SnowGhost Music

I don't mean to be a music snob, but I'm not that into cover bands. I'm not intrigued by anyone's My Sherona/ Green-Eyed Lady medley. I don't feel the urge to dance to Angel in the Centerfold, and I don't get pumped to see a Sublime tribute band. In fact, I'm liable to walk in a bar and turn straight around if there's a cover band that's going to come between me and the loving conversation I plan on having with at least two adult beverages.

But the existence of live music, even in it's most irritating, soul-wrenching, tasteless form, is a necessity. A blessing even, because for every 50 renditions of Margaritaville you might be subjected to, you might get one creative Martin Sexton cover. It's our right as Americans to freely subject our ears to whatever sounds we may surround ourselves with, despite whatever mental and physical damage that may incur. And yet music publishing companies are actively trying to keep us from hearing our favorite Tom Petty song butchered by amateurs in the name of protecting the rights of musicians to make money off of their creations. But all it really is is a desperate attempt for these publishing companies to tap a new revenue stream, and small-time local venues are paying the price.

I first heard about this little scam while playing some non-threatening basketball with a few fellow musicians. Turns out that a local coffee house, the home of a monthly non-profit charity open mic night we all participated in, was getting the pinch from the man. Apparently some form of goon connected to BMI was trying to extract royalty fees from the coffee shop owner because some musicians may or may not have played non-original music at the venue. Keep in mind that said owner already had to pull a permit just to house this event. Also keep in mind that this is an open mic night. Do you think anyone's going to play Hotel California? And do you really think Don Henley deserves compensation for that? Well, maybe BMI did. And maybe they have some sort of incentive-based program for their soulless army of whistleblowers that actually makes it worthwhile for them to try and scare a few hundred dollars from a coffeehouse in a small town.

Because this is not an isolated incident. It is happening at venues across the country. With all the illegal downloading, song stealing, and what-not going on these days, I can understand how musicians and even publishing companies might feel cheated. Being a musician myself, I can totally empathize with the need to glean whatever type of reward you can from all the work you put into your craft. Fine. Do all you can to prevent musical piracy, but for the love of god, not at the sake of our fellow musicians and the venues that provide them with a platform on which to perform.

As a performing musician, I've seen many types of crowds. Of the people that actually listen, some like to hear originals they've never heard, and some people beg me to play Jack Johnson songs (Sorry! I don't know any!). I like to play my own songs, and as much as I may like some of them, I am perfectly aware of how many incredible songs have been written by other people. Occasionally, I come across a song that I can actually play, and one that many people who may not have a clue who the hell I am will actually know. Or maybe they won't know the song, but after I tell them whose song it is, they might go home and investigate, and perhaps even end up making a musical purchase. If someone ever wanted to play one of my songs, I'd be honored. As long as they didn't completely scare people away, then I like to think that they're doing me a favor by spreading my music where it otherwise might not have been. Everybody wins, right?

Except the music publishers. I can understand wanting to get some royalties from tribute bands. They are essentially taking advantage of someone else's talent and popularity and making money. But even in that case, do you really think seeing a Pearl Jam tribute band at the local bar is going to keep someone from going to see the real Pearl Jam or buying their latest album? If you believe that, then you might also believe that musicians ever get any financial benefits from whatever these whistleblowing vermin are squeezing from the threatened little local venues. The publishing companies need to remember one simple cliche: any publicity is good publicity. Unless of course you are trying to screw over the little guy, in which case nobody wins. And while the idea of not ever again hearing someone trying to find their lost shaker of salt is infinitely appealing, I'd rather not have someone else decide that for me.