Harris Fox by Wednesday, April 8,I will be forced to take immediate steps with Court Actions",  hoping "this will not cause any unfriendly relations, but please remember that I have to pay when I intrude upon the rights of others, and certainly must protect my own rights.
It appears they do not think too highly of writing an answer to a hit unless a license is obtained and permission to write a parody is given by the publisher. Their requests for payment having been ignored, Robey and two other music publishers initiated unprecedented legal proceedings in April against the record companies that released these competing songs, alleging copyright infringement.
In May, Phillips responded: "There's a lot of difference in the words. As for the tune, there's practically no melody, but a rhythm pattern", adding that it is hard to differentiate between any two bar blues songs.
On July 8 Robey wrote to Phillips again, thanking him "kindly for your co-operation in this matter",  but Phillips still refused to purchase a mechanical license for Thomas' "Bear Cat". Robey then instructed his company lawyer Irving Marcus to sue Phillips and Sun Records,   hoping to use this as a test case to determine the legal status of all answer songs.
In the s, Sam Phillips conceded: "I should have known better. The melody was exactly the same as theirs, but we claimed the credit for writing the damn thing".
The August 1, BillBoard reported: "Lion [Music] itself was in court defending the contention of Syd Nathan Records [ sic ] in Cincinnati that he had an interest in the song 'Hound Dog' and should have a fifty per cent share of its success. In April,Billboard' s Rolontz summed up the events thusly: "The year saw an important precedent set in regard to answer tunes … since the 'Hound Dog' decision, few record firms have attempted to 'answer' smash hits by other companies by using same tune with different lyrics.
It would be the first "legal spat" for Presley's publishing company, Elvis Presley Music. In exchange for Otis using their songs, Leiber and Stoller gave Otis a one-third interest in those songs and assigned the publishing to Otis' company, Valjo Music Publishing Company. According to the findings of the court in Valjo Music Publishing Corporation v.
The court also noted: "Otis signed not only his name but also signed—or perhaps forged—the names of Stoller and Leiber to it. The president or proprietor of Lion Music Publishing Company noted the similarity of the handwriting of the signatures and made contact with Leiber and Stoller who advised him that Otis had no authority to sign their names to the agreement and that Otis was not a co-author of the song, although he was entitled to receive one-third of the royalties.
Lion then arranged for a contract with Leiber and Stoller alone for the Hound Dog - Various - Pure Blues (CD) rights. Otis' credit was omitted from all subsequent records. Elvis Presley MusicOtis as plaintiff alleged that he was the co-author of "Hound Dog" along with two defendants, Leiber and Stoller.
The defendants denied that Otis wrote any part of the song, Hound Dog - Various - Pure Blues (CD).
He must have realized that even though Leiber and Stoller were infants they could not disaffirm his co-authorship of a song, if in fact he had been a co-author. Despite the Court's findings, Hound Dog - Various - Pure Blues (CD) continued to claim that he wrote the third verse and rewrote some of the lyrics in the second verse   —including adding "You made me feel so bad. You make me weep and moan. You ain't looking for a woman. You're looking for a home"—and edited out what he described later as "derogatory crap".
I didn't like that reference to chicken and watermelon, said 'Let's get that crap out of there. This came out and was a big smash, and everything was all right. I had half the publishing rights and one third of the song-writing. Then Elvis Presley made it a mega hit, and they got greedy. They sued me in court. They won, they beat me out of it. I could have sent my kids to college, like they sent theirs," Otis said.
From Wikipedia, the free encyclopedia. This section may require cleanup to meet Wikipedia's quality standards. Please help improve this section if you can. October Learn how and when to remove this template message. Archived from the original on Retrieved Random House Digital, Inc.
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Share Tweet Hound Dog Taylor Biography When Theodore Roosevelt "Hound Dog" Taylor sat down on his battered folding chair, slipped his steel slide onto his six-fingered left hand and tore into one of his foot-stomping shuffles, supercharged boogies or a searing slow blues, he had one thing in mind--making people forget their troubles, either by dancing or by immersing themselves in the deepest of bottleneck blues.
And whether he was playing for old friends at one of Chicago's inner-city bars or for thousands of college kids and hippies at clubs and campuses around the country, Taylor's music never changed. With just two guitars and a drum set, Hound Dog Taylor and the HouseRockers created a rocked-out, hypnotic, Hound Dog - Various - Pure Blues (CD) sound that is as emotionally powerful and wildly energizing today as it was the day they produced it.
He played blues guitar for 35 years before reaching a wider audience and gaining the status of a beloved blues icon. From the mid's untilTaylor and his band--second guitarist Brewer Phillips and drummer Ted Harvey--kicked out the blues jams all over the South and West sides, including a regular Sunday afternoon gig at Florence's Lounge. It was at one of these performances in where a young blues fan named Bruce Iglauer decided to start a blues record label for the sole purpose of recording Hound Dog Taylor and the HouseRockers.
Without a drop of slickness, Taylor's electrified blues was feral, rocking and raw. Village Voice music critic Robert Christgau referred to the band as "the Ramones of the blues," and it's easy to understand why.
Taylor played fast, loud and Hound Dog - Various - Pure Blues (CD), and would sometimes hit bad notes or get out of tune. But he always made primeval, soul-satisfying music. Nobody could match him when it came to emotional fervor and the pure joy of making music.
Taylor's wild guitar exuberance and joyous, soulful abandon fuel each and every song. Three instrumentals on the CD showcase Brewer Phillips' crazed lead guitar playing. Born in Mississippi inTaylor didn't start playing guitar until he was He worked as a sharecropper by day and played at Delta juke joints and house parties in the evenings.
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