Music Publishing Rights Quotes

I've never sold my publishing. I have 100% control of all of my publishing and that includes everything, every use of my songs.

Even if I don't release it myself, somebody else might hear it and want to record it. When you write a song, it gives it that potential.

Songwriters, you have to work - you have to wait for residuals. You have to pray that the song's going to be a hit. And then a year later, you might get a check.

Basically, there's a good friend of mine who works at EMI Publishing, a publishing company. He had asked me - he was like, you know, do you know this girl, Amy Winehouse? She's in New York for a day. She's kind of meeting people to maybe work with on her second album.

Yes, I get a report from BMI about the frequency of performances, and it is very surprising. They played one of my most advanced pieces, and one of my most unusual ones on the radio.

I was initially signed to a German label a few years ago.

I still have my first paycheck. It was just, I think, a dollar or two that I got when I started as a songwriter with BMI, and I had some songs there that I had through the company, and in the mail I got this big old check for, like, a dollar and a half or something. Somebody had recorded one of my songs.

After a song comes out, it doesn't remain yours.

I've signed with major labels, and I haven't had any control over the money.

So basically, Travis Scott took files from Tommy Brown and took them to Kanye and said he produced them and it was on video. He took a song I had written a hook to and took it to Teyana Taylor for her to do and change a little bit.

The hits I had in the '80s - I made those deals directly with American companies.

The comedians all finished their acts with a song. They would get a certain amount of money from the song publishers and would use that money to pay the writers. None of them paid very much for their comedy material, but it all added up.

'Band Played On' is a good one. Barbara Orbison, who was Roy's wife, was involved in publishing in Nashville because she oversaw Roy's publishing, and she had a company in Nashville. She had a whole bunch of writers assembled, and they got together every day and wrote, and they write for everybody in Nashville.

A hundred years ago, of course, the question that the German Composers' Co-operative asked itself sounded a lot more fundamental: How do you create a fair share for those who ensure that works can actually be performed at all?

If someone asked me if I could have anything in the world, what would l want? If l could own anything, like owning a piece of art, l think it would be Elton John's publishing, on his first seven albums. I don't want the money. Being able to own those songs Is like owning a painting of someone you admire.

Sure, the labels and publishers get the rights for songs to be remade into a ringtone. So part of what we do is to work with those content owners to make sure that there are rights in place for every piece of content to be made into a ringtone.

I am a co-writer of 'Survivor,' so there's publishing that I'll receive for some of the records.

There's not one Tin Pan Alley song on my record.

The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens.

I rarely have any contact with the artists who cover my songs.

I'm not just going to get a deal; I'm going to get the deal. And in my deal I got by signing with No I.D. to Def Jam, I got full creative control, the money was great, the contract was good, and I got to create the album that I wanted.

I'm singing the music publisher's theme song - it ain't a commercial.

With some of the samples that I chose to use, tracking down the person that owns the publishing has become a task.

I really do believe in clearing samples, and I believe that people should be compensated for them, but the laws are just so stupid.

Don't sign your publishing away.