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Very interesting. The band I was in during that era almost got caught up in a very bad recording contract. Thankfully we turned it down.
Thanx for sharing.
The fitness trainer asked me, "What kind of a squat are you accustomed to doing?" I said, "Diddly."
64 bit Win 11 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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We were offered a bad contract, but while our manager was negotiating for better terms, Motown quit talking to us and picked their second choice.
Rod Argent seems to have had a nice career after the Zombies.
In rare moments, I wonder what would have happened if we signed. Would I have met the right people to stay in the record industry? Would we have been one hit wonders and then completely forgotten? And so on. Of course, there is no way to know.
On the other hand, for me, it turned out pretty well. I'm still making a living doing what I love to do. I met the future Mrs. Notes in a small, lounge band, and we are happy together. We formed a duo in 1985, and have been gigging since then. The only time we were out of work was during the COVID lockdown. Plus we are best buddies, and if we could spend 24/7/365 together, it wouldn't be enough.
Bob "Notes" Norton  Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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That was interesting. I knew there were 2 fake Zombies touring and that the boys from ZZ Top were in one of them. That kinda filled in a few hazy spots.
The interesting thing is that they kinda make it sound like record companies were only screwing the musicians and writers back then..... Here comes Spotify to say, "Hold my beer, let me show you how it's really done"
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Well, that was just terrible. Besides the horrible, sped up narration, many of the details are flat out wrong. One of the many fake Zombie bands hired had members who went to my high school and had a hit with their cover of "I Love You".
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It's not very good, not very accurate and more than a bit annoying because of it.
I've been an huge The Zombies fan from just after they folded. Their O&O reunion concert DVD is fabulous - only one member was missing from it too.
I must admit I didn't buy their most recent album...afraid of disappointment really.
Theirs is a cautionary tale with a very late twist.
Not unlike Rodriguez, lots of people made a lot of money through them and not much of that made it to the band.
Then again, Searching for Sugarman was also "It's not very good, not very accurate and more than a bit annoying because of it." but even moreso as it deliberately peddled lies.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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That was interesting. I knew there were 2 fake Zombies touring and that the boys from ZZ Top were in one of them. That kinda filled in a few hazy spots.
The interesting thing is that they kinda make it sound like record companies were only screwing the musicians and writers back then..... Here comes Spotify to say, "Hold my beer, let me show you how it's really done" In the arts, the gatekeepers always screw at least 95% of the artists. It has always been thus. But then, Bezos, Music, and others are making a fortune while paying their employees less than a pittance. When I was working for Motown, there were four different Temptations, 4 Tops, and other groups touring the country at the same time. Smokey Robinson is quoted as saying, "If we ever have a Miracles reunion, we'd have to rent a football stadium." The first and second time we opened for "The Association" they were two different groups. Perhaps 1 or 2 of the members were the originals. I worked with a guy who toured as the lead singer of one of the touring "Platters", and no, he wasn't Tony Williams. He was a great singer, and made a modest but not extravagant life touring as "The Platters". The deal Motown offered us, was 2¢ per record/cut in royalties. Out of that 2¢ came exaggerated recording, distribution, and promotional fees. Plus, we would have to change our name to something Motown would own, and they would have the right to hire, fire, and tour with multiple groups. For any songs we would write, they would have all publishing rights, and assign a 'ghostwriter' who did nothing but collect half the songwriting royalties. While our manager was trying to get us a slightly better deal, they just quit talking to us, and quit hiring us. There were plenty of other groups willing to sign a bad contract. It's supply and demand. Their second choice took whatever bait Motown offered, changed their name, and had a couple of hit songs. I doubt they made any money from them, but I don't know that for sure. And that's why there are so many one-hit or one-CD wonders. They didn't make enough royalties to pay the exorbitant fees the labels were taking out of those royalties. Of course, there are the few who go viral and have smash hits, first time out. They can negotiate a better deal for their second release. These become Beatles, Billy Joels, Rolling Stones, Aretha Franklins, and so on. In the 'old days' the labels controlled everything. Especially after the big few bought up all the indie labels to reduce the competition, and they become a cartel. If you wanted exposure on the dominant listening platform at the time, the radio, you had to play the record company's game. Now, anyone can put their music on the Internet, but without the label 'gatekeepers', there are so many out there, you have to get very creative for people to find you. And the streaming services like Spotify don't want to even pay 2¢ per play. So I didn't quite make it, but I played with the heavyweight hitmakers of the industry, and as a 19-21 year old kid was treated as an equal by them (welcome to the club). I 'dated' more than my share of females in my life, and made a lot of money for a short time (and blew most of it). Plus, I played for huge audiences in venues, and that was thrilling. After that, I managed to make a living doing music and nothing but music for almost all the years that followed. I met my soulmate who is also a musician and now Mrs. Notes, and we are still gigging, making music together. I did try two different day jobs, while still playing on the weekends. I did this to see what being normal was. Neither one lasted that long, I went back to full-time music, because normal doesn't suit me. I live modestly, we don't own luxury items, but the mortgage is paid off, we have no debt, and we are happy. I don't do the blue Monday to TGIF routine, and when we are on the job, we are doing our second favorite thing.  Nobody owns me. Being a star isn't the only way to enjoy a life making music, and if I had a chance to do it all over again, I'd do it the same way. So although the labels ripped off the Zombies and so many other groups, if the musicians got a lifetime supporting themselves making music, and if they are happier doing that than a 9 to 5 gig, they are still successful. How many others of us here are full-time musicians? Do you regret your choice? I don't regret it at all. Insights and incites by Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
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XPro and Xtra Styles PAKs Special Extended Until August 31st!
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- Look Ma! More MIDI 13: Country & Americana
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We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
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Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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