Tag Archives: Songwriting

The Winning End

To enter Hipgnosissongs.com please confirm you are not accessing this website from: the United States, Australia, Canada, Japan or South Africa or in any jurisdiction in which such an offer or solicitation would be unlawful.

A few weeks back, when I wrote about Bob Dylan selling his song catalog, I figured that that would be that.

Little did I realize how this is not a one-off but becoming something of a trending phenomenon.

This past week Neil Young sold half of the rights to his 1,180-song catalog to Hipgnosis Songs Fund Ltd. (Jimmy Iovine and Lindsey Buckingham also sold.)

That disclaimer up there: It is at the bottom of a homepage of legalese. This is serious business. Go beyond the homepage at your peril.

In the site, which is, make no mistake, about making money, not music, there is this description:
“The Company’s Investment Adviser is The Family (Music) Limited, which was founded by Merck Mercuriadis, former manager of globally successful recording artists, such as Elton John, Guns N’ Roses, Morrissey, Iron Maiden and Beyoncé, and hit songwriters such as Diane Warren, Justin Tranter and The-Dream, and former CEO of The Sanctuary Group plc. The Investment Adviser has assembled an Advisory Board of highly successful music industry experts which include award winning members of the artist, songwriter, publishing, legal, financial, recorded music and music management communities, all with in-depth knowledge of music publishing. Members of The Family (Music) Limited Advisory Board include Nile Rodgers, The-Dream, Giorgio Tuinfort, Starrah, Nick Jarjour, David Stewart, Bill Leibowitz, Ian Montone, Rodney Jerkins, Bjorn Lindvall and Chris Helm.”

Bet you never thought you would see Iron Maiden and Beyoncé in the same sentence.

According to a story in the New York Times in December 2020, Mercuriadis, whose fund then had spent $1.7-billion on hoovering up catalogs—Times: “Hipgnosis owns, in full or in part, 188 songs by Jack Antonoff, a collaborator of Taylor Swift; 197 by Debbie Harry and Chris Stein of Blondie; 814 by RZA of the Wu-Tang Clan; 315 by Mark Ronson; 1,068 by Dave Stewart of Eurythmics; and production royalties for 108 tracks by the hip-hop producer Timbaland”—said that he’s doing it because “I wanted to be able to do something that would contribute to having the music industry recognize that the songwriter and the producer are really the star of the show.”

So by buying up the catalogs, said songwriters and producers get more ready pocket money than they would have otherwise had. I must admit I am a bit mystified as to how producers make money off the deal, though I suspect they must.

Clearly, Mercuriadis, who may be a fan with exceedingly deep pockets, to say nothing of ready access to the pockets of others, isn’t doing this entirely for Sir Gawain-pure purposes. There isn’t that large warning on the top of the Hipgnosis page because all ye who enter are going to come out unscathed: this is about betting on the come.

Continue reading The Winning End

“Write a Catchy Chorus, HAL”

In NASCAR racing, which went into official existence in 1948, 1972 is identified as the start of the “Modern Era.” The series has yet to become postmodern, but that’s another argument for another digital venue.

The troubadour tradition, that of a musician who sang and played a stringed instrument, goes back at least to the 11th century. One could make the argument that the “Modern Era” for troubadours, or, more to the point of this, singer-songwriters, started in 1962, the year the first Bob Dylan album was released.

When it comes to much music since then, whether it is a Dylan or a Paul Simon or a Jackson Browne, individuals who write and perform their work, or a band, ranging from the Beatles to Wilco and some before and after, it is probably the case that when we hear the music performed, we think of that music, especially vocals, coming from an individual who, in some significant way, has something to do with those lyrics.

To go to the classic case of the Beatles, it was either a “John song” or a “Paul” song, and when it was George or Ringo. . .well, there really weren’t enough of them combined to have a significant effect.

Tweedy is trying to break our hearts.

Continue reading “Write a Catchy Chorus, HAL”