Compass Records

Clive and his company were able to make 425 million dollars in 1999 and 55 million in nine months of 2000. Later in the year, he was at the Grammy awards in Los Angeles for seismic awards (Silberman, 2000). In 2015, Clive’s artists were given standing ovations for their hard work. Later, he was invited to Taylor Swift’s Grammy awards party. Clive Davis has earned 39 Grammy awards since he started in 1960 (Mitchell, 2015).

Michael R. Cohen, 25B WEST 'S LEGAL FORMS, INTELLECTUAL PROPERTY § 23:22 (2014) (“Since it would be virtually impossible for publishers or songwriters to monitor and control the large numbers of users of their songs, the enforcement and control of such performance rights usually falls to one of three performing rights organizations ....”).

In the event that the (Defendant) Bobby Bandleader, hadn’t altered the words to the song, yes he would have committed copyright infringement and would have to pay royalties to the (Plaintiff) Johnny Singstealer. The sum of $1 million the (Plaintiff) Johnny Singstealer is asking for is by far an over payment. Assuming that the (Defendant) Bobby Bandleader’s bistro accommodates 200 guests, performing three nights or less per week at a rate of $4.67, the annual licensing fee would be $934 per year. The amount to be paid to the (Plaintiff) Johnny Singstealer would be the sum of $18, 680 for twenty years of usage. If it performed the song four to seven nights per week at a rate of $5.59, the annual licensing fee would be $1118. The amount to be paid to the (Plaintiff) Johnny Singstealer would be the sum of $22,360 for twenty years of usage. All of this is according to the American Society

For new bands, one of their first major steps into getting into the business is usually finding a record label. A record label is commonly known by most people as someone who simply signs a band and sells their music. What most people do not know is that they do much more than that. A label does do all the things that people believe they do, however, they also do much more to help an artist. A label is one band’s contact to other artists or promotors that will help further their popularity and reach out to more businesses who could potentially seek endorsement deals to support an artist while also advertising their own product (Lindvall). However, some bands have had negative experiences with labels. There are many negative outlooks on record labels recently and their work with certain artists.

by the number of cases an employee could pack in one hour (12), which gives a cost of $0.71 per case. If you

Until the late 40s, most country and western artists on a major record label would record in New York, Los Angeles or Chicago as they were where the label offices and studios were located. 1945 saw the first independent recording studio built in Nashville, titled ‘The Castle Recording company’ and was created by a pair of enterprising radio engineers from WSM in Nashville, (Levy 2000, 22-23). In 1954, Nashville Producer Owen Bradley constructed a studio away from downtown in the famed Quonset hut and was soon followed by a rush of producers, publishers and performers in the late 50s to early 60s converting old houses into studios and offices. This central hub of music industry development in downtown Nashville would form what would come to be known as ‘Music Row’ (Hill 2011, 294). This rush of interest would see session musician and producer Chet Atkins persuade label RCA Victor to construct a studio in 1957, later known as “Studio B”. (Studio B, n.d.)

Over the past fifty years, the British Music Publishing industry has undergone dramatic changes. It has evolved as an entity with innovations in technology, changes and creations of laws and new mediums to promote and exploit songs to a wider audience. Therefore, the way in which the music publishing industry operates and exploits its assets has completely transformed, and continues to do so at a rapid pace. This paper will attempt to explore the ways in which publishers exploit song copyrights and the way in which this has changed over the past 60 years. It is important to define what is meant by copyright and its role within the industry. The Performing Right Society website states: “Copyright

By seeking a partnership with Duke Records this allowed the Peacock musician roster to expand in artistry and sound by joining; Peacock’s gospel sound with Dukes R&B sound.

The ongoing file sharing of music on the Internet has caused the loss of millions of dollars for the music industries. Instead of people going to the store and purchasing CD’s from their favorite music artists, they are going on the Internet and downloading their songs for free. Downloading one song can take as fast as thirty seconds, which means that a person can download an entire album in less then 10 minutes. After downloading these songs in MP3 format, a person can easily burn the songs onto a music CD using a CD writer. This is how easy it is for a person to make their own CD and spend much less money doing so. A CD normally ranges from ten to twenty dollars in price. But if you were to make your own CD it can cost anywhere from fifty cents to three dollars. This depends on what quality CD’s you use or how cheap you buy them for. Downloading your own music and making your own CD’s cuts down the price around 90 percent. This means that as more and more people purchase CD writers, the music industry will be losing more and more money.

‘Independent record labels have been around since music started being recorded’ (King, 2012, p.13). Created by fanatics with a passion for music, the recording and production process was often self-funded and the purpose was to nurture talent and creativity. Most of the major record companies we know today would have once started in this manner (King, 2012).

Producers are in the same situation. Inside producers only receive salary plus some royalties as compensation. While outside producers received a production fee and negotiated a royalty of 1% to 5%of the suggested retail price. Production fee varied dramatically, which means the production fee producers received depends most on the level of the producers themselves and the level of the artists they helped. However, they were only about 20 to 30 top producers who may receive so high production fee that they would like to pay for Hit Song Science. Other producers with low or relatively low production fee may not be willing to pay for Hit Song Science out of their slender income. It makes sense that famous artists prefer top producers who can help them make a hit and in turn, receive benefit from the hit. If artists, unsigned artists and producers only received a small portion of income from music, the biggest winner in the process of recording activity is record company. Managers and talent agents alone extract between 25% and 40% of a performer’s income. Record labels have the ability to pay for Hit Song Science. More importantly, they want to forecast sales levels for the titles in their portfolios.

Some artists such as Hootie and the Blowfish never accept money for their music to be

EMI music group was formed in 1931 when Gramophone Company merges with Columbia Graphophone to form Electric and Musical Industries (EMI 2007). EMI started with operations in nineteen countries and has eventually grown to operations in over fifty countries. EMI has the rights to over one musical composition. Of the five major music companies, EMI has the least market share in the Unites States. This market share may now be in jeopardy as Universal Records has decided to decrease the price of its CD's in an effort to generate sales. EMI must determine what they would gain or lose by dropping or not dropping their retail price for CD's and the price charged to

Aspray goes on to say that while this distribution model was inefficient from an economic standpoint, artists had no other choice but to sign with major labels if offered a contractual agreement. Production, recording, promotion, and distribution expenses all lead to extremely high fixed costs and needed large investments from labels. Often these expenses would then be debited to artists’ return on investment received from their recordings, leaving them

In 1993, Elektra Records informed Sara Hickman that they were releasing her from her recording contract after three records. Getting dropped be her label was not the distressing part, Elektra also informed her that her recently finished album was to be shelved, never to see the light of day. Again, while disconcerting, Hickman felt she could go into the studio and record those songs on the shelved albums for a new record label or just release them herself. But that was when her manager, Kevin Wommack, hit her with even more bad news — that Elektra was enforcing the “Five Year Non-Rerecord” clause. This clause prevents an artist from recording any material on previous albums for five years. The intent and purpose of this clause is to provide the record label a window of exclusivity over an artist’s rendition of a particular song. But, this seemed so mean, so draconian, and Elektra felt there was nothing Hickman could do about it. However, Hickman had something they did not count on, a passionate fanbase that she cultivated a relationship with over her ten year career.