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Cover Songs and Ethics by George Ziemann (May 17, 2005) Derek Stivers over at CDBaby is extolling the virtues of the cover song, pointing out that artists with cover songs sell more CDs, at least on the DRM-laced, consumer unfriendly online music outlets.
Okay... bad example. Of course, there are lots of bad examples, and Frank Sinatra is even included, quite deservably so. The origin of the cover song was as a device to exclude independents from the marketplace. Someone would come out with a potential hit and pretty soon the versions by the "legitimate" stars of the period would literally "cover" the original in the retail market, obscuring the original. If you're going to record a cover song and pay the appropriate royalties to the Harry Fox Agency, who apparently has a monopoly on compulsory licensing fees collection, you should stop and ask yourself a few questions. Are you just in it for the money? If so, do what you want because it really makes no difference in the grand scheme of things. Do you want to pay tribute to one of your favorite artists? Or maybe see a few extra dollars go their way? Then think real hard about what you're going to record. If you record a Beatles' song, Michael Jackson is the one who will get your "tribute" payment. If you'd rather pay McCartney, you'd better look at post-Beatles material. Do a Motown song, and it's almost a given that not one of the singers or their families will see a dime. What about Elvis? As far as I know, the guy never actually wrote a song. I wouldn't mind sending a few bucks to Mae Axton (wife of Hoyt Axton), who wrote "Heartbreak Hotel," but there are a few Lieber and Stoller songs in there and those two have reaped the spoils since Tin Pan Alley. They'll survive without your bucks. It is certainly a fact that cover songs have helped many a band break the surface of obscurity. It is a tried and true formula. So let's say it works for you. You pick a cover song, do a truly masterful job of it, the public loves it and you sell a million copies. That's an $85,000 payment to the author/publisher which are required by law to split it 50/50. So the author is looking at around $42,500. Cha-ching! That's an awful big chunk o' change to give away to someone. So before you do it, think about where the money will go if things work out like you hope they will. Otherwise, you may end up feeding the beast that you hate, no matter which side you're on. The predominant approach by musicians is to not seriously consider these things. It's worked so well so far... |