Heartland

H. Blackrose wrote: ↑30 Jan 2024, 21:31

ribbons69 wrote: ↑30 Jan 2024, 00:54

oldmonkey wrote: ↑29 Jan 2024, 23:13 My mate is very firmly of the opinion that any incarnation of a live band should only play the songs that they are involved in the creation of , so when a member leaves they should archive their songs.

I'm off to see Judas Priest in March, if they don't play any Tipton or Downing songs it's going to be a short set.

As I've said elsewhere, ex-members get royalties when their old band plays the songs they wrote. If the Sisters stopped playing Marian, W. H*ssey would be pissed off. Probably the same applies to A. Pearson and Summer.

I don't imagine Wayne even notices when the Sisters play Marian or No Time To Cry, and I don't imagine Dolly Parton made much out of them doing "Jolene"

H. Blackrose wrote: ↑30 Jan 2024, 21:31

ribbons69 wrote: ↑30 Jan 2024, 00:54

oldmonkey wrote: ↑29 Jan 2024, 23:13 My mate is very firmly of the opinion that any incarnation of a live band should only play the songs that they are involved in the creation of , so when a member leaves they should archive their songs.

I'm off to see Judas Priest in March, if they don't play any Tipton or Downing songs it's going to be a short set.

As I've said elsewhere, ex-members get royalties when their old band plays the songs they wrote. If the Sisters stopped playing Marian, W. H*ssey would be pissed off. Probably the same applies to A. Pearson and Summer.

Not sure they get royalties from live performances, only from physical releases, streaming and radio/TV play. If bands had to pay out every time they play someone else's song live, nobody would ever do a cover and Bernard Sumner definitely wouldn't be playing songs Peter Hook wrote at New Order gigs!

oldmonkey wrote: ↑31 Jan 2024, 00:59 Not sure they get royalties from live performances, only from physical releases, streaming and radio/TV play. If bands had to pay out every time they play someone else's song live, nobody would ever do a cover and Bernard Sumner definitely wouldn't be playing songs Peter Hook wrote at New Order gigs!

As I've explained before, that's not how it works. The bands don't pay, the venues pay a fee to have copyrighted/licensed music be played there. The bands give a report on which songs they did to the local performing rights association (PRA), who then distribute royalties to the songwriters out of that fee. So for a TSOM gig, that means Von will get most of it, but the other co-writers from Gary Marx to Dylan Smith will get a tiny amount too. And conversely, every time Hussbag's band play "Marian", Von gets a few cents from the venue they play it at via the PRA. It's not much but it all adds up. Here's my local PRA on the subject.

H. Blackrose wrote: ↑31 Jan 2024, 01:40

oldmonkey wrote: ↑31 Jan 2024, 00:59 Not sure they get royalties from live performances, only from physical releases, streaming and radio/TV play. If bands had to pay out every time they play someone else's song live, nobody would ever do a cover and Bernard Sumner definitely wouldn't be playing songs Peter Hook wrote at New Order gigs!

As I've explained before, that's not how it works. The bands don't pay, the venues pay a fee to have copyrighted/licensed music be played there. The bands give a report on which songs they did to the local performing rights association, who then distribute the fees from the venues to the songwriters. Here's my local PRA on the subject.

That link is in Australia. If it works the same in all countries how much money are we actually talking about? Is it a percentage of the door receipts? Then it has to be spread out between all the people that contributed to the song. If Napalm Death play 60 2 minute long blast songs do they get more than a prog band playing 3 concept epics?

ribbons69 wrote: ↑31 Jan 2024, 01:53 That link is in Australia.

That's right. There are similar organisations worldwide, including three different ones in the US.

If it works the same in all countries how much money are we actually talking about? Is it a percentage of the door receipts?

It's pocket change, but it all adds up. In Australia there's a set fee based on the size of the venue, and a licence works out to $15-25 a day normally, but you need to get an additional licence to put on a gig with a ticket price of $35 and up. APRA says they pay out 83% of this to the creators.

If Napalm Death play 60 2 minute long blast songs do they get more than a prog band playing 3 concept epics?

I *think* it works out on a per-minute basis these days, but that's one reason why old prog epics are broken down into "movements" for royalty purposes!