boba

Any publishing company generally will pay royalties and performing rights societies like BMI will pay the writers share direct to the writer. On the other hand most artists only ever get their initial advance on the master recording, which is supposed to be an advance on future royalties, but many large labels still don't account for and pay royalties on the recording session even after the advance is recouped. I agree that having the master go into the public domain doesn't help the artist, but extending the time mainly helps the labels who don't pay artists royalties on the recording.

i saw a weird shout number on ebay recently that i've never seen in any discographies. it was by the equals, I don't remember if it was black skin blue eyed boys or something else. it had the same label design as the other red white and blue shout labels. it didn't look like a jamaican press or anything like that. i should have saved a scan, it was bizarre.

I just read the article. It is talking about the master right not falling into the public domain, not the song: -- The change applies to the copyright on studio recordings, which is often owned by record labels, rather than the right to the composition, which is owned by the songwriters. --- Musicians may have written the songs but they almost never own the master rights unless they produced their own recordings, which they didn't if they were on any sort of label. This won't help musicians, it will help record labels. The article talks about this. There was a pretty interesting article in the new york times recently about master rights possibly being reclaimed by musicians even though they did not produce the recordings themselves.

Thanks for clarifying. That makes sense since I know that the PRS in different countries also apply their own rules to american recordings (for example, collecting for performers in some countries even though that's not required in the US).

I think US copyright is way more complicated than 50 years = public domain. also, how does international copyright work? do countries obey the laws of the places where the copyright originated or do US recordings fall under this law in the UK?

also you could pitch them down for more time every week on the herb kent show in chicago he plays band of gold "love songs are back again", it's like 40 minutes long and i imagine he's in the bathroom the whole time

how does this affect US produced records?

what does that mean?

this makes it sound not very rare

thanks everyone for your opinions, I'm sort of disconnected from "the scene" so it helps

yes. someone must have played a big stack of drifters 45s at one time and picked that one out. did they miss this one or is the sound wrong?

I think it was the first drifters 45 I ever bought, just bought it randomly like 12 years ago, I remember playing it and being confused by the sound. 12 years later it's still confusing. I don't understand why this isn't a known record, isn't there some known northern drifters record?

i've seen prices of this all over the place, from $50-$200. never seen it at 250 pounds though.

I don't know much about jukeboxes but I've never seen a portable one like that, pretty cool.

We do love playing CDs (and bootlegs), making movies about northern soul, and watching monty python. This week though we're having an hour long chin-stroking session.

I agree with Steve at this point, it's worth eating the 150 pounds to ensure you get the record, rather than gambling that it will get back ok, paying shipping again, etc. Also, Julesp1905, welcome to the soul source unpopular members club, we have meetings every tuesday night from 7-8PM.

sort of related based on people talking about insurance, one thing some US sellers are doing recently is sending first class air with USPS, declaring a low value, but using a 3rd party service (e.g. endicia, which they might already use for their mailings) to insure the package. Probably easier to make a claim than USPS and USPS doesn't have to have any idea about the value.

if you're trying to straight plan a fixed set list, it's almost always true that one hour is 20 records. I've done a radio show with 45s for about 15 years and it somehow always works out that way, unless I start playing late 70s-80s records, which are longer. However, you should obviously bring many more records so you can actually respond to the floor and change up if you need to. I think 350 is a decent number. Maybe 200 is appropriate for an hour as it gives you much to choose from but that doesn't necessarily scale linearly to 5-6 hours I would think.

it would probably help if you have good scans and maybe audio too.

Thanks everyone, mine is also a white demo. I think they must have screwed something up in either the mix or the pressing, as it's almost unlistenable.

I'm not sure but I think there were two different James Carmichaels in the soul world (neither of which is James Carr). I don't know enough to say which is which though, it might be the same guy.

I think you're looking at arranger, not producer. But I don't think James Carr had anything to do with this.

I recently picked up this 45, the song sounds nice but it sounds totally muffled / distorted in the low end. Do all copies play like this or is it just my copy? Thanks in advance.

I emailed him, hope to get a response

nice sweet soul cut. this usually shows up beat up and even slightly marked copies are noisy because it is a long track.