Guest Book

Hey Old Time Fan, who ever owns the publishing half of the contract (there's a publishing half and a writers half.... not always half either. many are lopsided) controls the use of the music. The writer is just along for the ride at this point and has no say in it. Also, once a song is recorded, it's fair game. So if lets say some gangsta wants to record his rap version of lets use Revival, for humor's sake, 😆 :lol2: :laugh: he doesn't have to get any permission from the publisher or Dickey to do so. Doesn't matter if Dickey or his publisher love it or hate it, in this case they are together, along for the ride and collect a quarterly check on the royalties generated from air play, CD sales, and live performances. In regards to live performances, the publisher/artist are compensated for performances of their songs such as Layla. Should the song be released on an album, they likewise will be compensated according to sales generated. Again however, Eric Clapton and his publisher need not be consulted whatsoever., as the song has already been released. If a song is being recorded for the first time, that's an entirely different story, by the way. Commercials are a whole different story than live performances, CD recordings, Jukebox plays...ex. The use of material by a third party for comercial exploitation falls into the hands of the publisher. If say, Cingular approached Gregg's publisher with a proposal, there are no set paramiters as far as how much the royalty is (as in live,CD's...ex) and it's negotiation between, in this case, Cingular and Gregg's publisher. The sky's the limit. But that's the role of the publisher. To collect revenue for the usage of the material and either place the music they control, or do the negotiation should a commercial enterprise approach them with a proposal.