By Brian Southall
Elvis, Ozzy, George Michael, Metallica, George Harrison, The Smiths... They've all been fascinated by criminal motion over the last fifty years or so.
Pop is going To courtroom recollects one of the most unique and peculiar proceedings ever to take rock'n'rollers right into a court. Bono went all litigious over a disappearing hat, one Beatle filed swimsuit opposed to the opposite 3, and 40 years after it was once an important hit, Procol Harum's A Whiter color Of light used to be all of sudden the point of interest of a sour felony wrangling over who really wrote it.
Author Brian Southall digs deep into the most memorable song disputes ever to advantage the sober deliberations of the legislation, and in doing so, finds a lot approximately our altering perspectives on popularity and the worth of exposure.
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Extra info for Pop Goes to Court: Rock 'N' Pop's Greatest Court Battles
10 Indeed, there are times on Pangaea when Miles sounds as if he is sobbing into his trumpet. Henderson felt that the band was set for even bigger things. “By 1975, the band was really opening up; we were really getting ready to turn in something else. I even recorded my song ‘You Are My Starship’ [later a hit single with Norman Connors] in the studio with Miles. Keith Jarrett was on the piano and Al Foster on drums. I had a feeling the music was probably going to get even more funkier. ” But apart from a few more concerts later that year and several studio sessions the following year, this was as far as the band would go.
Miles had his hip replacement operation in December 1975 and spent the rst part of 1976 convalescing. In 1976, there was talk of Miles collaborating again with Gil Evans on a recording of Tosca, but nothing ever came of this. But in March 1976, Miles was back in the studio with most of his current band members, including drummer 5 into the shadows 33 Al Foster, Michael Henderson, Pete Cosey, Sam Morrison and guest keyboardist Mark Johnson, who was a friend of Henderson. On the aural evidence available, Miles played little, if any, trumpet on these sessions, preferring to direct operations and play the organ.
Teo Macero was a saxophonist and a composer, and had played with Charles Mingus and Thelonious Monk. Macero joined Columbia Records as a music editor in the mid-1950s and began working with Miles and Gil Evans on the editing of Porgy and Bess. “I’ve got some things that are incredible that we put together later and have never seen the light of day,” says Macero. “I took all the out-takes of Porgy and Bess and made it into a suite and it’s a wonderful suite. It’s probably some of the best stuff that Miles ever did and it’s not on the record.