The link below opens a great read for every aspiring original music artist:
https://www.mcbrayerfirm.com/blogs-intellectual-property-blog,taylor-swift-music-copyright-law
From this point on, I’ll assume you took the time and laid eyes
on Mr. Rosene’s insightful blog.
Copyright law and, more pointedly, the ignorance of it, has wreaked havoc on the most well-intentioned artists for decades. I’ve witnessed bands broken, friendships destroyed, full-on robberies, and worst of all, the abysmal purgatory of album prison — great music forever lost to egotistical hoarding by the physical copyright owners (the “master rights” mentioned in the article), or some other legal dispute. It may be that someone whose general distrust and ignorance got the better of them. Who wrote what parts? Who wrote this music? What’s fair? Is the cowbell I added part of that music? What if it’s the signature “sound” of your hit? If Tim plays it on the radio, who gets paid and when? If Chris played it in a bar, who will know? Did anyone ask permission? Should the writer care? Should they feel ripped off or flattered? Are they greedy or saints?
I don’t know a single artist-musician that didn’t, at some point, incur some anxiety or impact over copyright law. After all, they just want to make great records and, if they’re fortunate, perform it in front of vast audiences. Many of them are forced to trust other people to do what’s right where the business side of music occurs. And that’s what gets them in trouble.
Back to the blog …
Rosene’s cautionary tale(s) are fantastic reasons to at least acquire a rudimentary (snuck in some drum-speak ;) education on the business you’re either entering or already engaged. Yes, dadgummit, it’s a business! If you don’t have the means to make your own professionally-produced, commercial-grade recordings, marketed by your own well-oiled global PR machine, chances are you’ll need a good agent and the resources of an established record label. Quality productions incur significant costs, and nobody will lay theirs on the line without some agreement — a contract — that represents their opportunity for a great investment return. Liking your music doesn’t pay the bills. That part was largely missing from Rosene’s entry.
Remember, it’s a business.
Now … what about those capital investors who bought Taylor Swift’s back catalog? Who’s to keep other artists (if they’re able) from doing the same, destroying the label’s or other investor’s potential? I imagine contracts will forbid it going forward. Nice going, Taylor. Might be leverage for renegotiation, too. Strike “might” and substitute “likely”.
By now, if you’re a happy-go-lucky sort of artist, this has all given you a complete headache. You reach for your ukulele, test its tuning, then take a draw on your vapor thingy before working out a new blissful melody … maybe jot a few notes in your comp book. Hey, I get it; you might not be standing at the bridge’s approach. Copyrighting and Copyright law isn’t for everyone, suffice to mention all disciplines necessary to successfully navigate the music industry. It’s a good idea though — to know when something’s wrong. Sure, not everyone can afford expensive legal help. In those cases, there’s an enormous wealth of helpful info out there. Ignorance is on YOU!
To copyright your works:
https://copyright.gov/registration/
Learn what ASCAP and BMI can do for you by registering your
works:
(This is about different royalty types and how artists are compensated for performance
of their works)
https://www.ascap.com/
https://www.bmi.com/
But not lastly, once you’ve got them ducks aligned and have that pro recording in hand, ya might think about joining a larger band …
https://www.recordingacademy.com/
(You’ll need a couple key friends, though!)
