[discostu]

True but there was an alignment of forces to screw the black people. Especially in the 50s and 60s. There was a lot of “hey that’s a great songs, here’s 10 buck, now we’re gonna have a white guy perform it and watch it go platinum.” Part of it was unwillingness to even try to market black artists, even after it had been proven their music would sell. Pat Boone’s whole career was built on that.

[Dr. Sivana]

Part of it was unwillingness to even try to market black artists, even after it had been proven their music would sell. Pat Boone’s whole career was built on that.

Everyone picks on Pat Boone. Sheesh. The Beach Boys stole "Sweet Little Sixteen"'s melody and had a similar "pick of different cities" lyric from Chuck Berry, and were fortunately called on it. The Beatles had no problem covering Chuck Berry tunes (Roll Over Beethoven & Rock 'n' Roll Music, for starters).

Fats Domino made more money off of Pat Boone's covers than his own releases. Pat paid the writing royalties, which is where the real money is.

The record companies had no problem stealing from white musicians as well, which was one reason to keep on making new "teen idols". Replace them as they get wise.

Tommy James' case was extreme, because his label belonged to a mob guy, but is far from unique, when his string of #1s were claimed to be offset by recording and promotional fees. His book was a light and fun read.

But Pat Boone was not a part of that. Fats' release of ain't that a shame had a wide release and made #10. Pat made #1. People heard both records, and bought Pat's.

White performer Del Shannon had a smash #1 and a string of Top 40 hits, and was old enough when he started to fight back when he realized 2% for writing, singing, and playing guitar on the records (minus expenses) was ludicrous. He started his own label, BerLee records, and his old managers, Balk and Michanik sent legal letters to all the record companies saying he couldn't do that, so the stations gave him no air time. A law suit and a cloud of dust later, Del was back with Balk & Micahnik. He lost. And Balk & Michanik were with a SMALL label (BigTop). Imagine what a Dot, Columbia, Mercury or RCA could have done in those days.

If you could go back to that era, you might find that many record buyers preferred Boone's voice to Little Richard's and Fats Domino's. Alan Freed found that out in one survey he took.

Sometimes the covers are better. Neil Sedaka's "Love Will Keep Us Together" is not too impressive, The Captain and Tennile's version crafted a great tune and clever lyric into something that is almost the Platonic ideal of a pop music record.

The record companies were the bad guys then. They are the bad guys now. Pat Boone is not a bad guy.