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Post by rick on Mar 22, 2015 23:46:03 GMT -5
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Post by sliderocker on Mar 23, 2015 21:35:46 GMT -5
Kind of funny that the article says Sony Pictures has acquired the rights for songs written by Carole and her late former husband Gerry Goffin, as well as the songs of Barry Mann and Cynthia Weil. Funny because before Sony Pictures was Sony Pictures, it was Columbia Pictures, and one division of Columbia Pictures was Screen Gems-Columbia Music, which published the King-Goffin catalog and the Mann-Weil catalog. A second division, Colgems Music also published Carole's songs when she licensing affiliations (going from BMI to ASCAP, she changed back to BMI some time back), but it's all the more funny because Sony Pictures's music publishing division now owns the Screen Gems-Columbia/Colgems music publishing catalog. In the 70s, Columbia Pictures sold off the music publishing to EMI Music, which held onto it until it was acquired by Sony. So now Sony (formerly Columbia) owns what it used to own to begin with, but I suppose the movies and television divisions have to obtain the permissions even when the company already owns the publishing!
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Post by rick on Mar 24, 2015 13:24:20 GMT -5
Kind of funny that the article says Sony Pictures has acquired the rights for songs written by Carole and her late former husband Gerry Goffin, as well as the songs of Barry Mann and Cynthia Weil. Funny because before Sony Pictures was Sony Pictures, it was Columbia Pictures, and one division of Columbia Pictures was Screen Gems-Columbia Music, which published the King-Goffin catalog and the Mann-Weil catalog. A second division, Colgems Music also published Carole's songs when she licensing affiliations (going from BMI to ASCAP, she changed back to BMI some time back), but it's all the more funny because Sony Pictures's music publishing division now owns the Screen Gems-Columbia/Colgems music publishing catalog. In the 70s, Columbia Pictures sold off the music publishing to EMI Music, which held onto it until it was acquired by Sony. So now Sony (formerly Columbia) owns what it used to own to begin with, but I suppose the movies and television divisions have to obtain the permissions even when the company already owns the publishing! Hi, Slide -- I am wondering though about "Tapestry." I believe by the time "Tapestry" came out, Carole was working with Lou Adler and his Ode Records. Did that get ABSORBED into Columbia Records/Sony? I do believe that the "Tapestry" re-releases, deluxe editions, etc. have been Columbia releases. I remember that initially Carole King did give her rights to being portrayed but did not give her "blessing" to the show until almost right before the Tony Awards. She had been reluctant to see the Broadway show because she said some of her life she felt was too painful for her to relive/watch. But one night she just showed up. And then at the Tony Awards she did a duet with Jessie Mueller, the actress who won a Tony for playing Carole. |
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Post by sliderocker on Mar 24, 2015 14:54:00 GMT -5
Hi, Slide -- I am wondering though about "Tapestry." I believe by the time "Tapestry" came out, Carole was working with Lou Adler and his Ode Records. Did that get absurd into Columbia Records/Sony? I do believe that the "Tapestry" re-releases, deluxe editions, etc. have been Columbia releases. I remember that initially Carole King did give her rights to being portrayed but did not give her "blessing" to the show until almost right before the Tony Awards. She had been reluctant to see the Broadway show because she said some of her life she felt was too painful for her to relive/watch. But one night she just showed up. And then at the Tony Awards she did a duet with Jessie Mueller, the actress who won a Tony for playing Carole. Ode was distributed by A&M when "Tapestry" was released originally, although when the label began in 1967, the distribution rights were handled by CBS doing business as Columbia Records and other associated labels. Columbia Records was not owned in any way by Columbia Pictures, which had its own line of associated record labels which included Colpix, which handled James Darren, Paul Petersen and Shelly Fabares. Colpix morphed into Colgems in a manufacturing and distribution arrangement with RCA to handle the Monkees, who were almost the only artist on the label for some time. Columbia Pictures also owned Bell Records. But, getting back to Ode, A&M acquired the distribution rights around 1970 and had the rights until 1976, when it switched back to CBS. Apparently, the label became inactive or a defunct label as Lou Adler reactivated it and A&M got the distribution back in 1989 for a short time, when A&M was acquired by Polygram. Ode became part of Sony after that although the Cheech and Chong recordings that were owned by Ode went to Warners. All facets of the music business are interesting to me although I am opposed to the stranglehold of a handful of companies owning the number of record companies they have and the number of music publishing companies they own. Such a stranglehold creates a monopoly, something the government would've done something about decades ago but now, they sit back and allow the companies to merge and acquire other companies. That's been a detriment to all the artists and songwriters as it allowed the big companies to dictate the terms. But, it also backfired in a way as not every artist or songwriter was willing to play the game. The only detriment now to some degree are the independent songwriters who may not have foreign connections when it comes to collecting royalties. Major publishers are willing to take on such responsibilities but they want part of the publishing (as much as they can get) plus they charge an administrative fee. I think the government needs to break up the record business in the same way they broke up AT&T. Some thought breaking up AT&T was a bad deal when that happened but really, we wouldn't have what we have now if AT&T hadn't been broken up. Monopolies are bad for business and bad business. |
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