Recording - January 2017 - 55

Continued from page 53
it. I had somebody contact me-record labels,
trying to get their cue sheet information-and
I'm just like, "What are you doin', dude? You
need to contact the publishers, not the record
labels." So you never know who's handling it.
Bob: It's part of the publisher's job is to make
sure that human error doesn't cause things to
fall through the cracks. [It happens] less with
episodic TV, in my experience, from doing this
a long time. It's more in the reality-TV world,
where things get a little funny, because a lot of
times you've got interns doing the cue sheets.
So you do have to stay on top of that stuff.

portion of the song. I'm not talking about the
artist's recording part of the song. So when I
ask you if you own the master, and do you own
the publishing? And you say, "Yeah, I own it." I
need to know what you're talking about. You
own what? Do you own the recording, or do

"We use a word called scourse sometimes, and what that means is your
source cue is going to play over a
scene [like a score might be used]."
-Frank Palazzolo
you own the master? "No, let me ask." And did
you write it by yourself? And they say, "No, I
wrote it with a friend." And I say, "Do they
have a stake in this?" "Yeah, I think so." That is

the best way to show me that I can't do business with you.
You've got to learn the business. So even if
you're gonna represent yourself, you need to
learn the very, very basics of what you're
doing. So when I ask you a question like, "Do
you own the master?" "Do you own the publishing?" And you answer, "100% master, 100%
publishing," or "100% master, 50% of the publishing, and the other person owns 50%, and
no, they don't have a publishing contract with
anybody." My response to that is, "Wow, this
dude knows what he's doing; this is a person I
can do business with!"
Don't miss Part Two in next month's TAXI
Insider!

What percentage of your company's time is spent
tracking down that stuff to make sure that you
and your writers get paid? Gimme a percentage.
Bob: Too much! It's pretty much constant.
Between tracking cue sheets... Every contract
being signed, it says, "We get a cue sheet." Just
because it says it in the contract doesn't mean
it happens, so it's a constant follow-up. NBC,
CBS, ABC promo departments, making sure
the promo departments are submitting their
records that this quarter, the PROs, whatever.
It's constant!
A couple of years ago Bob called me and said,
"You guys just forwarded me something, a song
from a writer, and it's already signed in my catalog. I got it from TAXI three years ago."
Bob: That only happened a couple of times.
Only a couple, but it's an indication of dangerous
things that can happen, because it also indicates
that that person either just clearly made a simple
mistake, or possibly that person doesn't understand how publishing works and didn't
understand that he could be submitting that
same song to other exclusive publishers and signing exclusive deals with them, even though it's
under an exclusive agreement with you already.
Bob: One of the things I would say is, when
you write enough music, keep a spreadsheet
with your titles; who you sent them to, who
signed the track, and be very methodical with
that. Don't let that slide, because you want to
know who is representing your music. Because
three years down the way, you'll be sitting
watching television and all of a sudden you'll
hear a jingle, and "That's my song!" Who's representing it, and couldn't they pick up the
phone and call?
Frank: I know that we're talking about publishing a lot. This is a 101 class. Songs are
divided into a master recording, and in publishing there are two parts to your song. So
what these guys are talking about is the writing
55


http://www.kiqproductions.com

Table of Contents for the Digital Edition of Recording - January 2017

Contents
Recording - January 2017 - Intro
Recording - January 2017 - Cover1
Recording - January 2017 - Cover2
Recording - January 2017 - 1
Recording - January 2017 - 2
Recording - January 2017 - 3
Recording - January 2017 - 4
Recording - January 2017 - 5
Recording - January 2017 - Contents
Recording - January 2017 - 7
Recording - January 2017 - 8
Recording - January 2017 - 9
Recording - January 2017 - 10
Recording - January 2017 - 11
Recording - January 2017 - 12
Recording - January 2017 - 13
Recording - January 2017 - 14
Recording - January 2017 - 15
Recording - January 2017 - 16
Recording - January 2017 - 17
Recording - January 2017 - 18
Recording - January 2017 - 19
Recording - January 2017 - 20
Recording - January 2017 - 21
Recording - January 2017 - 22
Recording - January 2017 - 23
Recording - January 2017 - 24
Recording - January 2017 - 25
Recording - January 2017 - 26
Recording - January 2017 - 27
Recording - January 2017 - 28
Recording - January 2017 - 29
Recording - January 2017 - 30
Recording - January 2017 - 31
Recording - January 2017 - 32
Recording - January 2017 - 33
Recording - January 2017 - 34
Recording - January 2017 - 35
Recording - January 2017 - 36
Recording - January 2017 - 37
Recording - January 2017 - 38
Recording - January 2017 - 39
Recording - January 2017 - 40
Recording - January 2017 - 41
Recording - January 2017 - 42
Recording - January 2017 - 43
Recording - January 2017 - 44
Recording - January 2017 - 45
Recording - January 2017 - 46
Recording - January 2017 - 47
Recording - January 2017 - 48
Recording - January 2017 - 49
Recording - January 2017 - 50
Recording - January 2017 - 51
Recording - January 2017 - 52
Recording - January 2017 - 53
Recording - January 2017 - 54
Recording - January 2017 - 55
Recording - January 2017 - 56
Recording - January 2017 - 57
Recording - January 2017 - 58
Recording - January 2017 - 59
Recording - January 2017 - 60
Recording - January 2017 - 61
Recording - January 2017 - 62
Recording - January 2017 - 63
Recording - January 2017 - 64
Recording - January 2017 - 65
Recording - January 2017 - 66
Recording - January 2017 - 67
Recording - January 2017 - 68
Recording - January 2017 - 69
Recording - January 2017 - 70
Recording - January 2017 - 71
Recording - January 2017 - 72
Recording - January 2017 - Cover3
Recording - January 2017 - Cover4
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