Former Skid Row singer Sebastian Bach recently revealed an unusual story about being paid not to sing a song he had already recorded. He shared the details in a statement posted by Randy Ojeda.
Bach explained how he was once paid $40,000 by his record label to remove his vocals from a collaboration with Motörhead’s Lemmy Kilmister.
“Once I got paid in 1992, I got paid like 40 grand to not sing a song. This is a true story,” Bach said. “Lemmy from Motörhead wanted me to sing the song ‘Born to Raise Hell.’ And I went into the studio and I sang the song with Howard Benson producing at Electric Lady. And I was the lead singer with me and Lemmy.”
Bach continued to explain how his record label intervened after he had already completed the recording.
“Then my record label, Atlantic Records, the guy’s name is Danny Goldberg, the that signed Nirvana and stuff. He didn’t want me to sing this song. But I already sang it,” he continued. “That was to me the craziest thing. They replaced my vocal track with Ugly Kid Joe Withfield Crane I think. I have it on CD, me doing it. I still have it.”
The singer still possesses the original recording featuring his vocals on the track that was ultimately released with different vocals.
This incident highlights the complex dynamics between artists and record labels during the early 1990s music industry landscape. It particularly demonstrates tensions when it came to side projects and collaborations outside of an artist’s primary band commitments.
The song “Born to Raise Hell” eventually found its way onto various Motörhead releases. Ugly Kid Joe’s Whitfield Crane provided the lead vocals that replaced Bach’s original performance. Louder Sound reported that this collaboration became one of rock’s more unusual partnerships, representing the kind of cross-genre experimentation that was becoming more common in the era.
Bach’s relationship with Atlantic Records during this period was particularly complex. The label had signed Skid Row in 1989 and was managing the band’s career trajectory. The label’s decision to pay Bach $40,000 to remove his vocals suggests they were concerned about potential conflicts with his primary band obligations. They may have also worried about how the collaboration might affect Skid Row’s image and commercial prospects.
Danny Goldberg, who Bach mentioned as the Atlantic Records executive behind the decision, was indeed a significant figure in the music industry during this time. Goldberg had a reputation for signing major alternative and rock acts. His involvement in blocking the collaboration demonstrates how record labels exercised control over their artists’ creative endeavors beyond their main projects.
The incident also reflects the broader tensions that existed between artistic freedom and commercial considerations in the music industry. While collaborations between artists from different genres were becoming more accepted, record labels often remained cautious about allowing their contracted artists to participate in projects that might dilute their brand. They were also concerned about creating scheduling conflicts with their primary musical commitments.
