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Author: Subject: thoughts on the new Marcus King record?

Peach Master



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  posted on 10/20/2018 at 09:39 AM
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Would it not benefit these artists to perform more songs written by specialist songwriters or to cover classics?



The money is in songwriting. A song is owned by the writer who gets royalties every time it's covered/recorded/licensed to someone else. With the extension of the length of copyright (life plus decades), songs are valuable assets. A singer gets paid for a performance, period.

 

A Peach Supreme



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  posted on 10/20/2018 at 03:52 PM
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Maybe all the great ideas, lyrics, riffs, hooks etc have been used over and over to the point that very little sounds fresh and inventive.

Even Warren Haynes, for all the great songs he has written, has penned an awful lot of average material to my ears.


This is an interesting take on it. Honestly, there's only 12 notes....style/voice/feel....all of it, if you're trying to develop your own sound or sometimes, you just sound like you, has to do with your interpretation of those 12 notes. People have been doing it throughout all of history. So there's always fresh to be found, it's just a matter of the creative aspect. And it's HARD, don't get me wrong, but it's there.

In terms of songwriting and songwriters, I can only speak for myself, but we all right average material. I used to sit and wait on inspiration, but since I moved to Nashville to dive into writing more, I've learned the trick is to write when you're uninspired. You have to exercise it just like any other muscle....it's definitely a craft. We all write stuff that winds up in the trash bin, but we're writing. If you have that skill, and are willing to learn the craft behind it, you're going to write sh*t songs....but at that point it's almost a numbers game. It's really kinda hard to explain, hopefully that helped a little?


Great information.

I read an interview of Derek several years back that compared slide to electric guitar in terms of undiscovered sound. His opinion that since the slide guitar was not nearly as popular as electric it was "relatively easier" to create new sounds. (I may be using "sounds improperly but am not a musician)


A question:

Hasn't it become almost impossible to make a living as a songwriter with the advent of digital music?

Sorry if I'm hijacking the intent of the thread. As I noted above I really like the new album by Marcus.

Yes it basically as both as a songwriter, and as a professional musician, but the songwriter does get royalty from writing the song if it's performed. It has been this way for a long time though, in the very early 2000s a good friend of mine who I went to lots of Allmans shows with through the decades, completely stopped studying Jazz/music at a local university and studied something a lot more versatile and lucrative.

I also knew musicians and songwriters who in the very early 1980s did the same thing. They play music as a hobby and write songs for fun but they've never made any money from either.

[Edited on 10/20/2018 by The_Newt]

 

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Peach Bud



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  posted on 10/20/2018 at 08:21 PM
We have true talent in Marcus King and his band. I love it. I've had the pleasure of seeing him at the saint In Asbury before he blew up. Man we sure are lucky.
 

Peach Master



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  posted on 10/21/2018 at 01:06 PM
Great thread & both topics (Marcus) & (songwriting) are fun reads
 

Zen Peach



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  posted on 10/22/2018 at 07:02 AM
For those in the know, this has always puzzled me. So a songwriter/artist receives payment when someone plays their song? What about bars and festivals? People cover songs all the time.

 

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A Peach Supreme



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  posted on 10/22/2018 at 10:55 AM
I can't speak for the US but in the UK there is an organisation called the Performing Rights Society (PRS).

Artists pay the PRS a membership fee in return for which the PRS collects all royalties due to the artist for performances of their work whether it be broadcast on TV or radio, use in film or theatre, by DJs, live performance, online, at sporting events etc.

The PRS uses reports from licence holders and tracking services to know when works are played, performed or reproduced.

Royalties paid for live performance of a work are small - in a small venue, 10 per event which is divided between all PRS members whose works are performed.

At larger venues and festivals, royalties are calculated as a percentage, minimum 4%, of gross box office takings. Royalties due are divided between members based on the number of seconds a performance lasts.


 

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  posted on 10/22/2018 at 11:11 AM
Music Modernization Act

 

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Peach Master



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  posted on 10/22/2018 at 12:32 PM
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Boring, unoriginal, derivative. He sounds like a Warren wannabe.

Never got into, then out of, an artist so fast...I question whether he's conscious of his influences and similarities to them or not, but high-powered HardHead mgmt clearly doesn'tz care about that!?!?!

 

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  posted on 10/22/2018 at 12:45 PM
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For those in the know, this has always puzzled me. So a songwriter/artist receives payment when someone plays their song? What about bars and festivals? People cover songs all the time.


From the writer's perspective, they have performance rights organizations (ASCAP/BMI/SESAC) that are responsible for chasing down the mechanical royalties from movie/film placement, radio play, etc. etc. Those same organizations charge live music venues flat fees so they can have essentially anything performed in their club.....basically to cover their asses for people covering copywritten and published music.

There's more to it than just that, but that's the meat and potatoes of it.

 

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Zen Peach



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  posted on 10/22/2018 at 12:52 PM
quote:
quote:
For those in the know, this has always puzzled me. So a songwriter/artist receives payment when someone plays their song? What about bars and festivals? People cover songs all the time.


From the writer's perspective, they have performance rights organizations (ASCAP/BMI/SESAC) that are responsible for chasing down the mechanical royalties from movie/film placement, radio play, etc. etc. Those same organizations charge live music venues flat fees so they can have essentially anything performed in their club.....basically to cover their asses for people covering copywritten and published music.

There's more to it than just that, but that's the meat and potatoes of it.



That explains it I think. So nobody has to count how many times a song is played by someone, correct?

 

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Zen Peach



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  posted on 10/22/2018 at 01:37 PM
" thoughts on the new Marcus King record? "

Man, I want to like this kid...

Maybe that will happen further down the road when he develops more of an original sound & identity.

 

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