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Carl Dixon

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    Carl Dixon
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    'Girls are out to get you' The Fascinations

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  1. Hi everybody. Sadly, I have decided to cease my membership of Soul Source today. There are many on this forum with exceptional talents and expertise, but my musical conquests are taking so much time up these days, that I miss many of the threads, am not an expert in the general subject matter on here and actually feel guilty posting my new releases and indeed rather intimidated at times, so it's best I do not engage now or in the future. One particular thread today has made me reconsider and question what I can contribute to Soul Source. But, I have enjoyed many of the threads, whilst oth
  2. MBarrett - The Destinations. Shocked too. Fantastic song and production. Truly overwhelmed with this. Well found.
  3. If there are no words yet, there is no completed melody. The lyricist who writes words will be defining part of the melody and in that case would need the appropriate split with the PRS/MCPS for the song writing. Also, would be good if the singer had a performer PPL id, so when you register it with your ISRC number and declare those who performed on it, they would get a royalty from airplay (as well as the 'label' -you?) :-) I think some hand claps on the 2/4 would work on certain bars - real ones - at least three, recorded separate tracks. Do not loop hand clap single bars, do at least 4 and
  4. Baseball cap - I wonder David. Imagine having a dance at an event with that on, to a Ric Tic track.
  5. If I am allowed to post on this thread (hopefully). All music was once new and fresh, so hearing the hopefuls (like my material and songs) recorded today can be interesting when comparing to the yardsticks of the last 50 years or so. The question is, why bother being creative now as there was so much good stuff back in the day....and also being discovered now. So for me I am creative. I sit at a piano and I like to play a few old tunes, then I try and compose something new with similar nuances. That is who I am. I think as long as there is a good groove, melody and sincerity behind the ne
  6. Looks like it David. That label still holds its head up high doesn't it! Al Kent's 'Ooh! Pretty lady' was a track I analysed back in the early 90s when I was planning to become a song writer. A great yardstick.
  7. Don't forget the squeaky kick drum on 'Groovin at the go go'. The pedal squeaked and on a 45 not so noticeable :-)
  8. Not nice to see this type of thing happening. I would never transfer my song writing copyrights to anybody. The unscrupulous in the business even at song writing level can hear a good completed song and try and manipulate the author into believing it needs changing, then claim a percentage of it. That's why I tend to write, produce, release the way I do.
  9. How about this: 'Working on a groovy thing' by Garrett Scott
  10. Hi Kirsty Someone will own that recording somewhere. Whether it is the executive producer or somebody who bought the masters from them, or their estate if they have sadly passed away etc. The person who owns the master now may not have a clue what it is, if that makes sense. Paul Mooney may have a much better idea than me, but respectfully there are moral rights to a recorded work. When I do my productions there are sometimes 30 different versions as the song takes shape. The song and production evolves and the end result could be better or worse than a previous take in the studio for exa
  11. I had the 'Liquid Smoke' version and never knew about 'The Casualeers' original. The original version is on another level. This is an article about one of the writers of the song, Rod McBrien, with a little trivia :- 'Dance Dance Dance' - The Song. Rod McBrien interview
  12. And those very early first CD's were sub standard in many cases, perishing over the years. Also many new CD compilations back then had some re-makes of popular cuts with the original artist singing with a new backing track. They were awful. The PRS/MCPS and PPL are fighting for writer/performer royalties constantly. The different territories are getting together with todays technology and are creating massive database of songs/recordings that they share to help everybody try and control the old and new songs/recordings. Pity the labels did not respectfully acknowledge the changes in the
  13. Here is an interesting one. The Fortunes and 'Storm in a tea cup'. Written by the UK's Lynsey De Paul and Ron Roker as a soul style tune for somebody like The Tams, back in the early 1970's. It was their first co-write together and it was hoped to be placed with the likes of a popular soul group, but never worked out. But, it was a smash for The Fortunes. It will never be regarded as a soul tune I guess, or blue eyed soul, but from a writers perspective they wrote it and hoped for a hit, just like all the other writers did then and do today. Even Ron and Lynsey were writing in a specific style
  14. Did anybody see 'The Jersey Boys' when they were sent away with a flea in their ear?

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