Category Archives: Music Publishing

Screen Shot 2014-09-18 at 4.42.44 PM

Download Sounds of Summer: A TuneCore Artist Compilation

Summer is coming to an end but we’ve put together two exclusive TuneCore Artist Compilations  to  keep the spirit of the season alive throughout the year. These compilations feature artists that span all genres.

TuneCore promotional compilations consistently chart on Amazon with thousands of downloads giving  a promotional push for participating artists.

Both volumes of Sounds of Summer are now available for free  Amazon Music U.S. Support TuneCore Artists by downloading and reviewing the compilations on Amazon!

Look for our announcement for the next TuneCore Artist compilation sometime this fall.  Get your music ready!

Volume 1

Jay Stubbs, “Young Souls (feat. K. Flye)”

Barefoot Surfers, “Summer Sun”

Luke James Shaffer, “Feeling Good”

Davis Harper & Nick McElmurry, “Envy”

Sheera, “In My Heart”

Ally James, ” LA’s Better With You”

Che-Val, “My Beat”

Gabe Lopez, “Cuz U Like Boys”

Luke McMaster, “NYC (Tom Colontonio Extended) [feat. Bek Phillips]”

Tim Note, “Sun (feat. Natalie Major)”

Mdpc, “Summer Lovin’ (Trap Version)”

Stella Rhymes, “Feel Alive”

Jack Be Nimble, “Drama King”

These Young Fools, “Follow the Leader”

Bobgoblin, “Play”

Hum & Hiss, “What Did You Put in That Kiss”

The Mint, “Heart Feels Heavy”

Brendan Foery, “Everything I need”

The Gyro, “Got It All”

C Scharp, “Thoughts About Her”

Sulay Keith, “Badeya”

Looce, “In Love With You (feat. Zeek)”

Rivvrs, “I Will Follow You”

Alannah McCready, “Back of a Taxi”

Chad Mackey, “Life Is Good”

IvoCro, “One Way Ticket (feat. A.Bouton, M.Vasquez & B. Diaz)”

iamDavidVO, “Let’s Go”

Irie Mo, “Dive In”

DJ Mambo, “Revenge”

Bethea, “Dance Anthem (Zabadap)”

Volume 2

Fein, “#Grownupz”

Toddsplanet, “Good Love”

Andromeda Sun, “Come Together”

Shiselon, “TurnUpoloy”

Young Ekul, “Standin Ovation (feat. 28)”

Allie Jawz, “California Dippin”

RichRel, “So Young So Dumb”

Moses Gunn Collective, “Shalala”

Strange Girl, “Embark, Disembark, Move On”

Hollis Brown, “Wait for Me Virginia”

Keko Yoma, “Calor”

Adeh, “Iwo Ni Moni”

Unique De’vine, “Numbers Game (feat. MJ Roads)”

Andrew Mark Schaffer, “Serenity Now…”

The Micks, “Time to Grow”

Tyra Thompson, “One Hot Mess”

Lia, “Summer Nites”

Mathias Thomson, “Summer of Love”

1989tre & Fastlane, “That’s My Jam”

Stefan Tosovic, “Summer Lovin'”

Jordan Beckett, “Story Tonight (feat. Scarlett Beckett)”

Forster Anderson, “Maggie T”

Tom Eaton, “On the Road”

Matt Telfer, “Too Hot for Rattlesnakes”

Janet Ryan, “Nothing Left to Lose but the Blues”

Javier Jimenez, “Te Odio”

Zach Terry, “Already Gone”

Andrew Juliot, “Golden Age”

Sky Limit, “Exaltation”

Redee, “Radical Trip”

Screen Shot 2014-09-15 at 5.15.33 PM

The Latest News from TuneCore Music Publishing

It’s the middle of September and we already have much to report from our Music Publishing Administration office! Find out who has joined our songwriter community and which compositions have recently been featured in film and TV…

Songwriter Highlights

Pop, folk singer-songwriter Jonathan Clay celebrates a successful
solo career in addition to being one half of industry darlings Jamestown Revival. Clay has had the good fortune of a development deal with a major label, a slew of film and TV placements and features in magazines like Rolling Stones and Billboard. TuneCore Music Publishing is proud to administer Clay’s compositions appearing on the Everything She Wants album and the single, “This One’s for Me.”

Manafest-1TuneCore Music Publishing writer Christopher Greenwood, who goes by the stage name Manafest, is a rapper and rock musician from Ontario, Canada. First noticed in 1998 by fellow TuneCore client Trevor McNevan of the rock band Thousand Foot Krutch, Greenwood has gone on to earn four Dove Awards nominations and two Juno Awards nominations for his work.

TuneCore Music Publishing writer Jeffrey Schultz formed his Fort Jeff_RainsWayne, Indiana-based rock group RAINS in 2000. Committed to hard work, the talented musician has toured the US alongside active rock heavyweights Five Finger Death Punch, Hatebreed and Black Stone Cherry, among others. Their latest single “Look In My Eyes” enjoys rotation on Sirius XM’s Octane, as does other TuneCore administered hits “Look In My Eyes” and “Pressure“.

Sync & Creative 

In addition to our Sync & Mastering Licensing Database, our creative staff continuously works to place TuneCore administered copyrights across all multi-media. Recent pitches include music for the premier season of ABC’s room-com Selfie, season two of MTV’s breakout hit Faking It, and the trailer for new Liam Neeson flick, Run All Night.

Recent License & Placements

Screen Shot 2014-09-15 at 4.53.59 PM

nashville

TuneCore opens Nashville Office to Deepen Music-Industry Relationships and Grow Career-Building Opportunities for the New Generation of Musician-Entrepreneurs

Shelby Kennedy, ASCAP/BMI veteran and music publishing entrepreneur to helm new office as
VP, Entertainment Relations

NEW YORKSeptember 10,2014 

Kennedy_ShelbyLeading digital music distribution and music publishing administration company TuneCore announced today the launch of a Nashville office to be led by music industry veteran Shelby Kennedy. Kennedy joins TuneCore as Vice President, Entertainment Relations. In this role, he will work closely with musicians, songwriters and strategic partners with the goal of driving greater opportunities throughout the evolving business of music. Continue reading

See What’s New at TuneCore Music Publishing

August brings much to report from our Music Publishing Administration office!  Find out who joined our songwriter community and which compositions have recently been featured in film and TV…

Songwriter Highlights

Kthe-clarksnown amongst fans as the best kept secret in American rock, TuneCore Publishing Administration is excited to administer The Clarks ninth studio album titled Feathers & Bones. In their nearly thirty years together, Scott Blasey, Robert James, Greg Joseph and Dave Minarik have appeared on the Late Show with David Letterman, sold over 300,000 albums and continue to sell-out venues with seats in the thousands.

Norwegian-born film composer Johannes Ringen and American Johannes-Ringen--James-Craft2writer James Craft teamed up to create the sensational “Dreams Fade to White” in early June of this year. The accompanying video What’s On Your Mind? premiered at the Cannes Film Festival and has since gone viral with nearly nine million YouTube plays to date. TuneCore Publishing Administration is proud to represent the composition as well as distribute the sound recording.

Sam-OutlawSelf-described neo-traditionalist country writer, Sam Outlaw creates music in the vein of fellow TuneCore Publishing Administration client Country Johnny Mathis and living legend George Jones. His latest release, Nobody Loves, is produced by Delta Spirit’s Kelly Winrich and features the compositions “Country Love Song” and “Keep It Interesting”.

Recent Licenses & Placements

Screen Shot 2014-08-15 at 3.31.00 PM

What You Don’t Know About Publishing May Be Costing You

[Article originally posted on SoundCtrl]

By Jamie Purpora, President, TuneCore Publishing

If you’re a musician in the US, there’s a good chance you’re familiar with the names ASCAPBMI and SESAC. You also likely know that joining one of these Performance Rights Organizations (PROs) will help you collect royalties that you’ve earned as a songwriter.

What you may not realize is that the world of rights and royalties is incredibly complex, and in this increasingly global, multi-platform world, you might not be quite as covered as you think. In this article, we take a look at the royalties PROs can and can’t collect and demonstrate how a publishing administration partner like TuneCore Publishing Administration, in conjunction with PROs, can help ensure you’re able to get your hands on all the revenue your songwriting earns.

Performance Is Just One Type of Right

The first misconception held by many songwriters is that copyright is a single thing – like a blanket – that covers your work. The reality is it’s more like a quilt, and if one piece of that quilt is missing, you may be left in the cold.

There are multiple ways compositions generate revenue for songwriters. Organizations like ASCAP and BMI cover one of them: the P in PRO, Performance. While Performance encompasses much more than an actual stand-on-the-stage-and-play situation, it by no means covers all uses of a composition. It’s these other revenue generators that, if you only work with a PRO, may represent earnings that are just sitting on the table.

MusicInk

What Is Performance?

Performance quite obviously includes live public performances, but it also includes radio play and even having your composition played as background music in a public place like a restaurant or hair salon. As a group, these are referred to as “Analog Public Performance,” and the royalties they generate are based on negotiations between your PRO and the radio station, TV network, bar, restaurant, airline, office, etc. using your composition.

Thanks to the Internet, royalties are also collected for “Digital Public Performance.” This category is then subdivided into Non-Interactive and Interactive “Streaming” Public Performance. Non-interactive services are those that don’t allow you to pick songs, create playlists or otherwise “interact” with the music. Pandora, iHeartRadio and Sirius XM Satellite Radio are examples of non-interactive platforms. Interactive service examples are YouTube and Spotify. For any of these uses, there’s no set royalty rate. Royalties are negotiated between the PRO and the other entity and are often based on a percentage of that entities’ gross revenue.

If the song you wrote is performed or broadcast publicly in one of these settings, and you’re affiliated with ASCAP, BMI or SESAC, you can feel safe in knowing that they will collect on your behalf and pay you…at least in the United States.

US-Based Organizations Cover the US

Copyright regulations are laws, and as such, they are codified and enforced in each territory. Much like how the NYPD won’t be giving you a traffic ticket in Los Angeles, ASCAP isn’t collecting for you in Germany. Or France. Or Malaysia. Those countries have their own “societies” for the enforcement of copyrights and collection of royalties.

Fortunately, there is a measure of cooperation. ASCAP or BMI will work with the society in whatever country to get you paid, but again, this is just covering PERFORMANCE. So imagine you gave permission for your song to be used in the TV Show Breaking Bad. It airs in the US so your PRO collects any resulting performance royalties for you and pays you. As a result of the song being in the show, your iTunes downloads skyrocket, and again, your PRO will get you paid. But if the show airs in Germany, and as a result your song catches fire on Spotify in that country, you will only get a part of what you’ve earned – the performance royalty. You will NOT receive royalties collected as a result of the streaming mechanical or download mechanical. Instead, the society for the region will collect the money on your behalf, but because they don’t know who to pay, they’ll just sit on it. By contrast, once you’ve registered with a company for publishing administration, they will track rights and collect on your behalf worldwide.

These internationally-earned royalties can really add up, too. For example, TuneCore Songwriter Brian Crain, an ASCAP member, had distributed and even licensed his music for a few years before he learned that his PRO wasn’t collecting everything he’d actually earned. As soon as he signed up for TuneCore Publishing Administration, TuneCore was able to get $4000 in download mechanicals to him that had previously just been sitting in Canada.

royaltysign

“Performance” Covers a Lot, but Not Everything

In addition to performance, royalties and revenue are generated when your compositions are sold, streamed through interactive services, downloaded, or when they are licensed for use in something like a TV show or movie. These avenues can be incredibly lucrative. But if you’re just relying on a PRO, the money generated by them may never make it into your pocket. In these cases, a publishing administration service is essential. In the past, these services were only available to the most elite tier of songwriters. Today, in much the same way that digital has opened the door to global distribution for all, any songwriter can get a publishing administration partner.

Mechanical Royalties

If you write a composition and someone copies, prints, covers or even transforms it into something else, you’re owed a “Mechanical Royalty.”

Reproduction is one of the main ways compositions generate mechanical royalties, and these royalties are owed on every single CD, LP or other physical manifestation of that composition. As soon as that “thing” is made, the royalty has been earned. If a million CDs are burned but not a single one sells, it’s still a reproduction of a million units. Every time a sound recording is downloaded or streamed (interactively) on digital stores like iTunes, Amazon or Google, it counts as a separate reproduction, as well.

Mechanical royalties are also collected for “Derivatives” of your composition. An easy example of a derivative use would be someone doing a bossa nova rendition of your hip-hop song. While this transformation no longer counts as a reproduction, you’ve still earned royalties for the use.

According to the letter of the law, derivative works include any work based on one or more pre-existing works. This could be a translation or new musical arrangement but could also include a dramatization, fictionalization or even a movie version. A good and complicated example of this is “Born in East LA,” a movie that was derived from a Randy Newman composition that was derivative from Bruce Springsteen’s composition, “Born in the USA.” Every time the movie gets shown, Bruce earns mechanical royalties.

PROs like ASCAP, BMI, SESAC or SOCAN do not collect mechanical royalties. This means any revenue you’ve earned from streams, downloads (outside of the US & Latin America) and physical sales are not collected by ASCAP and won’t make it into your pocket. While the royalties will be collected per the law by places like digital stores that stream and sell downloads outside the US & Latin America, without publishing administration, they won’t know who to pay. The money, therefore, goes unclaimed. A publishing administrator, on the other hand, will register your information with these sources, song by song, and you’ll collect the mechanical royalties that you’ve earned.

Bon-Iver

Licensing

If we go back to the example of the bossa nova rendition of your hip-hop song, we’ve already established that mechanical royalties will be collected on your behalf, but you may not ever receive that money. What we haven’t yet discussed is the fact that you have to give permission to the band in order for them to legally do the rendition in the first place. That permission – or more accurately, the licensing of your intellectual property – is another avenue to revenue. It’s also a road the PROs can’t help you navigate.

Licensing comes into play with more end uses than just our derivative examples. Use of samples requires a license, and as we’ve seen through lawsuits against Robin Thicke, Jay-Z, Moby, Kanye West and scores of other artists, failure to obtain the correct permissions can have costly results. Also in this category are things like mobile ringtones, printed sheet music, online guitar tabs and even lyrics posted online. Legally, anyone doing these activities without the proper license is in violation of the law.

In a lot of these cases, it’s completely plausible that the violators are unaware of their crimes, but ignorance does not make them innocent. They’ve violated your rights and you could sue them. But first you’d have to find the unlicensed use, then you’d have to figure out how much it’s worth and then good luck actually collecting. ASCAP and BMI can’t help you here. A publishing administrator can.

[Closing]

We at TuneCore believe very strongly that Performing Rights Organizations are an incredibly important and necessary tool for songwriters and publishers. They are the watchdogs of the airwaves, so to speak, with the enormous task of collecting performance royalties from thousands of sources. However, we also see how this is a very different business than it was back in the days of physical media on brick-and-mortar store shelves. Now, both the media and shelf can be digital and the channel and audience can be anywhere in the world.

Every year, millions of dollars in royalties that are collected on behalf of songwriters by societies all over the world just sit, unclaimed, because the songwriter doesn’t have a publishing administrator locating and obtaining these funds. That’s why it’s crucial to have a publishing administrator in addition to your PRO, so your share of those millions of dollars makes it into your pocket.

Jamie Purpora has 20 years of experience in music publishing administration. Prior to joining TuneCore, Jamie helped make Bug Music one of the largest independent music publishers in the world, serving first as Director of Royalties then becoming Vice President of Administration.

At Bug, Jamie was responsible for overseeing publishing administration of the company’s entire catalog, which consisted of over 300,000 copyrights. Clients included Willie Dixon, Muddy Waters, Iggy Pop, Stevie Ray Vaughan, The Guess Who, The Kings of Leon, Johnny Cash, Ryan Adams, Wilco, Tradition Music, Average White Band, Del Shannon and the Trio/Quartet Music catalog. Jamie also served on the Publisher’s Technology Board at the Harry Fox Agency for the last three years.

July News from TuneCore Music Publishing

Lots to report in the way of TuneCore Music Publishing news.  Get the lowdown on who joined our community of songwriters, and which compositions were recently featured in film and TV…

Songwriter Highlights

Vita-ChambersRaised in Barbados to Canadian parents, Vita Chambers began her professional career at age 16.  Plucked from Myspace obscurity by Universal Motown execs, Vita’s first major performance was as the opening act at the 2009 Thanksgiving Day NFL half-time show.  The TuneCore administered composition “Fix You” is certified Gold, was nominated for Best Dance Record at the 2013 Juno Awards and enjoyed time in the Top 40 Pop Chart in Canada.  Chambers’ newest single “What If” is available now via all major digital stores.

TuneCore Publishing Administration client Dana Johnson is a writer, producer and classically trained guitarist who accounts for one half ofAvery-Sunshine the critically acclaimed R&B/Soul act Avery*Sunshine.  Always true to their roots, the two met in a Philadelphia, PA church where Johnson was understandably taken with Sunshine’s thunderous, gospel-bred pipes.  Relentless touring with the likes of Ledisi, B.B. King and Musiq Soulchild have helped her singles “Ugly Part of Me” and “All in My Head” reach heavy rotation on Music Choice, VH1 Soul and Centric.  TuneCore distributes and administers the compositions for their latest effort, The Sunroom, a bold collection that takes listeners through themes of love, longing, pain, power and redemption.

Burning-SpearTuneCore Publishing Administration client Winston Rodney, better known by stage name Burning Spear, is a celebrated Jamaican roots reggae writer and performer.  One of the most influential Rastafarians to emerge from the 1970’s movement, Burning Spear has 12 Grammy nominations and two wins for Best Reggae Album; one at the 42nd Grammy Awards in 2000 for Calling Rastafari, and one for 2009’s Jah Is Real.  Featured compositions administered by TuneCore include “Marcus Garvey,” “Slavery Days” and “Columbus.”

TuneCore Publishing Administration proudly represents the catalog of former Kid N’ Play label mate and frequent Gangstagrass Tone-zcollaborator Jason Keaton aka T.O.N.E-z.  Affectionately referred to by fans as the collaborative Rap + Appalachian genre “rappalachia,” Gangstagrass and T.O.N.E-z composed the theme song to the breakout hit Justified on FX.  The composition titled “I’m Gonna Put You Down,” received an Emmy nomination for Outstanding Original Main Title Theme Music, making Keaton the first rapper ever to be nominated for the award.

Recent Licenses & Placements

Screen Shot 2014-07-18 at 11.16.34 AM

Want more info about how TuneCore Music Publishing Administration can help you collect your songwriter royalties? Click here.