Bon Jovi, Donnie Iris and Copyright Law: A Conversation With Mark Avsec - Page 5
The corporate receipt doctrine is also disfavored now – so that amateur songwriters who send tapes to record companies that nobody wants to hear will have a harder time arguing that so-and-so-big-star stole my song because I sent it in to Universal Records and, you know, this big star now is signed to the label and has a big hit song with the word “love” in it and an A minor chord.
But I still think some lawyers who bring these cases (the so-called substantial similarity cases) – bring them too easily hoping for quick settlement.
gJg: How has that lawsuit and eventual outcome influenced the way you litigate cases?
MA: I don’t have a stomach for baseless cases. No lawyer should. I don’t bring them. And if I’m defending – I will work as hard as I can for my client to get the right result. I have had many successes and I cannot discuss them.
gJg: In 2010, “Angel Love (Come For Me),” a song you co-wrote was included on Carlos Santana’s Supernatural (Legacy Edition) album. How did this come about?
MA: We’re back to “luck” again, aren’t we? And putting yourself in a position to get lucky. When I wrote that song I had a recording studio in my house. And I worked hard and spent hours writing and recording. And in retrospect – from an economic perspective – I wasted a lot of time because the lion’s share of that stuff never saw the light of day.
But I had a friend, Alan Greene, who I played with in Breathless – and Alan was a great, great blues guitarist – still is. And a wonderful guy. And so we were writing some blues-based songs for possibly an Alan Greene solo project. And Alan and I wrote the first iteration of “Angel Love” – but it was not called Angel Love. I think it was called “Too Much About Love” or something like that. And it had way more of an Allman Brothers vibe to it. The music was the same as what became the music for Angel Love, but it was even more bluesy and jam-based. I liked the music a lot.
Well, I have another dear friend – Mason Ruffner. And I had pre-produced Mason’s Gypsy Blood album in my basement studio. Mason used to come over and we’d work on it. And then Dave Edmunds, the eventual producer of Gypsy Blood, even came to the United States and visited my studio. And my studio was one of the first purely virtual, MIDI studios. And so it was decided that I would bring the entire setup over to London – where we made Gypsy Blood for real.Continued on the next page