*The Street Angel fiasco*

[amber]

Originally Posted by ClintonScott

so I've recently been reading a lot about Stevie's disenchantment with the Street Angel cd. (it was actually the first Stevie cd i bought myself, and i like it). i have heard some of the original takes and they dont sound a whole lot different than the finished product.

my question is: how did Stevie get away with omitting Glyn Johns' name as producer? couldnt he sue her for this? i mean why doesnt the cd say produced my Thom P., Stevie Nicks and Glyn Johns...

i'm not in the music business but it seems like Johns did a lot of work on the album to get no credit...

anyone know how this stuff works...

i think Stevie could write a whole book about her Street Angel days... i'd read it!

I'm not totally sure about how this stuff works, but I think he would have had to do "more work" that ended up on the album to get credits. Seemingly, judging from my vague recollections of my intellectual property classes. There are small yet important distinctions about how much an original song resembles the song being accused of illegally sampling or imitating the original song.

Stevie's demos are often actually pretty concrete, melody wise, when she presents them. That is key. To make a joke, you don't "rewrite" a Stevie melody (perhaps sometimes unfortunately). So she would easily be able to prove that most of the "product" was from her brain. Legally.

She even has control of the band sound that goes around the songs, though she didn't literally make it up. So in the world of "music credit" his contributions may have been...well, "minor" enough to not get a producing credit. I'm not sure he did as much work as you think he did. I mean, I really don't know exactly.

I also think that so many things about Stevie's music get accomplished with her hand squarely in them, that it would be hard to argue successfully "your" (say for instance Glyn's) contributions to them. Really. I can't remember a Stevie song that I've heard the demo to that changed very dramatically for the recording. It seems dramatic because so much cool band is around it, but usually the melody stays very consistent, the way she made it in the first place. In intellectual property law regarding this situation, it would be hard to argue that you changed the original product so much that you had rights to its creation.

But if he did contribute more than we think, would he even want his name on that album?
hehehe.
Actually, it is nice to meet you, as Street Angel was the first Stevie album I got, too (after Timespace), and I like it pretty well. Quite well. Except for the really sucky songs. It's only you, me, and Curtie on the Street Angel Defense League! Luckily, the SADL has great outfits, which helps us convince people of any goodness that Street Angel contains...

I have the feeling someone else knows more inside info about the whole "Glyn" thing, and will add dimension to what I just said - timewise and contribution wise. J-stew?

Anyway, blah blah, welcome! Even though you have posted before, albeit scantily.