What a story this song has to tell.
To begin with, I want to be clear. It is beautiful and it is dark all at the same time. To summarize it is ‘bittersweet’. I think that is why Richard Ashcroft and The Verve called it the ‘Bitter Sweet Symphony’. If that is where it ended, I would tell you handful of cool stories about its composition, then share a cover version and move on to the next post. But, the ‘Bitter Sweet Symphony’s composition and release was just the beginning of a riveting story of what can happen when you don’t dot all your ‘I’s and cross all your ‘T’s before publishing an ‘original’ song.
Basically, the story begins with the distinctive strings sample that is incorporated in the song. In 1965, Rolling Stones manager/producer Andrew Loog Oldham created an orchestral cover of the Rolling Stones song ‘The Last Time’ with the Andrew Oldham Orchestra. It was written by David Whitaker. In 1997, The Verve negotiated the rights to use a six note sample of the string riff from Rolling Stones copyright holder, Decca Records. The Verve thought they were free and clear. The Verve’s Richard Ashcroft wrote these lyrics and laid the song down over the distinctive sample:
Cause it’s a bittersweet symphony this life
Trying to make ends meet, you’re a slave to the money then you die.
I’ll take you down the only road I’ve ever been down
You know the one that takes you to the places where all the veins meet, yeah.
No change, I can’t change, I can’t change, I can’t change,
but I’m here in my mold, I am here in my mold.
But I’m a million different people from one day to the next
I can’t change my mold, no, no, no, no, no, no, noWell I never pray,
But tonight I’m on my knees, yeah.
I need to hear some sounds that recognize the pain in me, yeah.
I let the melody shine, let it cleanse my mind, I feel free now.
But the airwaves are clean and there’s nobody singing to me now.No change, I can’t change, I can’t change, I can’t change,
But I’m here in my mold, I am here in my mold.
And I’m a million different people from one day to the next
I can’t change my mold, no, no, no, no, no, no, noCause it’s a bittersweet symphony this life.
Trying to make ends meet, trying to find some money then you die.
I’ll take you down the only road I’ve ever been down
You know the one that takes you to the places where all the veins meet, yeah.
No change, I can’t change, I can’t change, I can’t change,
but I’m here in my mold, I am here in my mold.
But I’m a million different people from one day to the next
I can’t change my mold, no, no, no, no, no, no, no
I can’t change my mold, no, no, no, no, no, no, no
I can’t change my mold, no, no, no, no, no, no, noIt justs sex and violence melody and silence
Richard Ashcroft
It justs sex and violence melody and silence (I’ll take you down the only road I’ve ever been down)
It’s just sex and violence melody and silence
It’s just sex and violence melody and silence
It’s just sex and violence melody and silence (I’ll take you down the only road I’ve ever been down)
(It’s just sex and violence melody and silence)Been down
(Ever been down)
(Ever been down)
(Ever been down)
(Ever been down)
(Ever been down)
The combination is one of the most popular pieces of music from the 1990s. On this day in 1997 it began a four week run at #1 on the U.K. album chart. To many, it defined British popular music in the late ‘90s and it was even nominated for a 1999 Grammy Award for Best Pop Song.
Enter Allen Klein…The notorious businessman, music publisher, writer’s representative and record label executive was the owner of the rights to all Rolling Stones material pre-1970. Although The Verve gained rights to use the sample from Decca Records, they neglected to get the rights from Klein. By the time Allen Klein and ABKCO Records got wind of the release of ‘Bitter Sweet Symphony’ it was too late for The Verve to do anything about the oversight. Klein and his company sued Richard Ashcroft and The Verve.
Before I go any further, I need to share the Andrew Oldham Orchestra’s version of ‘Last Time’ which featured the sample that led to this controversy.
At this point you would likely not be surprised to learn that The Verve lost the lawsuit and they were forced to relinquish all royalties to Allen Klein. In addition, Mick Jagger and Keith Richards were granted the songwriting credit for ‘Bitter Sweet Symphony’. Richard Ashcroft’s take…$1000.
According to The Verve bassist, Simon Jones;
“We were told it was going to be a 50/50 split, and then they saw how well the record was doing. They rung up and said we want 100 percent or take it out of the shops, you don’t have much choice.”
Simon Jones – The Verve
The whole process left Richard Ashcroft; well…bitter.
“This is the best song Jagger and Richards have written in 20 years.”
Richard Ashcroft
He was right. It was their biggest UK hit since ‘Brown Sugar’.
It got even uglier. Although the ruling came down in favour of Klein, the money did not filter down to Andrew Loog Oldham. In 1999, he too received a settlement, but not before taking a shot at Richard Ashcroft.
“As for Richard Ashcroft, well, I don’t know how an artist can be severely damaged by that experience. Songwriters have learned to call songs their children, and he thinks he wrote something. He didn’t. I hope he’s got over it. It takes a while.”
Andrew Loog Oldham
That was a little harsh, don’t you think?
It all has a relatively happy ending. In May of this year, Richard Ashcroft was granted the Ivor Novello Award for Outstanding Contribution to British Music. During his acceptance speech he let the audience know that the dispute with ABKCO and the Rolling Stones was over as a result of a negotiation with Allen Klein’s son Jody and the Stones’ current manager Joyce Smith. During the speech he thanked Mick Jagger and Keith Richards for acknowledging him as a writer of a “masterpiece”.
“As of last month, Mick Jagger and Keith Richards signed over all their publishing for Bittersweet Symphony, which was a truly kind and magnanimous thing for them to do. I never had a personal beef with the Stones. They’ve always been the greatest rock and roll band in the world. It’s been a fantastic development. It’s life-affirming in a way.”
Richard Ashcroft
My evaluation; the music was a clear take off of the Andrew Oldham Orchestra’s rendition of ‘Last Time’. Without that sample the song would not be nearly so memorable. However, the lyrics are fantastic. The brilliance of the philosophical sentiment bundled up on the oxymoron title was testament to the vision of Richard Ashcroft. It’s a shame it took over 20 years to sort out the mess. A 50/50 arrangement could have been arranged between The Verve and Andrew Loog Oldham and David Whitaker. When it all comes down to it Allen Klein, Mick and Keith made out like bandits. But after all they were the ones in possession of the song’s rights and as they say;
“Possession is nine/tenths of the law.”
Derived from a Scottish expression
When I was researching this post, I was curious to discover how artists who chose to cover ‘Bitter Sweet Symphony’ would approach the piece. I found this version by Moby.
Remind me never to listen to another piece of music by Moby. This is horrible. They should be forced to pay Richard Ashcroft back for every dollar they made with this tripe.
Back in 2008, I remember watching Live 8 from Hyde Park in London on TV. Coldplay does ‘Bitter Sweet Symphony’ with Richard Ashcroft. Take note of the introduction by Coldplay’s Chris Martin. He introduces it as “one of the best song’s ever written”. It really is an impressive blend of talents.
Let the melody shine, let it cleanse your mind. Feel free to change.
Ted Tocks Covers 
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Originally posted on October 11, 2019
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