Being with him is the germinating seed of his songs.
I didn't pay attention to his litigations of the 90's, because I didn't know who he was. But I also know that by the middle of 1996 it did begin to come back to me. This refers to a memory block of several dimensions, which was cut through in a kind of subtle collaboration between ourselves between then (at least my part of it) and now.
The reason why It's All Coming Back To Me Now would have been protected as such if it indeed was, is because it is based on my own memory problems, and not the memory issues of a man. Emotionally, Jim had expressed needs that I understand some things through his works. It would hardly have fit his life hopes if this point had become confused.
The part about going to court, is something that was unnecessary if anyone was actually paying attention to his rights to say no. First performance rights are contractual agreements with the composer, no ifs ands or buts.
Was Celine the first to record it? I'm not referring to any demo. I'm talking actual public commercial presentation.
> Okay, I thought I remembered reading this somewhere when I
> first saw the track list for TMiL but thought I must've
> imagined it:
>
> "Steinman protects his songs as if they were his children.
> Meat Loaf had for years wanted to record It's All Coming
> Back to Me Now. But Steinman saw it as a woman's song and
> turned him down. It ended in court. Steinman won, and
> Celine Dion went on to record it."
>
> I found this quote from a 1996 interview with Jim.
>
> I'm sorry if someone's already brought this up before I
> joined the board, but is it true and if so does anyone
> know the story?
>
> Ali
|
