The musicians who are selling their catalogues: Update: Katy Perry

[Artoo]

Big news if it goes through. Worth noting that this probably means they get the publishing royalties from We Will Rock You, Queen’s official musical too. This certainly would explain why it’s back in the west end for the summer - let them see how healthy the box office is and how much life there is in etc.

[aaliyahman]

I've skirted around this thread but can someone tell me in basic terms why an artist would do this?

Do they sell their whole song rights including writing/performing royalties to all their songs for one lump sum?

Then what do the 'purchasers' get, just royalties? What about any future music made?

[Artoo]

I've skirted around this thread but can someone tell me in basic terms why an artist would do this?

Do they sell their whole song rights including writing/performing royalties to all their songs for one lump sum?

Then what do the 'purchasers' get, just royalties? What about any future music made?

It’s all a bit of a mystery - no artist has explained their decision and no company has been explicit in how it’s a worthy investment.

The advantage to an artist is that they get a lump sum of money, and don’t need to worry about their estate having to manage their music career after they’re dead. This creates a burden I guess, and costs their beneficiaries money in the long run.

Depending on the deal, companies are buying publishing rights - so any money the artist would make from writing a song, they now earn. This comes from sales, streaming and radio play, and licensed agreements such as commercials, and in the case of Queen, probably musical royalties too.

Some artists are also selling unreleased compositions (Dolly Parton) and some even include all future works too (David Guetta). Bob Dylan sold his publishing to Universal for $400m then his masters to Sony for $200m.

In the age of streaming you have to wonder how a company can determine Queen’s catalogue is worth $1b, or Justin Timberlake’s is worth $100m. There is clearly an element of gamble involved, but more to the point, how on earth will they make their money back?

Thats the big question, but across all of these sales, it’s only a handful of companies buying them up. What’s their plan and what does it mean for us, the end consumer?

[aaliyahman]

Thanks for that. So essentially these companies will get all monies coming in from these songs. The future songs is scary, literally meaning an artist can churn out albums and earn nothing apart from their initial deal from the label?

Also, what are ‘masters’ I heard Taylor bought hers back but what are they in relation to publishing rights?

[Artoo]

Thanks for that. So essentially these companies will get all monies coming in from these songs. The future songs is scary, literally meaning an artist can churn out albums and earn nothing apart from their initial deal from the label?

Also, what are ‘masters’ I heard Taylor bought hers back but what are they in relation to publishing rights?

‘Masters’ are the original recordings of a song. Historically a record label would sign an artist and as part of that deal own everything that they recorded. Record deals have changed over the last decade so that an artist now tends to keep ownership of their recordings, but licences the recordings to the record company for a certain amount of time. In both scenarios, the label then sells the music to the public to make their money back.

Alongside this, if an artist writes their own songs then they retain ownership of the composition. These are known as publishing rights and control how the composition is used. So if Beyoncé writes a song and someone covers it, Beyoncé makes money from it. But if a company wants to use the cover version on their commercial, Beyoncé still has to approve it as she owns the composition. Publishing rights are what most of these acts are selling.

In terms of selling future songs, if the artist has only sold their publishing rights, then they will still make money from the master recordings being sold to consumers - the label, the performing artist and composer all make money when a song sells, is streamed, or played on the radio etc. The artist will also make money from touring, which is how most make the bulk of their revenue now anyway.

Taylor Swift had a record deal where her label owned the master recordings of her first six albums. Her label sold them to someone she doesn’t like, who now makes money every time they are streamed or sold. Because Taylor owns the compositions, she has essentially authorised herself to make covers of her own songs. Taylor will now own these versions (as they’re only licensed to her new label) and can use these recordings however she wants without needing approval.

[Wayne]

Knowing there is a sequel to Bohemian Rhapsody (movie), I expect much of the $1 billion is linked to the anticipated gain in music revenue that will come on the back of that. Regardless, $1 billion probably makes it the most valuable music catalogue in the industry, aside from probably The Beatles, Elvis and Michael Jackson (I expect the value of Abba's catalogue is also right up there, especially with the launch of the Abba stage show).

[Artoo]

I don’t think there’ll be a sequel. I don’t think there’s much story left and they struggled to find the right story for the first one. Sure, there’s Freddie’s illness and death, but considering how private he kept it (even from his bandmates until he had to) I don’t think there’s much there to tell. However I do think there could be a movie of We Will Rock You in the works.

[Wayne]

I don’t think there’ll be a sequel. I don’t think there’s much story left and they struggled to find the right story for the first one. Sure, there’s Freddie’s illness and death, but considering how private he kept it (even from his bandmates until he had to) I don’t think there’s much there to tell. However I do think there could be a movie of We Will Rock You in the works.

It's in the article on the previous page:

In 2018, the band saw an uptick in sales of their albums following the release of the Queen biopic, Bohemian Rhapsody, which grossed more than $910 million worldwide. The film also won four Academy Awards, two Golden Globes, and two BAFTA Awards. May has hinted that he wants to work on a sequel to the 2018 Queen biopic.

That might be what you say it is, a movie version of We Will Rock You - but I doubt that would have the same success as BR, or a successor to that movie.

[Artoo]

It's in the article on the previous page:



That might be what you say it is, a movie version of We Will Rock You - but I doubt that would have the same success as BR, or a successor to that movie.

Brian’s been talking about a sequel for a while, I just don’t see a direct sequel happening. Lightening rarely strikes twice and some things are left alone.

In terms of a musical adaptation, I actually think it would add more value to their catalogue than a sequel movie - if their catalogue sells, the new owner would get a cut of ticket sales, physical media sales, movie streaming royalties, new cast recording royalties and there’d be huge potential for ongoing theatre ticket sales.

I’m actually surprised We Will Rock You hasn’t been turned into an arena show (similar to Jesus Christ Superstar a few years ago). Queen could actually play in the show, as they did in the west end occasionally, and I’m sure ITV/BBC would pay to even do a show to find the leads.

[Jonathan]

https://consequence.net/2023/06/warn...music-catalog/

Warner Bros. Discovery to Sell Half Its Music Catalog: Report

Warner Bros. Discovery is in negotiations to sell about half of its film and TV music-publishing assets for an estimated price tag of $500 million, Hits and Variety report.

It’s uncertain for now which of Warner studio’s assets are being sold, but music from films such as Casablanca, Purple Rain, Evita, Sweeney Todd, Rent, and the Batman franchise are rumored to be included in the deal. Sony is reportedly the frontrunner to acquire the rights.

Some business insiders have noted that it would be a smart business move for Warner Bros. Discovery to sell right now and help pay off their $49.5 billion debt while the music catalog market is booming. But on the other hand, some observers have noted that these assets are “declining” in value and would have little opportunity to be put to good use, as many are upwards of 50 years old and no longer feel relevant in current pop culture.

Warner Bros. Discovery has had a rocky journey over the past year or so, having shelved completed projects, removed hundreds of episodes of classic TV from streaming, and cancelled popular contemporary shows. The company also recently laid off a significant number of higher-ups at Turner Classic Movies, prompting filmmakers Martin Scorsese, Steven Spielberg, and Paul Thomas Anderson to call an emergency meeting with CEO David Zaslav to discuss the future of the channel.

[Debs_Wild]

Because Taylor owns the compositions, she has essentially authorised herself to make covers of her own songs.

Correction: anyone can cover a song. A permission is only needed when you want to *sample* a song.

[Artoo]

Correction: anyone can cover a song. A permission is only needed when you want to *sample* a song.

Anyone can cover a song, but you still need approval from the publishing owner to release the song for commercial gain, depending where you are in the world. In the US, which is where Taylor is based, you need a Mechanical Licence to legally release a cover on download/physical formats.

[Debs_Wild]

Anyone can cover a song, but you still need approval from the publishing owner to release the song for commercial gain, depending where you are in the world. In the US, which is where Taylor is based, you need a Mechanical Licence to legally release a cover on download/physical formats.

You don't need permission from the publisher. You just have to pay royalties. See here: https://syncsongwriter.com/blog/lega...ng-cover-songs

[Artoo]

You don't need permission from the publisher. You just have to pay royalties. See here: https://syncsongwriter.com/blog/lega...ng-cover-songs

Firstly, I said depending on where you are in the world. Secondly, the article you quote confirmed everything I said about the US and needing a Mechanical Licence to legally release a cover for commercial gain.

[AndiIversen]

Austin Mahone:

https://www.tiktok.com/@zachsangshow...15542006648106

[aRat]

Austin Mahone:

https://www.tiktok.com/@zachsangshow...15542006648106

Now he has enough money to buy himself a coffee and a cake

[Jonathan]

[jordi_89]

Would be so funny if that was 50Cent instead.

[Debs_Wild]

Firstly, I said depending on where you are in the world. Secondly, the article you quote confirmed everything I said about the US and needing a Mechanical Licence to legally release a cover for commercial gain.

Obtaining a Mechanical License is an automated process. You don't get permission from anyone. The artist and the publisher don't get contacted. They just receive royalties.

[Debs_Wild]

Iconic!

[Jonathan]

https://consequence.net/2023/08/gior...cer-royalties/

Giorgio Moroder Sells Producer Royalties

Famed songwriter and “Father of Disco” Giorgio Moroder has sold his producer royalties to the brand development company Iconoclast, Variety reports.

The deal places Moroder’s name, image, and likeness rights in the hands of Iconoclast, so expect to hear Donna Summer’s “I Feel Love” or Berlin’s “Take My Breath Away” a lot more in advertisements. In addition to a prolific solo career, Moroder produced may of Summer’s disco classics as well as the Academy Award-winning Top Gun song.

Moroder’s other credits include Blondie’s “Call Me,” as well as the soundtracks to Cat People and Scarface. In the 1970s and ’80s, artists including Led Zeppelin, Queen, The Rolling Stones, and Elton John recorded at his Musicland Studios in Munich. Decades later, for his 2015 solo album Déjà Vu, Moroder enlisted Kylie Minogue, Britney Spears, Sia, and Charli XCX as collaborators. Even more recently, he lent a hand to Duran Duran’s LP FUTURE PAST.

Selling the rights to one’s catalog has become a common move for aging artists in a music industry that becomes increasingly unsustainable. Red Hot Chili Peppers, Neil Young, Bob Dylan, and Sting are among the musicians to give up either all or a significant portion of their music for hundreds of millions of dollars.

[Debs_Wild]

[InFamous]

225 million. Wow. Massive pay day.

[Wayne]

Wow, shocked that Katy made $225m!

[Goldmoney]

225 million. Wow. Massive pay day.

You don’t get a cut of that bb.