Do the Stones earn any money from anything 65-71 material?

If the material is played in the radio? If the albums are sold?

I do undestand that they don't control the publishing rights of the material (Sticky Fingers control is somehow divided if I have understand correctly?) but I have often wandered that do they get anything at all from the material from that period?

If so then how is that even possible?

Allen Klein paid them one million dollards in the early 70's when they made some deal with him I guess but was that all? (of course a lot of money back then)

Do the Stones have to even pay some money to ABKCO when they play live their own songs?

I know these issues are quite common in the music business and the Stones are not a rare exception but still wondering...

NOt that they really need any more money really but still seems to me unfare.

Quote
rollingon

I do undestand that they don't control the publishing rights of the material

If the Stones still own the songwriting / composition rights, they should get some money from that.

Royalties from Radio airplay in general - see the links here: [iorr.org] .

I'd hope this thread yields some interesting and informative responses.

Regarding your mentioning of Sticky Fingers: it is my understanding that only Brown Sugar and Wild Horses are shared. This is because they were recorded whilst the Stones were still under contract with Decca. Perhaps a more informed poster could elaborate a little more on this.

More Music Biz: Rolling Stones Strike Deal with BMG For Collection of Royalties on All Their Songs

Mick Jagger, Keith Richards, Ronnie Wood, and Charlie Watts have their own music news this morning. They’ve made a deal with BMG to collect the royalties on all of their music going right back to the beginning of the Rolling Stones’ career. This is NOT A record deal. The Stones have been releasing albums on Universal for some time. But in keeping with Bob Dylan and other legacy rockers, the Stones needed to make an announcement of some kind, too, today! We love the Stones, long may they roll!

Here’s the press release:

London – December 10, 2020 – Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood have chosen BMG to collect the royalties due when their recordings are played on TV and radio around the world, so-called neighboring rights. BMG will also continue to represent Jagger and Richards’ music publishing interests.

The deal to represent the four members of The Rolling Stones comes just six months after BMG announced the launch of its boutique neighboring rights service.

It coincides with a new extension of BMG’s long-term deal to represent the music publishing rights of Mick Jagger and Keith Richards. BMG also represents much of the recorded catalogue of Keith Richards, Ronnie Wood and drummer Charlie Watts.

BMG CEO Hartwig Masuch said, “If you are in the business of selling services to artists and songwriters, these are the kinds of client you dream of attracting. We are immensely grateful to Mick, Keith, Charlie and Ronnie for putting their faith in us.”

BMG’s neighboring rights service will collect royalties due for the performance of legendary recordings such as ‘(I Can’t Get No) Satisfaction’, ‘Jumpin’ Jack Flash’ and ‘Start Me Up’. The arrangement includes recordings ranging from their very first single, 1963’s ‘Come On’, to their widely acclaimed 2020 worldwide hit ‘Living In A Ghost Town’.

Alistair Norbury, BMG President Repertoire & Marketing UK, said, “At a time when streaming is further highlighting the value of iconic music rights, our objective is to offer the best possible service to artists and songwriters. We are delighted for the opportunity to further demonstrate the value we can add for four of the greatest names in rock with our neighboring rights service.”

The extension of BMG’s long-running publishing relationship with Jagger and Richards covers all of the works written by the iconic duo dating back more than 50 years.

BMG will continue to be directly responsible for publishing all of the songs written by The Rolling Stones songwriting team since 1983. Additionally, it will be responsible for handling Jagger and Richards’s shares of their pre-1983 copyrights which are represented by ABKCO (1963-1971) and EMI Music Publishing (1971-1983).

Songs directly published by BMG span the albums Dirty Work (1986), Steel Wheels (1989), Voodoo Lounge (1994), Bridges To Babylon (1997) and A Bigger Bang (2005) as well as future compositions. They include classic Stones tracks such as ‘Mixed Emotions’, ‘Love Is Strong’, ‘You Got Me Rocking’ and ‘Doom And Gloom’. BMG will also administer Jagger and Richards’s interests in all of their Rolling Stones hits dating back to 1963 including ‘(I Can’t Get No) Satisfaction’, ‘Brown Sugar’ and ‘Angie’.

The new expanded relationship precedes the celebration of The Rolling Stones’ 60th anniversary in 2022.

Earlier this year, The Rolling Stones released their newest single ‘Living In A Ghost Town’. Their first new music in eight years, ‘Living In A Ghost Town’ is the first original song they have released since ‘Doom and Gloom’ and ‘One More Shot’ which were featured on their greatest hits album Grrr!, released in 2012. In 2016, the band released Blue & Lonesome comprising covers of some of the greatest blues artists who inspired them including Howlin’ Wolf, Little Walter, Magic Sam, Jimmy Reed, and Willie Dixon.
[www.showbiz411.com]

Quote
MisterDDDD
More Music Biz: Rolling Stones Strike Deal with BMG For Collection of Royalties on All Their Songs

Mick Jagger, Keith Richards, Ronnie Wood, and Charlie Watts have their own music news this morning. They’ve made a deal with BMG to collect the royalties on all of their music going right back to the beginning of the Rolling Stones’ career. This is NOT A record deal. The Stones have been releasing albums on Universal for some time. But in keeping with Bob Dylan and other legacy rockers, the Stones needed to make an announcement of some kind, too, today! We love the Stones, long may they roll!

Here’s the press release:

London – December 10, 2020 – Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood have chosen BMG to collect the royalties due when their recordings are played on TV and radio around the world, so-called neighboring rights. BMG will also continue to represent Jagger and Richards’ music publishing interests.

The deal to represent the four members of The Rolling Stones comes just six months after BMG announced the launch of its boutique neighboring rights service.

It coincides with a new extension of BMG’s long-term deal to represent the music publishing rights of Mick Jagger and Keith Richards. BMG also represents much of the recorded catalogue of Keith Richards, Ronnie Wood and drummer Charlie Watts.

BMG CEO Hartwig Masuch said, “If you are in the business of selling services to artists and songwriters, these are the kinds of client you dream of attracting. We are immensely grateful to Mick, Keith, Charlie and Ronnie for putting their faith in us.”

BMG’s neighboring rights service will collect royalties due for the performance of legendary recordings such as ‘(I Can’t Get No) Satisfaction’, ‘Jumpin’ Jack Flash’ and ‘Start Me Up’. The arrangement includes recordings ranging from their very first single, 1963’s ‘Come On’, to their widely acclaimed 2020 worldwide hit ‘Living In A Ghost Town’.

Alistair Norbury, BMG President Repertoire & Marketing UK, said, “At a time when streaming is further highlighting the value of iconic music rights, our objective is to offer the best possible service to artists and songwriters. We are delighted for the opportunity to further demonstrate the value we can add for four of the greatest names in rock with our neighboring rights service.”

The extension of BMG’s long-running publishing relationship with Jagger and Richards covers all of the works written by the iconic duo dating back more than 50 years.

BMG will continue to be directly responsible for publishing all of the songs written by The Rolling Stones songwriting team since 1983. Additionally, it will be responsible for handling Jagger and Richards’s shares of their pre-1983 copyrights which are represented by ABKCO (1963-1971) and EMI Music Publishing (1971-1983).

Songs directly published by BMG span the albums Dirty Work (1986), Steel Wheels (1989), Voodoo Lounge (1994), Bridges To Babylon (1997) and A Bigger Bang (2005) as well as future compositions. They include classic Stones tracks such as ‘Mixed Emotions’, ‘Love Is Strong’, ‘You Got Me Rocking’ and ‘Doom And Gloom’. BMG will also administer Jagger and Richards’s interests in all of their Rolling Stones hits dating back to 1963 including ‘(I Can’t Get No) Satisfaction’, ‘Brown Sugar’ and ‘Angie’.

The new expanded relationship precedes the celebration of The Rolling Stones’ 60th anniversary in 2022.

Earlier this year, The Rolling Stones released their newest single ‘Living In A Ghost Town’. Their first new music in eight years, ‘Living In A Ghost Town’ is the first original song they have released since ‘Doom and Gloom’ and ‘One More Shot’ which were featured on their greatest hits album Grrr!, released in 2012. In 2016, the band released Blue & Lonesome comprising covers of some of the greatest blues artists who inspired them including Howlin’ Wolf, Little Walter, Magic Sam, Jimmy Reed, and Willie Dixon.
[www.showbiz411.com]

Great info, thanks!

So they are paid something for radio- and tv-performances at least for the material of ABKCO era.

Anyone know if there are some performance royalties also for record sales (or digital music sales) for the ABKCO era?

I'm just curious, don't know the music business side of things very well.

[soundcharts.com]

According to this site all the royalty stuff seems to be quite complicated...

"Mechanical royalties" (for example LPs and cDs and streaming services): If I understood right Jagger/Richards should have their writers share for the master recording always for their own songwriting (but I don't know if the law was different in 1965-1971 and if that changes things for the ABKCO era). The publisher gets its share of course.

[iorr.org]

I found this old thread and "Mathijs" seems to know this stuff quite well:

Apparently all the royalties (both publication and copyright royalties) are somehow divided between ABKCO and the Stones. Andrew Loog Oldham gets some royalties for period over 1964-1967 (Klein gave him a certain share).

In addition the royalty share rules there are some very strict rules in their contract as for what kind of albums ABKCO can publish and when there must be a permission asked from who. The Stones gave permission to ABKCO to publish "Hot Rocks". Without their permission ABKCO couldn't have published that very successful compilation album.

In addition to this the Stones have sued Decca (not Klein) for unpaid royalties in 2004.

BTW, I wonder how much Jagger/Richards are paid in different royalties (all together) per year....

[vlaa.org]

Jagger/Richards have earned millions of dollars of roaylties according to this article just for the Verve's song Bitter Sweet Symphony.... (sammple of The Last Time Andrew Loog Oldham Orchersta version used in the song)

A new deal was made later: Mick and Keith gave all the writing credits back to The Verve's Richard Ashcroft in 2019. ABKCO still has all the publishing rights for that song.

Allen Klein died in 2009 and his son Jody Klein runs the company nowadays, maybe that has changed things a little bit also because Jody Klein was making that new deal.



Edited 1 time(s). Last edit at 2021-09-15 19:55 by rollingon.

Jody Klein has been actively involved himself in the remastering projects of the ABKCO's Rolling Stones catalog.

He is credited as a producer in many projects. Maybe a fan?

Quote
rollingon
Jody Klein has been actively involved himself in the remastering projects of the ABKCO's Rolling Stones catalog.

He is credited as a producer in many projects. Maybe a fan?

Jody Klein doesn’t look to be as aggressive on it as his father Allen was on the rights to the Stones cataloge they have.

how does this news affect future possible releases of the significant amount of unreleased material from the abcko years does it make it more or less likely and does this have something to do with abcko pulling all there videos off youtube recently