Matt Connarton Unleashed 1-10-26 hour 3

0:01 Speaker 1: M n H will rip the novels.

0:06 Speaker 2: You're listening to.

0:07 Speaker 3: Matt Connorton unleashed on W m n H ninety five point three.

0:35 Speaker 4: I'm a just a memory and confuse down, a mental break down, and the mental lose part of me is killed the other kids.

0:43 Speaker 1: I had to choose these broken pieces left to me while I'm sending them. Don't you perceive the divined.

0:56 Speaker 4: That before?

0:57 Speaker 5: Will the reason?

0:58 Speaker 6: I know?

1:00 Speaker 1: Oh be bred and delve to proceed? I'm dead by?

1:16 Speaker 1: Did you protect your silence?

1:17 Speaker 7: I don't look at the past sons and balance that destruction. Brot a edge.

1:22 Speaker 4: I guess my re precedes me.

1:24 Speaker 8: He's saying, I'm compet you special.

1:26 Speaker 1: Just remember Ryan during his company here. I don't perceive but delied back before road reason be pretented not to proceed. I'm the sad.

1:49 Speaker 2: God, how good.

2:16 Speaker 4: Nobody talking can be pain like that?

2:20 Speaker 7: Somebody talking there by Nobody talking can be pains like this.

2:26 Speaker 1: Somebody talking don't preceive the deed that be tot dere no.

2:42 Speaker 9: Would be preach and then to proceed. I'm de sad it is I gotta go, how God?

3:17 Speaker 10: Nobody?

3:31 Speaker 1: Uh.

3:31 Speaker 5: The track is Seance, The band is generations and we're gonna be talking with them in just a moment. Welcome everybody. We have entered our number three New Marrow trace of Matt Connorton Unleashed and we are live from the studios of w m n H ninety five point three FM and Glorious Manchester, New Hampshire. And of course you can listen to the show from anywhere. Go to Matt connorton dot com slash live for all of your live streaming options, social media links, contact info, show archives, et cetera, et cetera.

3:57 Speaker 5: If you are listening live. It is Saturday, Nuary ten, twenty twenty six. Jenny is here, of course at the news table, and let's get the band in here. So I've got the level up here, I know we have uh we have Jen Are you there?

4:11 Speaker 10: Can you hear us?

4:13 Speaker 4: Yes, we can hear.

4:14 Speaker 5: Oh excellent, let me, I gotta boost the volume on this end. But uh so yeah, so welcome. So we have gen X from the band, and you've got your cohorts with you. Because I can see I don't think you can see me, but I can see you on the on the screen. Why don't you go ahead and introduce everybody? If you would, or they can introduce themselves. However you want to do it.

4:35 Speaker 11: Marco Flivers and we're MIAs one because he's working today and he can make Anthony and he plays guitars.

4:41 Speaker 5: Well, gotcha, gotcha? All right, So tell us about I'm curious to know how this band came together because you're you're in an area you're in? Is it Springfield, Missouri?

4:55 Speaker 2: Yeah?

4:56 Speaker 5: So not exactly known as a hotbed for metal, shall we say? But I have no idea what the music scene is like there. How did this spand come about? And are there I mean, is there a strong scene there where you are?

5:10 Speaker 2: I think it's not too bad. The story on how we got together kind of funny.

5:13 Speaker 12: I actually know Daniel for a long time and hit him up and he've been playing music different bands for twenty something years now, and I was like, maybe why do we Why did we never jam him?

5:23 Speaker 2: He's like, look, I don't know.

5:24 Speaker 12: We went ahead and got together to the Little Jamon and just kind of turned into what we.

5:31 Speaker 2: Got going on there.

5:33 Speaker 5: So is this is this a relatively new project?

5:37 Speaker 4: Yeah, well it has been going for about three years.

5:39 Speaker 11: So when we formed it, we had an original singer and then we lost him for the health reasons, and then we went through about a year and a half of just going through different vocalists, you know, trying new things vocally, and then we blessed to run into this kick over here.

5:55 Speaker 2: Yeah that's the fun from there. I mean you hear seal she's amazing.

6:00 Speaker 5: Yeah, absolutely, absolutely so. And having a you know, a female fronted band is still it's weird. It's it's you. You would almost think it'd be it wouldn't even be a big deal at this point, right, But it seems like in the industry when you have a female fronted metal band, it still kind of turns heads. People say, oh, isn't that interesting, even though there's been many many female fronted bands. But I mean, jen X, I'm curious how you feel about that and is that something that you really kind of try to push to the forefront in terms of how the band is marketed and perceived or do you think about that part or is it just this is what it is, or how do you approach that.

6:41 Speaker 4: So I've been doing this long time. Springfield, you know, is probably not well known, but Bramson is, oh yeah, well known. My parents were entertainers there for twenty years.

6:52 Speaker 10: I was a child.

6:53 Speaker 4: Entertainer there growing up. Oh wow, professionally performing since I was five. Okay, so classically because growing up there it's mostly country. I did a lot of country. But this is me, this is the music that I love. I remember screaming at the top of my lungs to Offspring when I was like nine years old. Does genuinely love it? But I didn't have that opportunity to express myself that way growing up. Yeah, so this is this is me taking that opportunity. I stepped away from performing for about twenty years.

7:31 Speaker 4: Oh wow, because I growing up with you know, entertainer parents. It's just a different lifestyle and I just wanted something different from my kids. And so this is this is me coming back out in my own way, authentically myself and we are just having a blast.

7:49 Speaker 5: Yeah. Yeah, absolutely. So for twenty years you didn't perform at all?

7:54 Speaker 10: Is that correct?

7:57 Speaker 4: Some some a little bit, but not a lot, and not a lot professionally. You know, I love karaoking. I do it all the time. It's just my little extra outlet.

8:04 Speaker 5: Sure that. But was was it always kind of in the back of your mind that you would get back to it? Or that you would be doing something like this or has this been kind of a kind of a twist in your story that you didn't necessarily always think would happen.

8:19 Speaker 4: Oh, this is a huge twist. I was so nervous coming into this genre, I you know, but everybody has just welcomed me with open arms, which which has always been great about you know, metal heads in general, I feel like they are like the most accepting and so it's yeah, I am truly blessed with this opportunity. I could not be more grateful. I'm so excited about it. These guys just had nothing but faith in me when I didn't have it in myself.

8:50 Speaker 5: So yeah, tell me too about the name because so the name of the band is Generations, but the way that it's spelled and Jen, I even I even asked you in an email for clarification because it's spelled Generation but I'm sorry, generations but with a Z at the end and the Z is capitalized. So what is the significance of that? What does the name mean to you?

9:13 Speaker 11: Well, when we started it, we were kind of playing on our own music, Like I had two other bands going a time. When we started this thing, we were playing metal covers, rock cover like, we were playing a kind of a broad spectrum of music. So I was like, okay, we just be called Generations. Well then when we looked up Generations as a band name, there was only one of them in Florida and it was a cover band that played you know, so like fifties did a middle two thousands cover band.

9:39 Speaker 2: So we just changed the name that. We changed the E to.

9:42 Speaker 11: A and put a Z on the end of it and put the little the time capsule deal on the hour glass on.

9:47 Speaker 2: The end of it.

9:48 Speaker 11: And yeah, we didn't think about it being called Generation Z until it got played on Rock Rage Radio the first time and they.

9:55 Speaker 4: Were like generation Z playing Salence and we were.

9:58 Speaker 5: Like, oh snack, Yeah, I can see, you can see where that would happen. But now, so tell us about the first single, Seance. Uh, A great, great track and it's very and I really like too by the way, the production choice with it becomes prominent at the end, uh, you know, with with the keyboard in there. I just really like the production of the song. But but tell us about Seance and and where that song comes from and what the meaning is behind those lyrics.

10:31 Speaker 13: Well, Uh, the kind of the meeting behind it is more of like a seance that you would kind of tell yourself to kind of keep yourself centered, keep yourself focused, motivated, to keep going, and to push out all the the bs that goes on in live and just kind of kind of keep yourself self centered.

10:51 Speaker 2: You know.

10:51 Speaker 5: Yeah, and then like like, what's the so that song was played on they played that on rock Rade radio?

11:00 Speaker 2: Is that.

11:02 Speaker 4: It's been on a lot of things? Yeah, Yeah, we've been on some online radios in the UK pretty much daily for a couple of months now with Excellent. Yeah, so it's it's been it's been an amazing journey so far.

11:18 Speaker 5: Well, so you're you're off to a great start then, because you know, like like we were saying that the project in this iteration is relatively new, right, that's your first single, So so yeah, you're you're you're off to a great start. That's got to feel good. No, that's wonderful. And then what's the live schedule, Like are you playing a lot of shows? Are you touring or or what's what's happening there?

11:50 Speaker 4: We do have a lot on the books. We we are actually have the opportunity to play in February in Saint Louis on the road to Point Best.

12:01 Speaker 5: Excellent.

12:02 Speaker 4: It's like a battle of the bands to try to actually get to play Point Fest, which.

12:06 Speaker 2: Is one of the which we never heard of that looked at.

12:09 Speaker 11: Point Fest in Saint Louis, Massive, massive festival.

12:14 Speaker 2: Yeah, it's yeah, geared.

12:16 Speaker 4: Up and excited for that. And we have another local show at Moontown Sound.

12:23 Speaker 2: In Springfield. It's really awesome. And then uh, then we have a show in Columbia.

12:29 Speaker 4: Oh yeah, we well we've got stuff further out.

12:31 Speaker 2: Yeah, out in the area.

12:33 Speaker 11: We have stuff in hougust In Columbia, and that's Nebraska. We've got Texas coming later in the year as well. Yeah, it's a it's getting pretty wild.

12:44 Speaker 4: We are geared up and ready to get out there.

12:46 Speaker 5: No, that's excellent. And then so in terms of the live show, because so far, I mean, do you have other material that you play live that you haven't recorded yet?

12:55 Speaker 4: Absolutely?

12:56 Speaker 2: Oh yeah, yeah, we got a lot of music.

12:59 Speaker 5: We have a lot of music of the whole album, oh fantasy. So you're working on an album now, That's That's another thing I was going to ask you, because you know, there's so many different ways to release music now, A lot of artists will do an album, some will do an EP, some will just release singles that eventually coalesce into an EP or an album. But so you've got you're working on an album currently yep, excellent, excellent. For the next song, yeah, oh okay, okay, fantastic, same same studio where you recorded, uh a seance and something Wicked or.

13:38 Speaker 11: Seance shot to my bud Kevin Dunn at Mercenary Studios.

13:42 Speaker 2: We tracked that song with him.

13:44 Speaker 11: The next batch of songs is done with Jess Smith, a studio also amazing engineer.

13:52 Speaker 5: Okay, something Wicked?

13:57 Speaker 2: Oh yeah, because we just released that.

14:01 Speaker 4: We just released that yesterday.

14:03 Speaker 5: So yeah, so something Wicked that hasn't Is that not been heard? Is this the first time that will be on the radio that track?

14:11 Speaker 2: Yeah?

14:11 Speaker 12: Sure, we just released it last night.

14:14 Speaker 2: We just released it last night.

14:15 Speaker 5: I was gonna say, yeah, that's very new, hot off the press. Well that's one of I'm glad we're gonna be the first radio station to play it. That's very cool. I can I can play my My World premiere bumper

14:28 Speaker 5: we Love We Love the World premieres around here. That's great. No, that's another great track, very very strong. I really like that a lot. And then what what's kind of the long term trajectory. I mean, you've got a lot going on, You're working on the album, you're you're, uh, you've got some some shows lined up. I mean, what what what do you feel is in the future for for generations? What's what's kind of the the big goal?

14:52 Speaker 11: Well, thin goes just like any other band, you know, they tried to professionally get it where we can financially swap over.

14:58 Speaker 2: To make enough money make music and.

15:01 Speaker 11: Everything else comes along with making music to you know, feed our families and all that fun stuff.

15:06 Speaker 4: Yeah, I love perform, Like I said, I mean, it's it's just it's it's my space. But for me, I'm just excited to perform. And then then when I realized I get to make money doing it as well, I'm like, oh yeah, that's cool. That's a bonus for me. But like just being able to perform and connect with people and just that's my favorite.

15:24 Speaker 5: So yeah, absolutely one. Now what should we know? So in a moment, we're going to play this track something wicked will well, when we wrap up our conversation, we'll play that to kind of end the segment. But I mean, what should we know about this before we play it? You know, we talked about seance, but again, people are going to be hearing this for the very first time on the radio. What should we know about this song? Something wicked?

15:49 Speaker 2: It was?

15:50 Speaker 13: It was actually kind of inspired.

15:52 Speaker 12: We were sitting around Starley Spring. We had some real nasty weather to weather coming through and we just sent it to our group chat, texting back and forth and I just I probably said something wicked. This way goes and did jebitions like that one makes some really cool solos.

16:07 Speaker 2: I'm like, bet so, I sat down start dropping some stuff.

16:09 Speaker 4: Down and then it kind of borphed into what we got here.

16:12 Speaker 12: But it all started to get news feed about talking about the weather.

16:16 Speaker 2: Yeah, yeah, we really wrote these songs lyrics in our.

16:18 Speaker 5: Band chat, no kidding? Oh that scared Yeah.

16:23 Speaker 4: Well, and I was. I was telling Daniel earlier. Something I really appreciate about this project and this group of people is that we are just comfortable with each other. It's where we give each other the space to be ourselves individually creatively, and then we come together and it works. And so when it comes to some of the meetings for the songs. Also, I think that it resonates differently with each of us. I was for something wicked. I have also had some mental health struggles throughout my life, and I still struggle with PTSD.

17:01 Speaker 5: Okay, so I am having.

17:03 Speaker 4: A PTSD episode sometimes that turns into like inner rage that I have to cage. Yeah, and so for me, that's the something wicked. And so this song particularly is kind of coping for me. Yeah, that breakdown is so special. I just love it.

17:29 Speaker 5: Anyways, No, I'm glad, I'm glad you. I'm glad you explained that because something that comes up on the show a lot is, you know, we talk about taking, taking trauma, taking PTSD, taking you know, anxiety, depression, whatever, it is, all these things that that we deal with from a mental health perspective. When you take something like that and you create something out of it, you know, you're taking something that's negative, but you're creating art. So you're creating something positive out of it that not only not only does that process hell help you to deal with it, but it potentially helps other people who also then hear the song or or look at the painting or whatever kind of art it is that you're creating.

18:09 Speaker 5: Right, If other people can also get something out of it, then you've not only you've not only helped yourself, but you've helped others and you've done so with something that comes from from pain and trauma. So I think that's I think that's always a wonderful thing when you can do that. So I'm glad you explained that well.

18:25 Speaker 4: And art I think is the greatest form of self expression. Yes, obviously is my favorite, but I also think that it's the greatest form of self expression. And of course it's something that all human beings relate to and that's what I do it for. That's what I love so much about it, and these guys too.

18:46 Speaker 2: And so if you know.

18:48 Speaker 13: Why we're here, well you also get to make those connections with people that you might not have made it any other way.

18:52 Speaker 5: So I mean, look here we are talking with you exactly exactly well, so I'm looking forward to playing that track and sharing it with everybody. But before we let you all go, So, where's the best place to go online to keep up with everything that the band is doing? Where should people go online?

19:11 Speaker 4: Pretty much everywhere the band's on Instagram and Facebook, of course, we have our YouTube page. I have personal pages on TikTok and Twitter or I guess it's x now and Facebook, Instagram. You'll just find us.

19:28 Speaker 12: Anywhere, okay, Oh yeah, we'll talk on all the platform definitely is a YouTube music Spotify.

19:34 Speaker 2: Where do you get band or so?

19:36 Speaker 4: We do have a website too, Oh.

19:38 Speaker 5: Yes, I'm looking at that now.

19:39 Speaker 2: Yeah.

19:40 Speaker 5: Generations dotnoisyard dot com. You can find everything there. A lot of good information about the band there actually, so that's great up and your music is there too, outstanding our YouTube videos.

19:54 Speaker 4: You can purchase merche well, we haven't got it set fully yet, but eventually you'll see all our shows like this is everything Generation.

20:02 Speaker 5: Yeah, excellent, excellent, all right, So in a moment, so we'll let you go so we can hit this track again, the world radio premiere of Something Wicked, the brand new track from Generations. But I want to thank you all for joining us this morning. It's wonderful to talk with you, and we'll definitely do this again in the future as you're releasing new music. We'd love to have you back on.

20:21 Speaker 2: Thank you.

20:23 Speaker 5: Absolutely, you got it, all right, We'll talk to you soon. Take care, bye bye, all right, so that is Generations, and right now it's the world radio premiere of the new track from Generations, something Wicked.

20:38 Speaker 2: You are listening to.

20:39 Speaker 1: T wuminh.

20:42 Speaker 5: World premiere.

21:26 Speaker 7: Ruby now lasses General and I am still here no more.

21:34 Speaker 6: No more.

21:37 Speaker 10: Lin the match and washing.

21:40 Speaker 7: Smells him both at this aspire.

21:45 Speaker 1: I have heard your name, snap of comand.

21:52 Speaker 4: Snow well left to.

21:55 Speaker 1: Hope your head and the party see snow.

22:02 Speaker 5: I'll come on.

22:05 Speaker 1: It's no weather to.

22:09 Speaker 6: Honey's trust me gun about something rigging this way?

22:28 Speaker 1: H M well side that's come toosing. Let me trustfer. I can't see hit your turn watching off.

23:04 Speaker 7: You laugh, lad, I said to you broke me just falling up from head on.

23:12 Speaker 6: Scream from me, h nos, snow of coming.

23:19 Speaker 1: Snorwell left to hope you'll head.

23:24 Speaker 7: And hearty just begun, snow coming.

23:33 Speaker 1: Snowwell up to.

23:36 Speaker 6: Heartey shall be gone out something wacket this wedding.

23:42 Speaker 1: Come now I'll come and no man, love you hold your head and Honey's first be snaw snow to Honey's just be good. That's something we need this way.

25:51 Speaker 5: There's the world radio premiere of the new track from Generations that is called something Wicked. You heard it here first on Matt Connerton Unleashed here on WMNH ninety five point three FM. And thank you again to gen X and the all the members of Generations who joined us this morning. It was wonderful to speak with them. I'm sure we'll do it again in the future. She's got an interesting history having It's funny because, yeah, it didn't even occur to me. You know, Springfield, it's right near Branson, and you know, and then you know she was not doing anything with music for twenty years, and that's pretty interesting.

26:26 Speaker 5: Yeah, but we've got let's see, whoops, I actually just accidentally closed one of the links you sent me, so let's look at this one first. We got a couple music news items. Let's see. This is courtesy of you found this one on Digital Music digitalmusicnews dot com. Los Lobos files dual lawsuits against Sony Music and Sony Pictures over alleged non payment of royalties from films. Now I have not pre read this, but when you said this to me, when you mentioned that there was this news about Los Lobos, my first thought was LaBamba.

27:03 Speaker 5: Yeah, because that's what everyone thinks of. Of course, when you think of Los Lobos, you think of La Bamba, you think of not only the song obviously LaBamba, but the movie about Richie Vallence. Because that's how Los Lobos in the eighties, that's how they became famous was because of that song. That's I mean, I don't know if they really even have any other mainstream Billboard Hot one hundred hit songs necessarily, but that's the one everybody thinks of.

27:32 Speaker 10: You want a quick perusal here, I'm not so sure. Oh yeah, no, it is in part the LaBamba soundtrack, Okay. But also it looks like there might have been a film done in Canada. I'm sorry what there might have been another film done in Canada? Song?

27:48 Speaker 5: Oh oh in Canada. Well, let's see again. This is from Digital Musicnews dot com. Los Lobos sues Sony Music and Sony Pictures in two separate lawsuits alleging non payment of royalties for songs featured in the films LaBamba and Desperado. Oh that's right, okay, Desperado with Antonio Benderas. That's a that's a goot about that. That's an underrated movie. That's a really good movie.

28:14 Speaker 10: I haven't watched that in a long time.

28:15 Speaker 5: Actually, yeah, that's really good uh. Los Angeles band Los Lobos, issuing Sony Music and Sony Pictures for two separate instances, alleging the company underpaid streaming royalties for the group's recordings used in the nineteen eighty seven Richie Vallens biopic LaBamba and the nineteen to ninety five Antonio Banderas Western film Desperado. According to the lawsuit, which the band initially filed in California state court before Sony filed to move it to New York federal court, Sony owes a combined total of at least one point five million dollars in contractual damages.

28:54 Speaker 5: In both instances. Los Lobos accuses Sony of failing to pay royalties for the streaming use of their recordings in these two films in any country outside the US and Canada.

29:06 Speaker 10: Okay, now I get it.

29:09 Speaker 5: Specifically, the suit against Sony Music Entertainment focuses on unpaid royalties for the song I don't uh Cancion.

29:19 Speaker 10: I feel like I'm gonna murder it if I try to say.

29:23 Speaker 5: It, Kencion del Mariachi.

29:26 Speaker 10: You're probably closer than I would have said.

29:28 Speaker 5: Maybe, featured in the movie Desperado. Los Lobos alleges that neither Sony nor its imprint Milan Records have paid any streaming royalties globally for the track's use Sucker, despite its recent surgeon popularity as a walkout anthem for Mma Fighter Ilia l Mattador Topouria, Topouria.

29:53 Speaker 10: That explains the resurgence.

29:54 Speaker 5: Yes, yes, in that instance, the band is seeking at least half a million dollars for alleged breach of contract and requests a formal accounting of damages owed. I need to gulp of my water here.

30:10 Speaker 10: I didn't think about those coming back for streaming, like when you first brought it up. I'm like, yeah, but this was back in the eighties, right, The thing is too now, I didn't think about the streaming aspect.

30:21 Speaker 3: Well.

30:22 Speaker 5: The thing is when you think about in the music industry, when you think about how complicated it gets in terms of paying royalties for publishing and all of it, performance royalties, mechanical royalties, everything that goes into it, then take that and compound it with how complicated it gets and how complicated it's always gotten. When you talk about soundtracks for films, then it gets a whole new level of complicated and that seems to have reared its head here. So the lawsuit says, quote, despite the specific knowledge that the popularity of the recording was spiking and reaching new audiences, Sony and its affiliate Imprint Milan still paid nothing, nothing to Los Lobos for streaming and continues to pay nothing for streaming anywhere in the world for any time period.

31:17 Speaker 10: I because some people lead by example. Yeah, we're just gonna keep using it. We're gonna ignore you.

31:24 Speaker 2: Yep.

31:25 Speaker 10: I so hate that. It's not like they they didn't give him anything, nothing that one dime.

31:31 Speaker 5: That's what they claim.

31:32 Speaker 2: Wrong.

31:33 Speaker 10: You have this music without the artists.

31:35 Speaker 5: Right, says Los Lobos also sued Sony Pictures and its subsidiary Columbia Pictures for allegedly unpaid royalties stemming from the La Bamba soundtrack, which features several Los Lobos covers, including Richie Vallen's LaBamba. Their version spent several weeks at number one on the Billboard Hot one hundred. I think Los Lobos did the entire soundtrack, if I'm not mistaken thought they did.

32:00 Speaker 2: Yeah.

32:02 Speaker 10: I'm not surprised at all by any of this.

32:08 Speaker 5: No, not one iota, no, none of this is surprising.

32:14 Speaker 10: And we know what also complicates a lot of this too, is that each individual state has its own laws as far as like right of succession. Somebody passes away, who owns it right. So it gets even more convoluted when you look at the fact that not only is it so grotesquely full of crazy contracts whatever federal laws, but each individual state laws and where it signed matters.

32:45 Speaker 5: That is true, That is true.

32:47 Speaker 10: It kills me. The Lobama was so long ago that they'd have to.

32:50 Speaker 5: Fight for that money. It doesn't surprise me, though.

32:53 Speaker 10: It kills me. I'd say surprised, is it? It kills me. It's like a classic based on true story.

33:01 Speaker 8: You know.

33:03 Speaker 10: Ah, that's just that's just so wrong. Yeah, it's always the artist. It's always the artist that's getting ripped off by these companies.

33:10 Speaker 5: Yeah. Well, they're the ones who get paid last.

33:13 Speaker 10: Which is so wrong. They should be the ones paid first.

33:16 Speaker 5: You know, they're they're at the end of the they're at the end of the food chain. Yeah, says here, Oh, let's look at uh yeah, we'll go on to the next thing. This is from musicnews dot Com. Uh Salt and Pepa's lawsuit against Universal Music group has been dismissed. Speaking of we.

33:34 Speaker 10: Talked about this when they first filed it.

33:36 Speaker 5: We did, but we also it occurs to me, you know, we were talking earlier about when we talked about the Ticketmaster lawsuit, how Ticketmasters seems like they're always involved in some sort of litigation. But uh, Universal Music Group also seems to always be involved in some sort of litigation. It says, yeah, says here a judge is thrown out Salt and Pepa's lawsuit against Universal Music. The suit sought to retake control of the hip hop duo's master recordings. Ryl Salt James and Sandra Pepa. Denton attempted to exercise their so called termination rights under section two oh three of the Copyright Act, under which artists can draw can claw back they're masters decades after signing away the copyrights.

34:22 Speaker 5: By the way, for anyone who doesn't know, I know a lot of industry people listen to the show. But if you don't know, when we talk about the masters means the master recordings, the original recordings that were done of these. You know, if you're if you're a recording artist, you ideally you want to own your master recordings.

34:40 Speaker 10: He who owns the master owns the song?

34:42 Speaker 5: Yes, yeah, so this is what they were trying to do. They were trying to take take back control. But again this was a thing where because I remember the original story about this, when the lawsuit was filed, it got complicated about who actually owned the masters, because it it wasn't as simple as they were trying to get their masters back from UMG. There was this also this other thing about somebody owned part of the masters or owned all the masters, like a former manager of theirs or something. It was this whole convoluted thing.

35:16 Speaker 10: Interesting though how this pans out though, because it said that with their original contract that it was in the contract that the copyrights would revert back to them after thirty five years. Yes, but then when you go to the contract, UMG said, well, Salt and Pepper didn't actually sign it, oh, right, in nineteen eighty six. Right, they didn't actually sign the nineteen eighty six record deal with Imprint Next Plateau Records. So though apparently they thought they did, and they thought they had this contract, u UMG has somehow found this loophole and said, oh, well they didn't actually sign it.

36:02 Speaker 10: And the judge went, oh, just missed the whole thing, and that's so wrong. In my book, that is so wrong. That is so wrong. A lot of these artists too, especially back in the day. You know, before the Internet, it was really hard for artists to get any attention. It's so much easier now, not that it's I shouldn't say easy. Music is more accessible, artistry is more accessible to the world. Because of the Internet, people can get their voice out there, even on their own. You can self publish a book, you can produce and put your own music out.

36:39 Speaker 10: Back in the day, back in the eighties, you had to get bound. You had to find something somebody who would take a notice of you, and it would It was beyond rare to be noticed that if somebody did. That level of excitement at that young age is like, oh my god, we got a record contract. Who you don't lose your mind. And I honestly believe that they wholeheartedly believed and had a contract at that time. I don't know what this is or but I feel like there's some loophole here because that one sentence doesn't give me enough information.

37:22 Speaker 10: Yeah, that they got to take a walk away with all of their artistry, all of their work and say too bad too, sad, thirty five years wind have gone by, but we're still not going to give it back to you because we want to make as much money off of you as possible, and they didn't. Right now, the artist is completely left out in the cold, your creation, your artistry, your heart and soul, and you don't get nothing, but the multi billion dollar company does.

37:53 Speaker 5: So it says James who assault. Cheryl James told Good Morning America in August, quote, when you're an artist in the beginning, you sign a contract saying that the copyrights will revert back to you after thirty five years. And we've done all the things legally to get our copyrights back, but they're just refusing. So we had to see them unquote. Denton and James further claimed UMG had removed some of their biggest hits, including push It, from streaming platforms, amid the legal fight.

38:29 Speaker 10: Retaliated against them. Yeah, so they couldn't make money off of their more popular They're hugely popularis slung push It?

38:36 Speaker 5: Yeah?

38:38 Speaker 10: That see to add insult to injury.

38:42 Speaker 5: Wow, Yeah, that's cool.

38:44 Speaker 10: Going to be a special kind of awful human for that.

38:46 Speaker 5: Yeah, that's clearly a retaliatory, UMG mentioned I'm sorry. UMG maintained that Salt and Peppa did not have the termination rights because they didn't actually sign their nineteen eighty six record deal with Imprint next Plateau Records.

39:05 Speaker 10: Did a manager sign for them?

39:07 Speaker 2: You know what I mean?

39:08 Speaker 7: Like this?

39:09 Speaker 10: This is something here? Yeah, because if that was, if that was the flat out case all this time, they would have brought that out a long time ago. They found some kind of loophole. Maybe the manager signed it and not specifically the girls, So they're using that as a loophole of some kind. There's got to be more to that part. There has to be. This has been going on for too long for that to suddenly come out now. I feel like there has to be a loophole they're using.

39:35 Speaker 5: Maybe I'm wrong, what so, how how do they even This is what I don't get. If they if they never signed the contract, then then that means there is no contract, right? So what am I missing here?

39:51 Speaker 4: So?

39:51 Speaker 10: How come they don't own this stuff anyway because they never signed a deal to give it to somebody else?

39:56 Speaker 6: Right?

39:56 Speaker 10: True? The other side of the coin? Yeah, yeah, you got a good point.

40:00 Speaker 5: How does that work?

40:00 Speaker 10: But the judge just at hand. Now we don't know if he dismissed it with prejudice or not. We just know that he dismissed the entire case.

40:10 Speaker 5: Yeah, it says Judge Denise Cody sided with UMG on Thursday and dismissed the claims entirely as a result of these findings. In a statement shared with Billboard, a UMG spokesperson said the company has gratified that the court dismissed this baseless lawsuit. Salt and Peppa have the right to appeal the dismissal order if they choose to do so.

40:33 Speaker 10: Baseless lawsuit, baseless, it's their artistry. How dare you?

40:41 Speaker 2: Yeah?

40:42 Speaker 10: How dare you?

40:44 Speaker 2: You know?

40:44 Speaker 10: This is the big billion dollar company that's got every rich lawyer at their disposal, with all kinds of resources against a couple of artists who probably don't make a heck of a lot offer their music that's streaming insult to injury. All this time, they've been looking forward to having their music back thirty five years, waiting for the day, waiting for the day, And the day finally comes and the billion dollar industry found a way to get them yet again. It's so wrong. It's so wrong. It's always the artist to get the crappy end of the stick because they can't afford to put up the fights that these companies can.

41:26 Speaker 10: It's David and Goliath in a lot of these situations.

41:30 Speaker 5: Right, Yeah, So we got a little bit of time left. We'll we'll, we'll do this. We should talk about the Gene Simmons, the latest.

41:44 Speaker 10: I'm wondering if you were good at it?

41:45 Speaker 5: Per fuffl into that. So regular listeners, longtime listeners of the show. Now, Kiss is my my all time favorite band. But Jene Simmons, for as long as I can remember, has had these moments where he upsets people. Here's the latest little controversy and it involves Peter Cris and the song Beth. Everybody knows that song Beth. I hear you calling, all right? So this is from Parade dot com, who, by the way, shame on parade dot com because in the uh the picture that they used is not in the headline.

42:26 Speaker 5: They used a picture of Eric Carr, not Peter Cris. Eric Carr is not the original singer of Beth. Peter Cris is, but they use the wrong drummer. Wow replaced Peter Chris.

42:40 Speaker 10: That's really that's a really shoddy journal.

42:44 Speaker 5: Really sloppy, really sloppy. All right, here's here's what the article says. In nineteen seventy six, Kiss released what would become their biggest hit song, Beth, the power rock ballad I wouldn't call it a power rock ballad, appeared on the glam band's fourth studio at Destroyer and started out as the B side to Detroit Rock City, which is which is true, which is interesting, and this is not you know, this has happened with other hit songs. But but yeah, a lot of people might not know that Beth was actually the B side.

43:17 Speaker 5: Beth was never intended to be the single. And you know the reason Beth was the B side is because, and I remember noticing this when I was a kid. You know, singles would usually have on the A side would be what was supposed to be the single, and the B side would usually be actually one of the weakest tracks on the album because they would always record labels would always make sure that the B side was a song that they didn't think had any chance. They didn't want the B side to be something they might want to release as a single later because so they would put what they considered to be a throwaway track as the B side, At least in America.

43:56 Speaker 5: British bands have a history of actually recording a separate song for the B side that isn't on the album, so it's kind of like a bonus track.

44:06 Speaker 10: But that's but that which I think is cooler.

44:09 Speaker 5: Oh me too, But that was not the case in America. Hasn't been the case in America generally, so so the B side to Detroit Rock City. Everyone knows the song Detroit Rock City, but the B side was Beth. So Beth reached number seven on the Billboard Hot one hundred and won the People's Choice Award for Favorite New Song of nineteen seventy six. In a post on his official website, Chris Peter Cris has touted Beth as Kiss his biggest hit. He added that the People's Choice honor was his favorite award because the people voted, and he's even prouder of the song decades later than he was in nineteen seventy six.

44:46 Speaker 5: But in a January twenty twenty sixth interview with the Professor of Rock podcast Kiss co founder Gene Simmons downplayed Peter Cris's involvement with the hit song. Now, part of this story already knew, but part of it I, as well as I think most Kiss fans, was hearing for the first time. Okay, here's what Jean Simmons said.

45:08 Speaker 2: Quote.

45:09 Speaker 5: The history of Beth is that Peter and I were in a limo and he starts humming. I'm like, that's a nice melody.

45:14 Speaker 2: What is that?

45:14 Speaker 5: He goes, Oh, it's a song I wrote called Beck because we had started working with Bob Ezrin. I said, why don't you bring up that song? By the way, what are the chords to that? He goes, oh, I don't know. I thought that was peculiar, But before then I suggested in the car, why don't you change it to Beth, because when you say Beck, that hard syllable stops the melody, and Beth is a much more romantic idea unquote. By the way, in another interview, Gen Simmons had once said about that specific moment, because this is part of the story already had heard, and this is part of the story that's been consistent over the years, that they were in a limo and Jean said to Peter, Hey, that's interesting.

45:56 Speaker 5: What's that, and Peter said it's beck And but the previous version of the story, Jean said, he suggests these are his exact words. He said, Oh, why don't you make it instead of back?

46:07 Speaker 8: What?

46:08 Speaker 5: Oh, that's right, I remember now he said to Peter beck what is that about?

46:12 Speaker 7: Is that?

46:12 Speaker 5: Is it about Jeff beck And?

46:15 Speaker 2: Uh?

46:15 Speaker 5: And Peter said no, no, it's about Becky because I guess I was friend and and then Jean said, well, I'm wondering that you should instead of back, maybe you should change it to Beth so that people don't think you're playing for the other team. Those Jean's words. That's how he plays. Yeah, yeah, but anyway, but but so that's but that's the basic story, the basic story.

46:39 Speaker 10: Okay, well, what did did Peter ever give his side of that? I don't he ever say that conversation didn't happen or it did happen.

46:47 Speaker 5: No, I've never heard Peter dispute any of that. But he's But here's where it gets interesting. So here's here's what Jean said on the on the podcast, he said, it's time for the truth. Peter does not write songs. He doesn't play a musical instrument. Drums are not a music instrument by definition. As far as I know, Peter plays no other instruments that I've ever seen, not keyboards, extreme instruments. Peter's got a very Peter's got a great whisky voice in the early days, had a great whisky voice.

47:14 Speaker 5: He said, this is the important part. The person who wrote Beth is a guy named stan Pendrich. Stan Pendrich was with Peter in a group called Chelsea. They had a record out, actually it was on MCA. So Peter did not write Beth. Stan Pendrich wrote that, but through politics and hint hint, nudge, nudge, And I wasn't there when the conversation went down. Stan Pendrich apparently agreed that Peter's name would go in the songwriting credit. It appears first Peter, Chris bob Ezrin, Stan Pendrich or the other way around.

47:49 Speaker 5: But Peter's first. Peter had nothing to do with that song. He sang it. In other words, he had nothing to do with writing it.

47:56 Speaker 10: I'd like to know what any of those people have to say.

48:00 Speaker 5: Well, Pendrich died in two thousand and one, so we'll never get his story, but say that he's not a musicianist, so oh well, what he said and they didn't include the full quote here. So what he actually said is he said drums are not a musical instrument. They're a percussive instrument, which is nitpicking and insulting. So Gene was definitely out of line for saying that. That's a that's a crazy thing to say. Now, this is the part, the part that I did not know. So because everyone knows the song Beth, but I'll just play for anyone who doesn't, I'll just play a little bit of it.

48:38 Speaker 5: But then, this is the part that blew my mind was when I found the Chelsea version. I actually went and listened to the Chelsea version of Beth. We'll go ahead and play a little bit of this, but then then we'll play the Chelsea version.

48:53 Speaker 10: You call in but I can't come home and Chelsea in the balls.

49:01 Speaker 5: No, this is the Kiss version. Oh okay, throw me up, like really, yeah no, this is the Kiss version.

49:08 Speaker 6: Just a few.

49:14 Speaker 1: To you.

49:20 Speaker 2: Band?

49:21 Speaker 10: What can I do?

49:25 Speaker 6: What can.

49:28 Speaker 5: Okay? So that's that's Beth by Kiss with with Peter singing. Now, this is what I had never heard before. This is Chelsea. This is Beck. It's called Beck, and the band is Chelsea. And this is the band that Stan Pendrich was in. Again he's dead, so nobody can get his side of things from from Uh, this is this is the original, this blew my mind from from when Peter and Stan Pendrich were in a band together called Chelsea.

50:17 Speaker 1: Call it but I can't all right now.

50:24 Speaker 2: In the Vegan but we're just jam bout that sound.

50:33 Speaker 10: I won't you wad o.

50:35 Speaker 2: Hour in a rod rad.

50:42 Speaker 5: And man.

50:46 Speaker 1: But then.

50:53 Speaker 5: Yeah, so it's definitely the same song.

50:56 Speaker 10: Sean sour because this is the song that got real. That's the number one. No, I don't think he cares about that, and it wasn't one he wrote.

51:06 Speaker 5: I don't I don't think. I don't think that's why do you think he's so sour part of his I don't think he's I don't think he's soured necessarily.

51:12 Speaker 10: I think he just hateful things. After somebody dies.

51:17 Speaker 5: Well, you're now you're conflating with U A.

51:22 Speaker 10: But he don't find it. You don't find it odd that they're happening so close together that he dies and now suddenly we're hearing this about Peter.

51:32 Speaker 2: I don't know.

51:33 Speaker 5: No, it's Jean's Uh, it's very on brand for Gene he's been doing this for decades.

51:39 Speaker 10: Making a lot of enemies.

51:41 Speaker 5: Well he does, yeah, but why why do this?

51:44 Speaker 10: Why why do this? It's such a great Now does this nastiness about it? Or is he trying to garner more money by creating controversy.

51:54 Speaker 4: I think he.

51:55 Speaker 5: I think he likes being in the news certainly, But we.

51:58 Speaker 10: Say, we should say the podcast is the professor of rock.

52:01 Speaker 5: Yeah, yeah, But I mean he's not wrong though here, Like, I had no idea.

52:09 Speaker 10: See this to me.

52:11 Speaker 5: As a as a Kiss fan, this is very interesting to me. I'm actually glad. I mean, I don't agree with what he said about Peter doesn't play a musical instrument and all that. That's absurd, it's mean, but but it is mean, and I don't know that he intended it that way. But but I had no idea. I had never heard. I knew, I mean, you know, obviously I know a lot about Kiss, and I knew that Peter Chris was in a band called Chelsea with Stan Pendrich. That's all I knew.

52:38 Speaker 10: I had no idea that he was involved at all with this song. You thought this song came from Kiss.

52:44 Speaker 5: Right, I didn't know. Well, I knew that San Pendrich was because he has a songwriter.

52:50 Speaker 10: Writer, but it was Kiss that did it first. That there wasn't a band that.

52:53 Speaker 5: Yeah, I had no idea this song Beck by Chelsea existed. And by the way I'm looking at this, I just I found it on YouTube. This was posted on YouTube fourteen years ago, and I had no idea until now. Doesn't the guy kind of sound like Rod Stewart, Well, that's Peter singing on.

53:13 Speaker 10: It the way. I don't know, maybe it just sounds like ro Well.

53:18 Speaker 5: Well, Peter sounds like Rod Stewart, He's got that same kind of voice. Yeah, yeah, that's why there's this there's this weird story that's gone around for decades that we even talked about it. I'm not sure if we talked about it on air or off air, but it was on Retrospectrum Radio one night. We were talking about how I think we talked about it on air, this this story about Beth, that that it was actually written for Rod Stewart, oh, and that and that he rejected it because it sounded too much like Maggie May.

53:49 Speaker 5: But I don't believe that story anymore anyway. I don't even if he's halfway believed that. You can't believe it anymore. Yeah, I don't believe that story anyway, right, because that doesn't even make sense. Why would you know? Why would why do that? I think I think the way that story started. This is my theory. I think that back when when Beth came out, a lot of people probably thought, oh, that kind of uh, that kind of reminds me of Rod Stewart, and so then it just became this thing. You know some yeah, people just write an urban legend exactly.

54:24 Speaker 5: But uh, but no, uh, that that is the same song. I mean, there's no getting around that.

54:30 Speaker 10: The revelation about the song fine and acknowledging that it came from another band could be very good, But to do so in the same breath as just being rotten. I'm sorry, it's rotten. I think drummers and musicians, of course, and I think their drums are there their instrument that I don't understand that one either musical instrument versus percussion instrument. They both have instrument in the sentence, So how.

54:58 Speaker 5: Is yeah, how do you how do you explain that way? I understand what he's saying, I just don't.

55:05 Speaker 10: I don't agree, don't agree I think drums is one of the hardest things to learn because all your limbs are moving in different directions. And then some of the people we watch, like under the Horizon singing at the same time, Oh by god, oh yeah, both legs are going, the arms are going, and singing versus screaming, all in the same It's amazing talent, it's and they're incredibly musicians. And to cut them off at the knees and call them, you know, anything other, or make them less than anybody playing any other instrument, whether it's a guitar or whatever, it kind of gives that feeling of a drummer being less than the guitarist or the bassist.

55:45 Speaker 10: And I don't I don't like that at all. I think it's pretty cold and rude and wrong. And I guess, like you said, in keeping with his style.

55:55 Speaker 5: Yeah, all right, we gotta go. Thank you everybody who joined us today. And I thought it was a fun show. Uh Paul Zola, I'm sure I'm not saying his name correctly. Of course, we had the members of Generations join us and in the first hour, of course, Uh sick dude. Hell yeah, love those guys. I love their music and they're really good people too. So if you want to know more about what I'm up to, Matt Connorton dot com. Especially you know it is January. If you want to book a hypnotherapy session, you can do that right through the website, and Jenny, you want to mention your website.

56:31 Speaker 10: Absolutely, you can always keep up with the good trouble I'm getting into at Jencoffee dot com. J E n n c O F f e y dot com. And stay tuned for some stuff coming up this week.

56:41 Speaker 5: That's right, that's right, all right, if you miss any part of today's show, and we'll be up in just a little bit at w m hradio dot org and a my website Matt Connorton dot com. And that's gonna do it for us for now. We'll talk to y'all a little bit later. Bye everybody, Bye bye.

57:27 Speaker 8: When I was a boy, all I think about this was a stupid boy that I was. When I was a kid, I got my face up there not toilets with the geese out. Damn. I wasn't always a stoop pump, but when I was, I was a jump I didn't always look as I used to laugh and go filled.

57:58 Speaker 9: With us.

58:01 Speaker 8: I remember roll the Man times and picks them along.

58:08 Speaker 8: It feels like someone that's stopping their tack fuck off.

58:13 Speaker 6: Of my arm.

58:17 Speaker 5: Right, don't you miss Side Go where no scene down?

58:22 Speaker 1: Bobby roll up Live? I ride? Do you Missie Go?

58:28 Speaker 5: Where no scene down?

58:30 Speaker 1: A bom me roll up live.

58:40 Speaker 8: Y. When I was in school, didn't make good grades, I was, yes, still being numb fool when I was still young