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Very sad

Soul-Source, the most important venue on the soul scene in the past 16 years?

well done indeed

Well done Mike, can't imgaine not coming on here every day so many thanks

I must be beyond therapy, then

Obviously there are two different kinds of limited reissues. So the total available number is now 1000 copies https://www.discogs.com/John-Harris-And-The-Soul-Sayers-Hangin-In-What-Can-I-Do/release/4756790

would be nice to see this mate, is there any way you can get it on here .

Thanks Mike for the plug. We are getting news on the publication date next week. We could have started the book in many places. However we didn't and decided on the arrival of the Windrush. but yes well aware that it's a very wide subject. As with any book some people will enjoy it and some will not.

I've come home from Devon and missed the bloody postman ! Oh well tomorrow will do One nostalgic trip I am looking forward too. Looks great.

Looks good, pleased to see it ain't just a collection of badge adorned bags, acrobats and right on keep the faiths

Trying to keep it up mate, the chin I mean What do ya mean "Young Turner" ... 8 months older than you, was sucking a tit while you were still a tadpole As for the Kelly Garrett you're in serious need of therapy

I had a look at a pre release copy at True Soul Friday. It looks quality, mines on order.

Has the film been released yet or has it gone straight to DVD? (Everyone probably knows but I've been out of touch a little while I'm afraid....) Cheers, Eddie

Agree with ya all the way Rich ...........................................................but not to this one

Nice find, Mike...thanks for sharing Well, I love the track...catchy lyric, thumping backing track and an accomplished vocal performance to these ears...and I don't feel guilty in the slightest Loved it from the first time I heard it in the 70's...it has that secret ingredient that makes it Northern Soul Sold it once, regretted it, replaced it (courtesy of a soul-sourcer) and this copy will remain filed under "P" for years to come

An interesting read, and I've always loved the tune, definitely a 'guilty secret'.

Great read, always hated the record, but the story is great

what about the yorks date ?

Hello John, The procedure you describe is closer to what happens with performance and broadcast royalties and fees collected by PRS. They distribute those royalties to various publishers and writers based on broadcast data and sample surveys but in the case of any amounts which they can't distribute (because there is no registration or no active publisher etc) they eventually distribute those amounts to other PRS members on a proportional basis. In theory it could mean that someone like Paul McCartney might earn a few extra pounds that should have been due to an obscure writer who isn't a member. So the 'central kitty' you mentioned (or 'black box' as some call it) is for royalties which can't be distributed at that time and they are usually held for two years before they are allocated to other members. The calculation of public performance and broadcasting royalties is not always an exact science because most income is from blanket licenses but precise broadcast data (such as cue sheets etc) is only obtained from a few sources - the rest is "assumed" based on partial sample surveys etc. American writers who don't have a UK publisher can at least claim the writer share (50%) of PRS royalties via American societies such as BMI or ASCAP because the societies are all affiliated with each other. Obviously the writers need to have active memberships of BMI or ASCAP and all of their songs need to be registered. As for MCPS, the mechanical royalty system is more scientific and royalties are not actually collected unless there is a current registration from an MCPS member (or an affiliated member through a foreign copyright society) so when a song is credited as 'Copyright Control' it means that no money is paid by the record company at that time - although they are obliged to pay at a later date if a registration or retroactive claim is made. There are limitations but once six years have passed you can definitely kiss goodbye to any unclaimed mechanicals. Best wishes, Paul P.S. Other copyright societies - such as BUMA, GEMA and STEMRA etc in the EU - are also linked with PRS so in theory the writers can earn from foreign broadcasts via whatever society they are members of. It all needs careful registrations and notifications and in some cases the society needs to be specifically informed to look for overseas income on particular songs. After that it can take more than a year for any royalties to reach the writers.

Hello John It isn't necessary for American artists or even writers to sign with a UK or EU agent or music publisher to get royalties but it's easier for them to benefit and control activity and take advantage of opportunities if they have representation. Not only is the market different in each territory, the language barrier can be a problem and copyright legislation is also different in many countries (that's why my company is represented by Imagem Music Group in most other territories). Because this John Harris record was a private press rather than a commercial issue it's likely that there wasn't a detailed agreement for the recording and I doubt Harris assigned the song to a publisher or joined a copyright society. If he had done he might have been easier to trace. Kerston may have held some rights (or options) but it may be that all they had was possession of the master tapes. So we can only assume that Bear Famiy obtained a master license from someone, most likely the artist or Kerston, or have issued the record with the intention of negotiating and paying royalties when and if they locate the owner or when a claim is made. I'm not suggesting they did that but it's a risk some people take and the assumption is that the owner won't object. Because of the internet it's likely that John Harris or someone who knows him will come forward at some stage, especially if there's some money due to him. To answer Chalky's point, yes the record company is liable to pay mechanical royalties to the publishers / writers of the song if it's registered with the copyright society in that territory or later if a retroactive claim is made but there are different statutes of limitations in different territories. In the UK, for example, in theory you can claim retroactively for up to to six years on mechanicals and two years on performance and broadcast royalties. That also assumes the record company which owes the money is still in business. Paul

That's why I have asked if John Harris or any of the band members were ever found as I would of thought they would have to of given permission surely to re-issue their tune. Unless of course they wavered all rights to their tune once they put it on Kerstons label. As John Harris has never been found and yes I have tried for a long time to try find him with not even a sniff as you never know he might just have a few tucked away.. I have had a few people get in contact with me and they too have tried with no luck so maybe the John Harris mystery will never be solved just who he really was.

Bear Family have been going for 35 years, I'd imagine they have the legal details sorted!

That would be Fred Kerston. There's a few expensive (nothing like this scale) LPs on Kerston, maybe Bear Family are planning a label deal.

Are either legit ? Could it be a boot of a boot ?

Got to be worth more with the Kerston logo on Surely !!!