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Her scat was fundamentally the same as adding a guitar solo provided by a session player, there were no words (so you can't claim a songwriting-lyrics credit, and it was done in 2 takes (my point being that she didn't spend several hours constructing a melody, she improvised)
My thoughts are that if someone called you in to take a guitar solo as a session musician, and paid the full rate for your time, would you then be justified in claiming you co-wrote the track?
Is an improvisation a composition?
I get what your saying though ... she's not a co writer but I think she deserved more than a standard session fee
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
The track is fantastic and the vocal makes it imo
If every session musician that came in and laid down a solo on someone else's track then demanded writing royalties on the more successful ones, there would soon cease to be a viable session industry.
Clare Torry herself postponed her claim until she retired, I assume because she knew she could expect no more work once she did this
I don't dispute that, but who "wrote" the track?
Looking at PF writing credits:
https://en.wikipedia.org/wiki/List_of_songs_recorded_by_Pink_Floyd
There are plenty where DG is not credited
Look at other famous solos that "make" a track, where the soloist is not credited with writing the track:
Reelin in the years
http://www.guitarworld.com/artist-news/elliott-randall-nailed-steely-dans-reelin-years-one-continuous-take/30317
Baker St
http://www.telegraph.co.uk/culture/music/rockandpopfeatures/8241031/I-was-paid-27-for-Baker-Street-sax-solo.html
I am sure I can list more
I'm not clear how she succeeded in her claim, it goes against everything I have read on the subject
http://diymusician.cdbaby.com/musician-tips/6-things-to-consider-before-entering-the-recording-studio/
http://forums.stevehoffman.tv/threads/question-for-songwriting-experts-pink-floyd-claire-torry.312100/page-2
personally, I am glad she has got cash coming in, but I don't think it has any real legal basis
I don't see the sax players who have made similar contributions suing for royalties
Thinking about it, I would prefer the track with a DG solo over it instead to be honest
Great Gig. So I am aware that Bryan and the other backing singers worked this out themselves midway through the tour and 'sold the idea' to David via Polly. The first round of shows (with Manzanera and Carin) didn't feature it. It was at the Cancer Gig in April that it was first aired.
However, as the song is a metaphor for one person's journey through dying, death and heaven (the three parts) I didn't like the version (I don't like the song at the best of times) because I felt it diluted those messages.
It was, however, better than Kanye doing BR.
Re DG's solo stuff, OAI itself as a track is incredible. As are many on MLOR and tDB (High Hopes is in my top 3 floyd moments ever - Sorrow not far behind).
Rattle That Lock as an album is excellent in parts, slow in others.
However, his solo work is fine, it just ain't quite Floyd.
As Guy Pratt once commented regarding the David penned ditty, Learning To Fly:
"After singing about the desperate and despotic political visions of Waters' brilliant mind, I was curious to follow that up with a song that essentially glorified the everyday first world problem that is Tax Offseting."
*An Official Foo-Approved guitarist since Sept 2023.
Working within the music industry myself, i am well aware of the legality of session work payments.
My only point was that, in my own humble opinion, that vocal track elevates said track (which is already fantastic) to an entirely different level. Just my opinion.
I love DSOM - it has featured heavily in my life. Gilmours guitar work is sublime. Its the combination of all of the different artists and elements that elevates it to classic status.
It was the 'frequency transformer' fx on the bvs that inspired me to become an audio engineer.
With PF, they called in Sax players, and on this occasion, a scat improvisor
Apparently Torry's solo was solely the second take, cut up and edited to the form we know
The track does sound good though. I wonder why they went that way and not a guitar solo or sax like they chose on every other occasion.
I've seen the live vocals screeched out a few too many times though, not everyone can do a good job of it
I like all the post-Waters PF stuff, and have always hated "Final Cut"
I don't like the pre-Gilmour PF albums either, so you can see where my preferences lie
I like half of Saucerful, then More and Ummagumma show some promise, but aren't "albums" in the normal sense
Atom heart mother has always been one I liked, and Obscured by clouds
I bought Final cut when it was released, and really wanted to like it, same with Pros and cons, but Waters on his own was just way too unmusical for me.
I'm guessing they didn't do it again because they agreed with me