Red Mosquito

darthvedder81 wrote:So basically everyone is missing my point. It's not me needing to "let go" of losing Dave A. I like Matt. I want Matt to stay in the band. I just wish Dave was acknowledged a little more directly. Just like Jack and Matt have put their stamp on how the band writes songs so did Dave on Vs. and Vitalogy. Those albums would not sound the same without him and since most fans would agree those are two of the best that seems like a big deal to me. Maybe some of the onus is on Dave too. I'm sure it is. For all I know they may have asked him to participate in PJ20 and he declined but somehow I doubt that.

harmless wrote:Dave A. was a major factor in keeping PJ famous and I mean that with every fibre of my being. By and large, the general public gave up shortly after Jack joined (Yield).

Kevin Davis wrote:Yield was not shortly after Jack joined; Yield was shortly before Jack quit. You're right that the general public lost track of Pearl Jam around the time Dave was fired, but I'm not sure I buy that that was the reason. To me it seems the conscious retreat from the spotlight and the deliberately noncommercial fourth record probably had a lot more to do with it.

harmless wrote: Dave is an underspoken one.

theplatypus wrote:

harmless wrote:Dave A. was a major factor in keeping PJ famous and I mean that with every fibre of my being. By and large, the general public gave up shortly after Jack joined (Yield).

I imagine that had to do more with the songs than the drummer. I don't think a lot of people went "so I heard Pearl Jam fired their drummer... welp, I'm out". I think that came when people heard "Who You Are" on the radio and it sounded like a completely different band. Of course, "Who You Are" was greatly influenced by the new drummer, but what I mean is that the drop in popularity was in response to the material and not the personnel change. After all, Dave didn't even play in the band's highest-selling album.

theplatypus wrote:I wonder how much money Dave A is still getting from Vs and Vitalogy, especially with the re-releases. I've heard that for records that big, the royalties over time are ridiculous. Especially with songwriting credits.

theplatypus wrote:Probably not live, but definitely on the radio, television, movies, every time it's repackaged and released in compilations and reissues.

WtOB? wrote:

theplatypus wrote:I wonder how much money Dave A is still getting from Vs and Vitalogy, especially with the re-releases. I've heard that for records that big, the royalties over time are ridiculous. Especially with songwriting credits.

Seeing as almost every song from those records are credited to the whole band, he'd be getting a cut of every song every time it's played live and on the radio. Big bucks.

WtOB? wrote:

theplatypus wrote:Probably not live, but definitely on the radio, television, movies, every time it's repackaged and released in compilations and reissues.

I know at least in Australia you get royalties every time a song you've written is played live.

theplatypus wrote:

WtOB? wrote:

theplatypus wrote:Probably not live, but definitely on the radio, television, movies, every time it's repackaged and released in compilations and reissues.

I know at least in Australia you get royalties every time a song you've written is played live.

If the performance is released commercially... right? Otherwise, how would they track and enforce that?

WtOB? wrote:

theplatypus wrote:

WtOB? wrote:

theplatypus wrote:Probably not live, but definitely on the radio, television, movies, every time it's repackaged and released in compilations and reissues.

I know at least in Australia you get royalties every time a song you've written is played live.

If the performance is released commercially... right? Otherwise, how would they track and enforce that?

No, just a performance. You're supposed to keep track of it yourself, then report the performances to APRA|AMCOS and they pay you annually based on how many performances of how many songs have been played. Venues are supposed to pay a license fee to APRA per year to cover the royalty costs. Basically when you write a song, you register who wrote it at apra-amcos.com.au then let them know every time it's played and the details of the performance. No idea if they have a similar thing in the U.S.