MR

In the United States, The Harry Fox Agency is the Mechanical rights agency for songwriters and publishers.

They issue the mechanical royalties for songs, keep track of them, make sure the users pay, and provide statements to the publishers. They charge a set percentage of gross royalty collections for their service.

One thing I saw on their site and did not know is that Jonathan Cain AND STEVE PERRY are both listed as writers on Faithfully. I guess the credit on the Album cover itself only represents one aspect of who receives a royalty for writing. Even 1% counts in the royalty game, so it could be that Steve asked Jon to make a tiny change on the song that got him his cut.

There's a public search feature on the site if you are interested in doing your own research.

http://www.harryfox.com/index.jsp

I guess me wondering how Nostrildamus didn't whore his way into a writing or royalty credit has now been solved. My guess is he threw in the Who ohs just so he could have a bargaining point. But if JC was ok with it, then so am I. The best ballad in music history and I'm ok with Nostrildamus getting credit because of the incredible job he did singing the song.

Saint John wrote:I guess me wondering how Nostrildamus didn't whore his way into a writing or royalty credit has now been solved. My guess is he threw in the Who ohs just so he could have a bargaining point. But if JC was ok with it, then so am I. The best ballad in music history and I'm ok with Nostrildamus getting credit because of the incredible job he did singing the song.

There's also the veto/negotiating power on licensing/usage to be gained by having a percentage of the copyright, no matter how small.

Don wrote:

Saint John wrote:I guess me wondering how Nostrildamus didn't whore his way into a writing or royalty credit has now been solved. My guess is he threw in the Who ohs just so he could have a bargaining point. But if JC was ok with it, then so am I. The best ballad in music history and I'm ok with Nostrildamus getting credit because of the incredible job he did singing the song.

There's also the veto/negotiating power on licensing/usage to be gained by having a percentage of the copyright, no matter how small.

I've always wondered why Faithfully never really found its way into any movies or TV shows. The song is just so good in every way. I bet it would be a HUGE success.

Saint John wrote:

Don wrote:

Saint John wrote:I guess me wondering how Nostrildamus didn't whore his way into a writing or royalty credit has now been solved. My guess is he threw in the Who ohs just so he could have a bargaining point. But if JC was ok with it, then so am I. The best ballad in music history and I'm ok with Nostrildamus getting credit because of the incredible job he did singing the song.

There's also the veto/negotiating power on licensing/usage to be gained by having a percentage of the copyright, no matter how small.

I've always wondered why Faithfully never really found its way into any movies or TV shows. The song is just so good in every way. I bet it would be a HUGE success.

That's a tough thing to gauge. I wonder if DSB had been used by Burger king, Swiffer and in a bunch of commercials over the years if it would have maintained the same appeal it enjoyed when used in Glee?

Saint John wrote:The best ballad in music history...

I'd agree that it's Journey's best but I like this one better because of the great guitar work.
http://www.youtube.com/watch?v=xmRdY7dm ... re=related

RedWingFan wrote:

Saint John wrote:The best ballad in music history...

I'd agree that it's Journey's best but I like this one better because of the great guitar work.
http://www.youtube.com/watch?v=xmRdY7dm ... re=related

Man, that's a fucking great song, too! But I think it treads the fine line of ballad and pop song. Faithfully is clearly a power ballad. Take It On The Run is a different animal, but if I did put those 2 side by side I'd simply flip a coin. Unlike Faithfully, I always have to sing TIOTR.

I think the first great power ballad of the 80s, the one that really opened the flood gates was Keep On Loving You. #1 in the US, #7 in the UK and a big reason why Hi infidelity was the biggest selling Rock Album of 1981.

Don wrote:In the United States, The Harry Fox Agency is the Mechanical rights agency for songwriters and publishers.

They issue the mechanical royalties for songs, keep track of them, make sure the users pay, and provide statements to the publishers. They charge a set percentage of gross royalty collections for their service.

One thing I saw on their site and did not know is that Jonathan Cain AND STEVE PERRY are both listed as writers on Faithfully. I guess the credit on the Album cover itself only represents one aspect of who receives a royalty for writing. Even 1% counts in the royalty game, so it could be that Steve asked Jon to make a tiny change on the song that got him his cut.

There's a public search feature on the site if you are interested in doing your own research.

http://www.harryfox.com/index.jsp

Yes, I saw both JC and SP names as writers of this song on some publications. Didn't know better until I delved into the band's history.

Don wrote:I think the first great power ballad of the 80s, the one that really opened the flood gates was Keep On Loving You. #1 in the US, #7 in the UK and a big reason why Hi infidelity was the biggest selling Rock Album of 1981.

You could argue the first power ballad was Styx's "Lady" all the way back to 1975.

Toph wrote:

Don wrote:I think the first great power ballad of the 80s, the one that really opened the flood gates was Keep On Loving You. #1 in the US, #7 in the UK and a big reason why Hi infidelity was the biggest selling Rock Album of 1981.

You could argue the first power ballad was Styx's "Lady" all the way back to 1975.

Not even close, man. I have long maintained that it's Unchained Melody by The Righteous Brothers. That song was written in 1955 and was popularized by The Righteous Brothers' version in 1965, easily beating Styx.

If we eliminate the Righteous Brothers based on them being more blue-eyed soul than rock, I'm going to go with Badfinger's "Without You" from 1972.

Don wrote:If we eliminate the Righteous Brothers based on them being more blue-eyed soul than rock, I'm going to go with Badfinger's "Without You" from 1972.

Well, if we are going into the 70's I'd have to give some props to David Foster's band (Skylark) and their song - Wildflower.