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PostPosted: Wed Aug 02, 2017 8:47 pm 
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Kramer Maniac
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be it today, or yesterday, or whenever....your opinions and observations would be cool to read. I gots opinions too. Craig received this email after sending an inquiry about the initial U.S. Mail we both recieved on the same day, over three months ago. All of our stuff is copyrighted/registered with the library of congress...hence where they got our contact info. The letter asked for "rights" to one of our tunes. Found out they could record anyone's song, as long as they notified you.......WTF????Lots of questions about how this company, as well as prolly hundreds more are operating in the world of arts/entertainment. Its seems like there are so many things wrong and on so many different levels of the way music is absorbed/obtained.

Just recieved this from Craig minutes ago...



"I just got a response back from the people I sent an email to about someone wanting to cover our song."


From: "Licensing HFA" <Licensingdepartment@harryfox.com>
To: ccurrie@fuse.net
Cc: noi-licensing@spotify.com
Sent: Wednesday, August 2, 2017 5:37:27 PM
Subject: RE: 81141-1325 Notice of Intention to Obtain a Compulsory License for Making and Distributing Phonorecords

Hello Craig,

The documents that you are receiving are Notices of Intent (NOIs) to obtain a compulsory mechanical license. Certain music services have retained HFA to distribute NOIs on their behalf. These licenses are a result of Spotify's search of works registered with the copyright office. Compulsory mechanical license terms and conditions are governed by the U.S. Copyright Law. You can find more information on compulsory mechanical licenses and NOIs at https://www.copyright.gov/circs/circ73.pdf

Once a song is first recorded and released anyone can then make a cover version as long as they notify the copyright owner and account royalties to them properly. You received such a notice. No further action is required but you would want to keep track if the recording is selling or being streamed on the service and follow up to see if you're getting paid if it is.

As a music publisher, we highly encourage you to sign up for an HFA Online Account and register your songs so they are licensed properly in the future. You can do that for free here http://www.harryfox.com/pubonlineaccount.

We have cc’d the licensee for any further questions you may have.

Best,
Licensing Department

40 Wall Street
6th Floor
New York, NY 10005

This email may be confidential. The sender is not affiliated with a law firm and does not provide legal advice, counsel or opinions of any nature. HFA/Rumblefish does not assume responsibility for actions you take based upon the contents of this message. You should obtain independent legal counsel before applying any information provided to you in this message to your specific circumstances. HFA/Rumblefish does not accept any responsibility for computer viruses, so please scan all attachments. If you’ve received this email by mistake, we’d appreciate it if you would reply to let us know, and then delete the email. The statements and opinions expressed in this message are those of the author and do not necessarily reflect those of HFA/Rumblefish.

From: ccurrie@fuse.net [mailto:ccurrie@fuse.net]
Sent: Monday, April 24, 2017 4:04 PM
To: Licensing HFA <Licensingdepartment@harryfox.com>
Subject: 81141-1325 Notice of Intention to Obtain a Compulsory License for Making and Distributing Phonorecords

Just received a letter in the mail with the title 81141-1325 Notice of Intention to Obtain a Compulsory License for Making and Distributing Phonorecords.

It has a signature of Licensee Stefan Blom.

What does this mean?

Thanks
Craig Currie




If you made it this far...PLEASE share your comments

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PostPosted: Wed Aug 02, 2017 9:34 pm 
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Kramer Kommander
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Having someone cover your music is great. It has influenced someone in some way.
If your version gets played, you'll get $$$.
But if its being covered by a band, you'll get nadda.

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PostPosted: Thu Aug 03, 2017 5:55 am 
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Location: Germany
Sorry to say but when the Fraunhofer Institut invented the MP3-format, that was the decline of music in my book. What we see the last 20 years is just the fallout of it.

On the other hand it is not a bad thing that "musicians" earn shitloads of dough with putting out an album and no further need to tour it, though that was never really an issue with rock music as such. Nowadays you have to do extensive roadwork and show high visibility to incentive fans to buy an album.

I guess I'm far beside the topic of the OP but since this is about a Spotify request it may make some sense.

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PostPosted: Thu Aug 03, 2017 9:44 am 
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Kramer Kommander
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The decline of music began in the 80's, when the record companies started pushin artificially created "artists" instead of real ones. Nowadays we have pretty much nothing else left, only some third-rate casting products with autotune vocals.

IMO covers are a sin and should be forbidden anyway.


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PostPosted: Fri Aug 04, 2017 6:36 am 
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_xxx_ wrote:
The decline of music began in the 80's, when the record companies started pushin artificially created "artists" instead of real ones. Nowadays we have pretty much nothing else left, only some third-rate casting products with autotune vocals.

IMO covers are a sin and should be forbidden anyway.


scratch_head

You know that Led Zeppelin was a casting band, dontcha?
And you know that not one great band or musician would have ever had a chance of making it without covers, e.g. Jimi Hendrix or the Rolling Stones or Van Halen or ... shrug .

_________________
Practice cures most tone issues.

_______________________________________

Great Deals with MrWhipper, JoeyM, Del Hudson, skydive69 and Kramer Classic I :thumbs


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PostPosted: Fri Aug 04, 2017 7:19 am 
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Kramer Kommander
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I'm talking about all the "American Idol", "Popstars" and similar "know-nothing-non-author" types which make out some 95% of the music scene nowadays. The music (if it can be called that) is written by pro authors or producers and then they go looking for a face to fit that. Like what Stock, Aitken and Waterman did to british pop in the 90's (Bros, Rick Astley, Kylie and many others were created/handled by them) or one Dieter Bohlen in Germany today, or one Dr. Dre who also handles dozens of such dime-a-dozen "perfomers".

Zep were high quality musicians who also wrote their songs, which is definitely not the case for the current 9 out of 10 faces you see in the charts, who can't even play any instrument or sing or write or anything at all. Best they can do is to learn repeating some dance moves, which are also not theirs to begin with.

Typical examples being all those girlies like Selena Gomez, Mylie, Ariana Grande, Britney in her time, all the boy-bands, most hiphop/(c)rap, latino pop etc. Crap, crap and crap performed by autotune and untalented "products".

Covers are a different topic and as said, that's just my opinion - IMO write your own music or just cut the crap and call yourself a hired gun or copycat instead of "artist". But then there are covers and there are covers - I'm not referring to really inovative ones who totally transform something, but rather those who basically don't substantially change anything except for slightly repackaging the original.


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PostPosted: Fri Aug 04, 2017 8:37 am 
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Kramer Maniac
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I'm not sure things have changed that much. Were Chapman and Chinn (in the 70s) that different to Stock, Aitken and Waterman in the 90s.

Frank Sinatra didn't write his own stuff, Taylor Swift does.


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PostPosted: Fri Aug 04, 2017 10:30 am 
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You can't seriously believe that. If you do, I have a bridge to sell you... That stuff was written by pros. Maybe she added a few notes here and there for some publicity, but certainly not much more. TS is a rich daughter from a big-honcho banker family and never had to do anything herself, while her music is certainly a product of a whole team of writers and producers.

But at least she's an ok singer, as opposed to many others with way less talent.

Edit: excerpt from a pro-Taylor PR-article

Quote:
Here's a summary of the writing credits for each of Swift's five studio albums:

1989: Swift co-wrote most of the music on 1989 with producer-songwriters Max Martin and Shellback (real name Karl Johan Schuster). One Republic frontman Ryan Tedder also helped her write the album's opener "Welcome to New York" and "I Know Places" and musician-songwriter Jack Antonoff (of Bleachers, Fun) co-wrote "Out of the Woods" and "I Wish You Would" with Swift.

Red: Martin, Shellback and several other songwriters, including Ed Sheeran who recorded a duet with Swift on "Everything Has Changed," helped Swift write a few of the songs off her third EP Red but Swift wrote many of the songs herself. Songs on the album credited to Swift alone include "Red," "I Almost Do," "Stay Stay Stay" and five others.

Speak Now: Swift wrote her entire Speak Now album herself. She wrote "Sparks Fly," one of the tracks off the album, at 16 years old and re-worked it before it landed on the 2010 EP.


Fearless: She solo wrote more than half of the tracks on her second EP Fearless, with help from country music songwriter Liz Rose on a few of the songs including hits "White Horse" and "You Belong With Me."

Taylor Swift: Swift released her first, self-titled EP when she was 16 years old and wrote three of the songs herself, including "Our Song," which she wrote for her high school talent show. Rose helped Swift on the rest of the tracks including "Teardrops on my Guitar" and "Picture to Burn."


... and probably even this description is overblown just to give her more credit. I guess she came in with some three-chord tunes and then the writers/producers made it into a full-blown hit production.


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PostPosted: Fri Aug 04, 2017 12:23 pm 
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Kramer Maniac
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Location: British Columbia
The point is there have been manufactured bands/acts almost as long as there have been pop/rock bands and many acts also make a living playing other peoples stuff. At the end of the day the London Symphony Orchestra is a covers band!

There is still good stuff out there though and there probably always will be.


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PostPosted: Fri Aug 04, 2017 1:16 pm 
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Kramer Kommander
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Yes there were always some, but much lower percentage and much more talented then today. Abba or Bonnie M were menufactured too, but they surely beat the shite out of one Katie Perry or Kesha, who both can't sing at all - and they're not the worst by far.


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