MR

After all these years DSB has entered the UK singles charts @ number 19.

About time!

Graham.

Yeah, but there are no 7-Elevens in Europe...

Every DJ at every venue we play these days is playing the song and the audiences love it.

At long last.



If I could hit those bloody notes I'd put it in our show!

SusieP wrote:Every DJ at every venue we play these days is playing the song and the audiences love it.

At long last.



If I could hit those bloody notes I'd put it in our show!

That's so cool.

Only just found out! Great news!

Keep it coming then, hopefully there will be a few TV pieces on. And fingers crossed a few Perry interviews?!

It's played everywhere, the original of course.
The reworked versions worked well then

SusieP wrote:Every DJ at every venue we play these days is playing the song and the audiences love it.

At long last.



If I could hit those bloody notes I'd put it in our show!

That's easy SusieP when it comes to the high notes just point your mike to the audience and let them do the rest.

Graham.

barnsley4 wrote:

SusieP wrote:Every DJ at every venue we play these days is playing the song and the audiences love it.

At long last.



If I could hit those bloody notes I'd put it in our show!

That's easy SusieP when it comes to the high notes just point your mike to the audience and let them do the rest.

Graham.

WykkedSensation wrote:It's played everywhere, the original of course.
The reworked versions worked well then

The reworked versions bring nothing new to the table. The production is atrocious. You still have to pay royalties, why pay the same amount of money for an copy that doesn't even try to distinguish itself from the original?

The over exposure of this song is slowly turning Journey into a one hit wonder. I never thought I would tire of DSB but it is really pushing the limit now.

And look what came out here in the UK a few weeks ago!!!

http://hmv.com/hmvweb/displayProductDet ... sku=271828

I like how they've got the old school 45 cover showing. The band picture is a bit dated though.

Gunbot wrote:I like how they've got the old school 45 cover showing. The band picture is a bit dated though.

Hahahaaaaaa
Look at Ross' outfit!
He looks like he is about to dance a tango on Dancing With The Stars.
Gotta love him.

Its just dropped down to number 28.

SusieP wrote:Its just dropped down to number 28.

booooooooo

Still it's had 55 WEEKS in the charts

Gunbot wrote:The over exposure of this song is slowly turning Journey into a one hit wonder. I never thought I would tire of DSB but it is really pushing the limit now.

How can a group with so many hits and so many records played be relegated to a 1 hit wonder? It's an impossibility. What it probably will do is help those "new" fans bridge over to see what else Journey has done and can do. Hell, how many original songs from the 80's ever make it BACK on any chart in 2009? Less than a handful. What this is...is an astonishing feat. One that should be applauded.

That's like saying the Beatles over exposure of Twist and Shout in numerous commercials and films like Ferris Bueller's Day Off is a one hit wonder. We all know that that isn't what happened there and that's not happening now for Journey.

ttango1 wrote:

Gunbot wrote:The over exposure of this song is slowly turning Journey into a one hit wonder. I never thought I would tire of DSB but it is really pushing the limit now.

How can a group with so many hits and so many records played be relegated to a 1 hit wonder? It's an impossibility. What it probably will do is help those "new" fans bridge over to see what else Journey has done and can do. Hell, how many original songs from the 80's ever make it BACK on any chart in 2009? Less than a handful. What this is...is an astonishing feat. One that should be applauded.

That's like saying the Beatles over exposure of Twist and Shout in numerous commercials and films like Ferris Bueller's Day Off is a one hit wonder. We all know that that isn't what happened there and that's not happening now for Journey.

If you follow the British charts at all you will see that this is quite common. Leo Sayer and other artists have had their old hits come back and hit number one in the last few years, despite the singer not even actively promoting the music.
As far as the Beatles comparison, you don't see anyone out there interviewing Paul and Ringo about the use of their songs in movies or commercials, not the way they are rounding up Perry and Cain, talking about this one song (Of course, we're talking BEATLES, it's not like they have ever dropped out of the music scene, they're infinitely ingrained in it). There is talk of Revelation doing well and the lucrative tours of late but for the most part 90% of the time, the media is mostly interested in this song, as if this the popularity of this one song is the only thing the band has creatively accomplished the last few decades. Trying to see what brought on the revival for this tune, Cain has come out and said that the ChiSox usage is what really spurred this song back into the public's eye after all these years, not any specific promotion like a commercial or some other type of product placement.

And now a cover version of it may be Christmas number 1 if Simon Cowell has his way.

It's looking like the kid who sang it on XFactor may end up winning the contest [he is the only one out of that sorry bunch who has managed to sing every song in tune all the way through] - so Simon is currently dealing with the legalities of getting permission for the X Factor winner to record and release the song.

Since X Factor began every winner has reached number one with their 'winners single.'
It is usually a song which Simon's company owns all the rights to, however.
This time.... DSB isn't Simon's.

So will he be given permission to record it or will permission be denied?

Gunbot wrote:The over exposure of this song is slowly turning Journey into a one hit wonder. I never thought I would tire of DSB but it is really pushing the limit now.

To some people Deep Purple is a one hit wonder cause all they ever hear is Smoke on the Water. Big deal. The true rock fans dont care. Screw the rest.
Plus DSB is a great song. If Open Arms were every where, then that would be something to worry about.

By the way Perry and Cain should say no to that X factor shit. Its a disgrace to all music. At least The Soprano's was authientic , original , and cool.

SusieP wrote:And now a cover version of it may be Christmas number 1 if Simon Cowell has his way.

It's looking like the kid who sang it on XFactor may end up winning the contest [he is the only one out of that sorry bunch who has managed to sing every song in tune all the way through] - so Simon is currently dealing with the legalities of getting permission for the X Factor winner to record and release the song.

Since X Factor began every winner has reached number one with their 'winners single.'
It is usually a song which Simon's company owns all the rights to, however.
This time.... DSB isn't Simon's.

So will he be given permission to record it or will permission be denied?

Is the guy better than Sam Tsui?

http://www.youtube.com/watch?v=xIoSTbPt_PI

Gunbot wrote:

SusieP wrote:And now a cover version of it may be Christmas number 1 if Simon Cowell has his way.

It's looking like the kid who sang it on XFactor may end up winning the contest [he is the only one out of that sorry bunch who has managed to sing every song in tune all the way through] - so Simon is currently dealing with the legalities of getting permission for the X Factor winner to record and release the song.

Since X Factor began every winner has reached number one with their 'winners single.'
It is usually a song which Simon's company owns all the rights to, however.
This time.... DSB isn't Simon's.

So will he be given permission to record it or will permission be denied?

Is the guy better than Sam Tsui?

http://www.youtube.com/watch?v=xIoSTbPt_PI

Ok so who is this guy?
That is weird!
But I kind of like it.


This is the kid - DSB
http://www.youtube.com/watch?v=gpkUob_B ... re=related

Somebody To Love
http://www.youtube.com/watch?v=1cgEQW6oSRA

SusieP wrote:And now a cover version of it may be Christmas number 1 if Simon Cowell has his way.

It's looking like the kid who sang it on XFactor may end up winning the contest [he is the only one out of that sorry bunch who has managed to sing every song in tune all the way through] - so Simon is currently dealing with the legalities of getting permission for the X Factor winner to record and release the song.

Since X Factor began every winner has reached number one with their 'winners single.'
It is usually a song which Simon's company owns all the rights to, however.
This time.... DSB isn't Simon's.

So will he be given permission to record it or will permission be denied?

Nooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Gunbot wrote:

SusieP wrote:And now a cover version of it may be Christmas number 1 if Simon Cowell has his way.

It's looking like the kid who sang it on XFactor may end up winning the contest [he is the only one out of that sorry bunch who has managed to sing every song in tune all the way through] - so Simon is currently dealing with the legalities of getting permission for the X Factor winner to record and release the song.

Since X Factor began every winner has reached number one with their 'winners single.'
It is usually a song which Simon's company owns all the rights to, however.
This time.... DSB isn't Simon's.

So will he be given permission to record it or will permission be denied?

Is the guy better than Sam Tsui?

The XFactor guy's is way too antiseptic. I would rather have Sam's.

Jana wrote:

Gunbot wrote:

SusieP wrote:And now a cover version of it may be Christmas number 1 if Simon Cowell has his way.

It's looking like the kid who sang it on XFactor may end up winning the contest [he is the only one out of that sorry bunch who has managed to sing every song in tune all the way through] - so Simon is currently dealing with the legalities of getting permission for the X Factor winner to record and release the song.

Since X Factor began every winner has reached number one with their 'winners single.'
It is usually a song which Simon's company owns all the rights to, however.
This time.... DSB isn't Simon's.

So will he be given permission to record it or will permission be denied?

Is the guy better than Sam Tsui?

The XFactor guy's is way too antiseptic. I would rather have Sam's.

He has zero emotion in his voice, face or eyes. A REEEEEEAL singer feels the music and what they are singing about. He's the type of person who would sing a song about losing his favourite pet with a big cheesy grin on his face. After raping DST and being a general Charismatic discharge of a human being who is going through the 'Cowell machine', he deserves every bad fortune that comes his way!! God hopes I meet him so I can punch that grinning mush of his to oblivion...There I have said it. I'm usually so nice on here but this whole thing makes my blood boil. As a musician and a Journey fan!

joonrock wrote:

SusieP wrote:And now a cover version of it may be Christmas number 1 if Simon Cowell has his way.

It's looking like the kid who sang it on XFactor may end up winning the contest [he is the only one out of that sorry bunch who has managed to sing every song in tune all the way through] - so Simon is currently dealing with the legalities of getting permission for the X Factor winner to record and release the song.

Since X Factor began every winner has reached number one with their 'winners single.'
It is usually a song which Simon's company owns all the rights to, however.
This time.... DSB isn't Simon's.

So will he be given permission to record it or will permission be denied?

Nooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

For an audio cover, as long as he doesn't alter the lyrics or the melody around too much, he can obtain a compulsory cover license which doesn't require negotiations with the original musical composition copyright holder.

From Legalmatch.com:

1. Identify the holder of the musical composition copyright of the song to be recorded: This can be done by personally searching the records of the U.S. Copyright Office. The Copyright Office can also conduct the search for a nominal fee.

2. Send a “Notice of Intent to Obtain a Compulsory License” form to the copyright owner 30 days before sale of the cover song: This notice tells the copyright holder that you will be selling a cover version of their work, formally establishing a compulsory cover license. Note that a separate letter must be used for each song, even if it’s the same artist.

3. Make royalty payments, with accompanying account statements, on or before the 20th of each month

4. File an annual statement of total sales of the recording, certified by a public accountant


Step 3 can be done different ways. A lot of times, I think you pay the royalties for the first run of CDs upfront with your notice of intent.

Better to have someone handle the legalise parts for you.

http://www.harryfox.com/index.jsp

Why is Journey's Don't Stop Believin' back in the charts?

http://www.guardian.co.uk/music/2009/no ... -in-charts


Back in vogue … Journey in 1981. Photograph: Roger Ressmeyer/Corbis.


Cast a glance at this week's midweek top 40, and you'll spot something strange in its upper reaches. Squeezed between Black Eyed Peas' autotuned pop and Calvin Harris's squelchy electro, it sits rather awkwardly – a 28-year-old song, performed by a singer with an odd, trebly voice, and a penchant for snakeskin T-shirts. Nevertheless, Journey's Don't Stop Believin' is the 17th best-selling track in the country this week so far – a song that has gained new life in its middle-age.

This isn't because of Journey's sterling work. The American FM rock bandband –put together in 1973 by former members of Santana – have spent recent years gigging quietly around the world since their US chart pomp more than a quarter of a century ago. Don't Stop Believin's is in this week's charts because of its appearance on last weekend's X Factor. This week, baby-faced beauty Joe McElderry sang the song for the show's Rock Week, and in doing so spoke directly to "smalltown girls" living in "lonely worlds", many of whom picked up their mobiles and kept him in the contest. This gave Steve Perry's classic American narrative about finding hope in the streetlights a new, oestrogen-fuelled twist; it also inspired 7,000 viewers to find the original online, and click "buy".

Still, that isn't the whole story of the song's success. Don't Stop Believin' reentered the public consciousness in 2007, when it was used to soundtrack the final scene of the final episode of The Sopranos, a scene parodied over and over again on American TV and on the web. In 2008, it became the most downloaded 20th century track on the iTunes Music Store. My teenage brother tells me that many a metropolitan nightclub plays it for the last song of the night – without discernible irony – and that he and his friends adore it, without measure.

Two things explain the peculiar contemporary appeal of this song. Firstly, there's an obvious, factual explanation – its presence across mass-market TV shows, which join people together, whatever their age. Songs gaining second lives on the small screen isn't a new thing, admittedly – the first strains of I Heard It On The Grapevine, for instance, still take me back to the moment where I realised I fancied boys, watching Nick Kamen remove his jeans by a washing machine – but in 2009, the internet intensifies this experience. Anyone can remind themselves of special moments soundtracked by particular songs with a few clicks of the mouse, play them repeatedly, and share them with friends. To a generation that has little memory of a world before the web, these are the watercooler moments that people raised in the days of limited TV choice recall wistfully.

Second, it's OK to like power ballads these days: they are no longer the dirty secret of TV-advertised drivetime rock compilations. Earlier this decade, songs by Journey, Foreigner and Boston were classed as guilty pleasures – celebrated with a wry wink, and danced to only archly. But as the consumption of music has changed in the last decade, this uneasy category has lost its appeal. Thank God it has, too. I thank the phenomenon of shuffling mp3 players, bouncing us between styles; the diminishing importance, and relevance, of genre boundaries; and the way in which music has become less about coolness, and much more about unbridled enjoyment.

There is nothing strange about having a place in your heart for music that is improving and challenging, and another for huge, rousing sentiments that make you cry in taxi-cabs, long for a lover, or yearn to sing loudly, and proudly, with those you love most. And that's exactly what Don't Stop Believin' does, for the young and the old, and those who believe music reached its apotheosis with the concept of Adult Oriented Rock.

I think the Sopranos is what really set DSB in motion for all of this popularity on other shows. A lot of people mention that song now in relation to hearing it on the ending scene of the finale show of the series or hearing about it after the fact. I'm sure it was still being played by others before, but the Sopranos really kickstarted all this.

It's about time these kids got an appreciation for real music.

Jana wrote:I think the Sopranos is what really set DSB in motion for all of this popularity on other shows. A lot of people mention that song now in relation to hearing it on the ending scene of the finale show of the series or hearing about it after the fact. I'm sure it was still being played by others before, but the Sopranos really kickstarted all this.

Cain is on record as saying the ChiSox deal is what got it kickstarted.

http://sports.espn.go.com/espn/page2/st ... las/090901

But while Cain agrees that the song's use in "The Sopranos" "certainly helped make it hip and less campy," he feels the true date of rebirth should be traced to a South Side Chicago bar in August 2005.

"It was the White Sox thing that really knocked it out of the park," Cain said.