nice melody.

734
00:45:14,480 --> 00:45:14,800
Speaker 2: What is that?

735
00:45:14,960 --> 00:45:17,599
Speaker 5: He goes, Oh, it's a song I wrote called Beck

736
00:45:18,360 --> 00:45:20,960
because we had started working with Bob Ezrin. I said,

737
00:45:21,000 --> 00:45:23,360
why don't you bring up that song? By the way,

738
00:45:23,880 --> 00:45:26,039
what are the chords to that? He goes, oh, I

739
00:45:26,119 --> 00:45:29,119
don't know. I thought that was peculiar, But before then

740
00:45:29,159 --> 00:45:32,480
I suggested in the car, why don't you change it

741
00:45:32,559 --> 00:45:36,360
to Beth, because when you say Beck, that hard syllable

742
00:45:36,400 --> 00:45:39,679
stops the melody, and Beth is a much more romantic

743
00:45:39,800 --> 00:45:44,119
idea unquote. By the way, in another interview, Gen Simmons

744
00:45:44,199 --> 00:45:46,719
had once said about that specific moment, because this is

745
00:45:46,800 --> 00:45:49,639
part of the story already had heard, and this is

746
00:45:49,719 --> 00:45:51,519
part of the story that's been consistent over the years,

747
00:45:51,559 --> 00:45:55,199
that they were in a limo and Jean said to Peter, Hey,

748
00:45:55,639 --> 00:45:58,639
that's interesting. What's that, and Peter said it's beck And

749
00:45:59,400 --> 00:46:03,440
but the previous version of the story, Jean said, he

750
00:46:03,559 --> 00:46:06,400
suggests these are his exact words. He said, Oh, why

751
00:46:06,400 --> 00:46:07,800
don't you make it instead of back?

752
00:46:07,880 --> 00:46:07,920
Speaker 8: What?

753
00:46:08,199 --> 00:46:10,079
Speaker 5: Oh, that's right, I remember now he said to Peter

754
00:46:11,239 --> 00:46:12,239
beck what is that about?

755
00:46:12,320 --> 00:46:12,440
Speaker 7: Is that?

756
00:46:12,679 --> 00:46:14,719
Speaker 5: Is it about Jeff beck And?

757
00:46:15,000 --> 00:46:15,119
Speaker 2: Uh?

758
00:46:15,320 --> 00:46:17,760
Speaker 5: And Peter said no, no, it's about Becky because I

759
00:46:17,800 --> 00:46:21,760
guess I was friend and and then Jean said, well,

760
00:46:22,000 --> 00:46:24,800
I'm wondering that you should instead of back, maybe you

761
00:46:24,800 --> 00:46:27,039
should change it to Beth so that people don't think

762
00:46:27,039 --> 00:46:30,760
you're playing for the other team. Those Jean's words. That's

763
00:46:30,800 --> 00:46:34,159
how he plays. Yeah, yeah, but anyway, but but so

764
00:46:34,280 --> 00:46:38,199
that's but that's the basic story, the basic story.

765
00:46:39,000 --> 00:46:43,159
Speaker 10: Okay, well, what did did Peter ever give his side

766
00:46:43,280 --> 00:46:45,920
of that? I don't he ever say that conversation didn't

767
00:46:46,000 --> 00:46:47,119
happen or it did happen.

768
00:46:47,280 --> 00:46:50,400
Speaker 5: No, I've never heard Peter dispute any of that. But

769
00:46:50,519 --> 00:46:53,039
he's But here's where it gets interesting. So here's here's

770
00:46:53,079 --> 00:46:55,039
what Jean said on the on the podcast, he said,

771
00:46:55,079 --> 00:46:57,800
it's time for the truth. Peter does not write songs.

772
00:46:57,840 --> 00:46:59,719
He doesn't play a musical instrument. Drums are not a

773
00:46:59,800 --> 00:47:02,400
music instrument by definition. As far as I know, Peter

774
00:47:02,480 --> 00:47:05,679
plays no other instruments that I've ever seen, not keyboards,

775
00:47:05,760 --> 00:47:08,840
extreme instruments. Peter's got a very Peter's got a great

776
00:47:08,840 --> 00:47:12,119
whisky voice in the early days, had a great whisky voice.

777
00:47:14,679 --> 00:47:17,119
He said, this is the important part. The person who

778
00:47:17,199 --> 00:47:21,320
wrote Beth is a guy named stan Pendrich. Stan Pendrich

779
00:47:22,039 --> 00:47:25,119
was with Peter in a group called Chelsea. They had

780
00:47:25,159 --> 00:47:29,039
a record out, actually it was on MCA. So Peter

781
00:47:29,199 --> 00:47:33,079
did not write Beth. Stan Pendrich wrote that, but through

782
00:47:33,199 --> 00:47:36,079
politics and hint hint, nudge, nudge, And I wasn't there

783
00:47:36,119 --> 00:47:40,480
when the conversation went down. Stan Pendrich apparently agreed that

784
00:47:40,599 --> 00:47:44,760
Peter's name would go in the songwriting credit. It appears

785
00:47:44,840 --> 00:47:49,079
first Peter, Chris bob Ezrin, Stan Pendrich or the other

786
00:47:49,159 --> 00:47:52,639
way around. But Peter's first. Peter had nothing to do

787
00:47:52,800 --> 00:47:54,760
with that song. He sang it. In other words, he

788
00:47:54,800 --> 00:47:55,920
had nothing to do with writing it.

789
00:47:56,880 --> 00:47:58,559
Speaker 10: I'd like to know what any of those people have

790
00:47:58,679 --> 00:47:59,000
to say.

791
00:48:00,000 --> 00:48:03,400
Speaker 5: Well, Pendrich died in two thousand and one, so we'll

792
00:48:03,440 --> 00:48:08,719
never get his story, but say that he's not a musicianist,

793
00:48:08,760 --> 00:48:11,760
so oh well, what he said and they didn't include

794
00:48:11,800 --> 00:48:14,480
the full quote here. So what he actually said is

795
00:48:14,639 --> 00:48:17,000
he said drums are not a musical instrument. They're a

796
00:48:17,400 --> 00:48:23,760
percussive instrument, which is nitpicking and insulting. So Gene was

797
00:48:23,840 --> 00:48:26,519
definitely out of line for saying that. That's a that's

798
00:48:26,559 --> 00:48:30,280
a crazy thing to say. Now, this is the part,

799
00:48:30,480 --> 00:48:33,440
the part that I did not know. So because everyone

800
00:48:33,559 --> 00:48:36,480
knows the song Beth, but I'll just play for anyone

801
00:48:36,519 --> 00:48:38,079
who doesn't, I'll just play a little bit of it.

802
00:48:38,800 --> 00:48:41,280
But then, this is the part that blew my mind

803
00:48:41,840 --> 00:48:44,719
was when I found the Chelsea version. I actually went

804
00:48:44,800 --> 00:48:47,880
and listened to the Chelsea version of Beth. We'll go

805
00:48:47,880 --> 00:48:49,280
ahead and play a little bit of this, but then

806
00:48:49,760 --> 00:48:51,159
then we'll play the Chelsea version.

807
00:48:53,000 --> 00:48:59,800
Speaker 10: You call in but I can't come home and Chelsea

808
00:49:00,239 --> 00:49:01,079
in the balls.

809
00:49:01,920 --> 00:49:04,800
Speaker 5: No, this is the Kiss version. Oh okay, throw me up,

810
00:49:04,880 --> 00:49:06,960
like really, yeah no, this is the Kiss version.

811
00:49:08,840 --> 00:49:09,639
Speaker 6: Just a few.

812
00:49:14,039 --> 00:49:14,360
Speaker 1: To you.

813
00:49:20,800 --> 00:49:21,039
Speaker 2: Band?

814
00:49:21,280 --> 00:49:22,440
Speaker 10: What can I do?

815
00:49:25,280 --> 00:49:26,039
Speaker 6: What can.

816
00:49:28,760 --> 00:49:32,800
Speaker 5: Okay? So that's that's Beth by Kiss with with Peter singing. Now,

817
00:49:32,960 --> 00:49:36,639
this is what I had never heard before. This is Chelsea.

818
00:49:36,800 --> 00:49:40,199
This is Beck. It's called Beck, and the band is Chelsea.

819
00:49:40,760 --> 00:49:44,119
And this is the band that Stan Pendrich was in.

820
00:49:44,960 --> 00:49:46,960
Again he's dead, so nobody can get his side of

821
00:49:47,000 --> 00:49:51,480
things from from Uh, this is this is the original,

822
00:49:52,039 --> 00:49:54,880
this blew my mind from from when Peter and Stan

823
00:49:54,960 --> 00:49:57,320
Pendrich were in a band together called Chelsea.

824
00:50:17,599 --> 00:50:22,400
Speaker 1: Call it but I can't all right now.

825
00:50:24,880 --> 00:50:31,679
Speaker 2: In the Vegan but we're just jam bout that sound.

826
00:50:33,880 --> 00:50:35,559
Speaker 10: I won't you wad o.

827
00:50:35,719 --> 00:50:39,199
Speaker 2: Hour in a rod rad.

828
00:50:42,199 --> 00:50:44,719
Speaker 5: And man.

829
00:50:46,559 --> 00:50:47,320
Speaker 1: But then.

830
00:50:53,519 --> 00:50:56,159
Speaker 5: Yeah, so it's definitely the same song.

831
00:50:56,880 --> 00:50:59,880
Speaker 10: Sean sour because this is the song that got real.

832
00:51:01,079 --> 00:51:03,639
That's the number one. No, I don't think he cares

833
00:51:03,679 --> 00:51:06,159
about that, and it wasn't one he wrote.

834
00:51:06,400 --> 00:51:08,079
Speaker 5: I don't I don't think. I don't think that's why

835
00:51:08,119 --> 00:51:10,360
do you think he's so sour part of his I

836
00:51:10,360 --> 00:51:12,679
don't think he's I don't think he's soured necessarily.

837
00:51:12,800 --> 00:51:15,400
Speaker 10: I think he just hateful things. After somebody dies.

838
00:51:17,360 --> 00:51:19,880
Speaker 5: Well, you're now you're conflating with U A.

839
00:51:22,320 --> 00:51:26,079
Speaker 10: But he don't find it. You don't find it odd

840
00:51:26,159 --> 00:51:28,559
that they're happening so close together that he dies and

841
00:51:28,639 --> 00:51:31,199
now suddenly we're hearing this about Peter.

842
00:51:32,599 --> 00:51:32,920
Speaker 2: I don't know.

843
00:51:33,199 --> 00:51:36,079
Speaker 5: No, it's Jean's Uh, it's very on brand for Gene

844
00:51:37,159 --> 00:51:39,360
he's been doing this for decades.

845
00:51:39,960 --> 00:51:41,119
Speaker 10: Making a lot of enemies.

846
00:51:41,760 --> 00:51:43,960
Speaker 5: Well he does, yeah, but why why do this?

847
00:51:44,199 --> 00:51:49,360
Speaker 10: Why why do this? It's such a great Now does

848
00:51:49,440 --> 00:51:51,840
this nastiness about it? Or is he trying to garner

849
00:51:51,920 --> 00:51:54,000
more money by creating controversy.

850
00:51:54,559 --> 00:51:55,239
Speaker 4: I think he.

851
00:51:55,440 --> 00:51:58,519
Speaker 5: I think he likes being in the news certainly, But we.

852
00:51:58,880 --> 00:52:01,840
Speaker 10: Say, we should say the podcast is the professor of rock.

853
00:52:01,960 --> 00:52:07,199
Speaker 5: Yeah, yeah, But I mean he's not wrong though here, Like,

854
00:52:07,440 --> 00:52:08,519
I had no idea.

855
00:52:09,079 --> 00:52:09,800
Speaker 10: See this to me.

856
00:52:11,320 --> 00:52:13,599
Speaker 5: As a as a Kiss fan, this is very interesting

857
00:52:13,639 --> 00:52:15,679
to me. I'm actually glad. I mean, I don't agree

858
00:52:15,800 --> 00:52:18,480
with what he said about Peter doesn't play a musical

859
00:52:18,519 --> 00:52:21,320
instrument and all that. That's absurd, it's mean, but but

860
00:52:22,000 --> 00:52:23,880
it is mean, and I don't know that he intended

861
00:52:23,920 --> 00:52:27,440
it that way. But but I had no idea. I

862
00:52:27,559 --> 00:52:31,159
had never heard. I knew, I mean, you know, obviously

863
00:52:31,239 --> 00:52:33,920
I know a lot about Kiss, and I knew that

864
00:52:34,320 --> 00:52:37,639
Peter Chris was in a band called Chelsea with Stan Pendrich.

865
00:52:37,800 --> 00:52:38,639
That's all I knew.

866
00:52:38,800 --> 00:52:40,599
Speaker 10: I had no idea that he was involved at all

867
00:52:40,719 --> 00:52:43,360
with this song. You thought this song came from Kiss.

868
00:52:44,119 --> 00:52:47,840
Speaker 5: Right, I didn't know. Well, I knew that San Pendrich

869
00:52:48,039 --> 00:52:49,960
was because he has a songwriter.

870
00:52:50,039 --> 00:52:51,679
Speaker 10: Writer, but it was Kiss that did it first. That

871
00:52:51,760 --> 00:52:52,559
there wasn't a band that.

872
00:52:53,119 --> 00:52:56,840
Speaker 5: Yeah, I had no idea this song Beck by Chelsea existed.

873
00:52:56,920 --> 00:53:01,119
And by the way I'm looking at this, I just

874
00:53:01,280 --> 00:53:04,079
I found it on YouTube. This was posted on YouTube

875
00:53:04,159 --> 00:53:08,880
fourteen years ago, and I had no idea until now.

876
00:53:09,119 --> 00:53:12,239
Doesn't the guy kind of sound like Rod Stewart, Well,

877
00:53:12,320 --> 00:53:13,360
that's Peter singing on.

878
00:53:13,440 --> 00:53:17,239
Speaker 10: It the way. I don't know, maybe it just sounds

879
00:53:17,280 --> 00:53:18,119
like ro Well.

880
00:53:18,320 --> 00:53:20,480
Speaker 5: Well, Peter sounds like Rod Stewart, He's got that same

881
00:53:20,559 --> 00:53:23,719
kind of voice. Yeah, yeah, that's why there's this there's

882
00:53:23,760 --> 00:53:28,199
this weird story that's gone around for decades that we

883
00:53:28,280 --> 00:53:30,400
even talked about it. I'm not sure if we talked

884
00:53:30,400 --> 00:53:32,159
about it on air or off air, but it was

885
00:53:32,199 --> 00:53:35,719
on Retrospectrum Radio one night. We were talking about how

886
00:53:36,400 --> 00:53:38,960
I think we talked about it on air, this this

887
00:53:39,119 --> 00:53:43,639
story about Beth, that that it was actually written for

888
00:53:43,800 --> 00:53:47,280
Rod Stewart, oh, and that and that he rejected it

889
00:53:47,360 --> 00:53:49,960
because it sounded too much like Maggie May. But I

890
00:53:50,039 --> 00:53:52,960
don't believe that story anymore anyway. I don't even if

891
00:53:53,000 --> 00:53:55,320
he's halfway believed that. You can't believe it anymore. Yeah,

892
00:53:55,360 --> 00:53:58,079
I don't believe that story anyway, right, because that doesn't

893
00:53:58,079 --> 00:54:02,800
even make sense. Why would you know? Why would why

894
00:54:02,920 --> 00:54:06,760
do that? I think I think the way that story started.

895
00:54:07,519 --> 00:54:11,159
This is my theory. I think that back when when

896
00:54:11,239 --> 00:54:13,480
Beth came out, a lot of people probably thought, oh,

897
00:54:13,519 --> 00:54:16,239
that kind of uh, that kind of reminds me of

898
00:54:16,360 --> 00:54:18,639
Rod Stewart, and so then it just became this thing.

899
00:54:19,159 --> 00:54:23,599
You know some yeah, people just write an urban legend exactly.

900
00:54:24,199 --> 00:54:27,719
But uh, but no, uh, that that is the same song.

901
00:54:27,800 --> 00:54:28,960
I mean, there's no getting around that.

902
00:54:30,119 --> 00:54:35,079
Speaker 10: The revelation about the song fine and acknowledging that it

903
00:54:35,159 --> 00:54:38,280
came from another band could be very good, But to

904
00:54:38,440 --> 00:54:43,519
do so in the same breath as just being rotten.

905
00:54:43,639 --> 00:54:47,760
I'm sorry, it's rotten. I think drummers and musicians, of course,

906
00:54:47,840 --> 00:54:50,480
and I think their drums are there their instrument that

907
00:54:50,519 --> 00:54:54,840
I don't understand that one either musical instrument versus percussion instrument.

908
00:54:55,119 --> 00:54:58,880
They both have instrument in the sentence, So how.

909
00:54:58,880 --> 00:55:01,320
Speaker 5: Is yeah, how do you how do you explain that way?

910
00:55:01,920 --> 00:55:04,599
I understand what he's saying, I just don't.

911
00:55:05,239 --> 00:55:08,719
Speaker 10: I don't agree, don't agree I think drums is one

912
00:55:08,719 --> 00:55:11,239
of the hardest things to learn because all your limbs

913
00:55:11,280 --> 00:55:13,599
are moving in different directions. And then some of the

914
00:55:13,639 --> 00:55:16,360
people we watch, like under the Horizon singing at the

915
00:55:16,400 --> 00:55:19,559
same time, Oh by god, oh yeah, both legs are going,

916
00:55:19,599 --> 00:55:23,360
the arms are going, and singing versus screaming, all in

917
00:55:23,400 --> 00:55:29,719
the same It's amazing talent, it's and they're incredibly musicians.

918
00:55:29,960 --> 00:55:33,400
And to cut them off at the knees and call them,

919
00:55:34,079 --> 00:55:37,079
you know, anything other, or make them less than anybody

920
00:55:37,159 --> 00:55:39,800
playing any other instrument, whether it's a guitar or whatever,

921
00:55:40,280 --> 00:55:42,360
it kind of gives that feeling of a drummer being

922
00:55:42,519 --> 00:55:46,400
less than the guitarist or the bassist. And I don't

923
00:55:46,480 --> 00:55:48,519
I don't like that at all. I think it's pretty

924
00:55:48,559 --> 00:55:51,719
cold and rude and wrong. And I guess, like you said,

925
00:55:52,119 --> 00:55:53,480
in keeping with his style.

926
00:55:55,880 --> 00:55:59,599
Speaker 5: Yeah, all right, we gotta go. Thank you everybody who

927
00:55:59,679 --> 00:56:02,559
joined us today. And I thought it was a fun show.

928
00:56:02,760 --> 00:56:06,920
Uh Paul Zola, I'm sure I'm not saying his name correctly.

929
00:56:07,559 --> 00:56:11,320
Of course, we had the members of Generations join us

930
00:56:11,320 --> 00:56:13,599
and in the first hour, of course, Uh sick dude.

931
00:56:13,599 --> 00:56:17,760
Hell yeah, love those guys. I love their music and

932
00:56:17,760 --> 00:56:21,599
they're really good people too. So if you want to

933
00:56:21,639 --> 00:56:24,039
know more about what I'm up to, Matt Connorton dot com.

934
00:56:24,199 --> 00:56:25,800
Especially you know it is January. If you want to

935
00:56:25,800 --> 00:56:27,880
book a hypnotherapy session, you can do that right through

936
00:56:27,920 --> 00:56:31,079
the website, and Jenny, you want to mention your website.

937
00:56:31,039 --> 00:56:33,280
Speaker 10: Absolutely, you can always keep up with the good trouble

938
00:56:33,320 --> 00:56:36,679
I'm getting into at Jencoffee dot com. J E n

939
00:56:36,800 --> 00:56:39,159
n c O F f e y dot com. And

940
00:56:39,280 --> 00:56:41,639
stay tuned for some stuff coming up this week.

941
00:56:41,920 --> 00:56:44,000
Speaker 5: That's right, that's right, all right, if you miss any

942
00:56:44,039 --> 00:56:45,400
part of today's show, and we'll be up in just

943
00:56:45,480 --> 00:56:48,079
a little bit at w m hradio dot org and

944
00:56:48,159 --> 00:56:50,639
a my website Matt Connorton dot com. And that's gonna

945
00:56:50,639 --> 00:56:51,880
do it for us for now. We'll talk to y'all

946
00:56:51,880 --> 00:56:53,639
a little bit later. Bye everybody, Bye bye.

947
00:57:27,320 --> 00:57:32,000
Speaker 8: When I was a boy, all I think about this

948
00:57:32,239 --> 00:57:36,239
was a stupid boy that I was. When I was

949
00:57:36,360 --> 00:57:41,320
a kid, I got my face up there not toilets

950
00:57:41,599 --> 00:57:47,039
with the geese out. Damn. I wasn't always a stoop pump,

951
00:57:47,679 --> 00:57:52,719
but when I was, I was a jump I didn't

952
00:57:52,920 --> 00:57:58,920
always look as I used to laugh and go filled.

953
00:57:58,719 --> 00:57:59,599
Speaker 9: With us.

954
00:58:01,480 --> 00:58:06,280
Speaker 8: I remember roll the Man times and picks them along.

955
00:58:08,840 --> 00:58:13,840
It feels like someone that's stopping their tack fuck off.

956
00:58:13,719 --> 00:58:14,760
Speaker 6: Of my arm.

957
00:58:17,239 --> 00:58:21,960
Speaker 5: Right, don't you miss Side Go where no scene down?

958
00:58:22,320 --> 00:58:27,920
Speaker 1: Bobby roll up Live? I ride? Do you Missie Go?

959
00:58:28,360 --> 00:58:30,119
Speaker 5: Where no scene down?

960
00:58:30,239 --> 00:58:33,280
Speaker 1: A bom me roll up live.

961
00:58:40,400 --> 00:58:53,199
Speaker 8: Y. When I was in school, didn't make good grades,

962
00:58:53,360 --> 00:58:57,519
I was, yes, still being numb fool when I was

963
00:58:57,599 --> 00:58:58,280
still young