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Writing credits and publishing shares for GN'R songs


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19 minutes ago, CubanSkies Dummy said:

You're converting your interesting thread in some nihilist chat to "win" or "validate" your POV.

Ok, you win.

I only quoted that from Chinese Whispers, (like I just said before like million times). 

I don't think Chinese Whispers mispread bad information.

I was genuinely interested in whether I had missed a source for the history section over at A4D and since you actually quoted some other site I was hoping that talking to you would end up with a new source. 

What is it with this obsession with winning lately? :lol:

And you didn't say it was from Chinese Whispers, you said it was a direct quote from a Spin article ;). Only when I went through that Spin article and couldn't find any direct quotes from Youth, did you say it was from Chinese Whispers.

Chinese Whispers is great, yes, but here, unfortunately, they have a statement with no source so it is not something I can use. It is unverified. Just a claim. I happen to believe it is correct, but believing is not enough.

Edited by SoulMonster
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There was a Youth interview with GNR Central in 2018, where, iirc, he mentioned working on Prostitute (unfortunately I can't verify it becauee GNR Central have taken all their interviews downl.

However, there's definitely no source about it originating from 1993.

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  • 6 months later...
On 9/7/2021 at 3:23 AM, Blackstar said:

Hard Skool

Liner notes: Similarly to Absurd, on the various platforms (Spotify, etc.) the song is credited collectively to "Guns N' Roses". However, according to the press release issued by the band, it was written by Axl.

Publishing/royalty shares: The song hasn't been added to any repertory yet. But, based on the press release and what happened with Absurd, it's likely that only Axl, Slash and Duff will be listed as writers/royalty recipients - which means that it won't appear on ASCAP, since none of Axl/Slash/Duff is represented by them.

Hard Skool has been added to ASCAP

https://www.ascap.com/repertory#/ace/search/workID/913545579

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59 minutes ago, Iaketpauet said:

Thanks! I looked a couple of days ago and it wasn't there. It was added on SESAC a while ago, but that database doesn't provide percentages.

So Tommy, Robin and Paul Tobias appear to share 11,49% of the royalties. EDIT: However, the data on ASCAP are not fully updated. The publishers' share in the right column is missing (which will normally be another 11,5%), so Tommy's, Robin's and Paul's actual combined share is most likely 23%.

ascap_14.jpg

It's not on BMI yet (that collects royalties for Josh Freese). My guess is that his share is 7%, so all the former members jointly share 30% of the song.

(I have also updated the OP).

Edited by Blackstar
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38 minutes ago, Blackstar said:

Thanks! I looked a couple of days ago and it wasn't there. It was added on SESAC a while ago, but that database doesn't provide percentages.

So Tommy, Robin and Paul Tobias share 11,49% of the royalties.

ascap_14.jpg

 

Correction:

I see that the data have not been fully updated with the publishers' shares (which are usually 1/2 of the total share). So the actual combined share of Tommy, Robin and Paul is probably 23% (11,5% writers' share + 11,5% publishers' share).

Edited by Blackstar
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29 minutes ago, Blackstar said:

Thanks! I looked a couple of days ago and it wasn't there. It was added on SESAC a while ago, but that database doesn't provide percentages.

So Tommy, Robin and Paul Tobias share 11,49% of the royalties.

ascap_14.jpg

It's not on BMI yet (that collects royalties for Josh Freese).

(I have also updated the OP).

Interesting. I just looked at Absurd and there is no sign of Mothergoose among the songwriters, so I assume that if Axl owns any material recorded under GNR studio time, that he can then delegate royalties or not if he sees fit? That said, it may not work like that if Josh had his lawyer ask if he was involved in the creation of Hard Skool to see if he was due royalties.

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3 minutes ago, Dean said:

I just looked at Absurd and there is no sign of Mothergoose among the songwriters, so I assume that if Axl owns any material recorded under GNR studio time, that he can then delegate royalties or not if he sees fit?

Yes, it's either that or just that Pitman only wrote the intro (which was gone already in the version with Bumblefoot from 2006).

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When Duff was promoting Believe In Me in 1993 he said in an interview that he wrote a lot more for the UYI records than he got credit for, but everyone in the band was fighting over writing credits, so he told them to leave his name out of it.

I always wondered how much of that statement is true, and if there is some truth to it, what songs he did contribute to without getting credits. I know he came up with the intro to You Could Be Mine without getting a credit in the booklet, but I don't know if there is more.

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4 hours ago, EvanG said:

When Duff was promoting Believe In Me in 1993 he said in an interview that he wrote a lot more for the UYI records than he got credit for, but everyone in the band was fighting over writing credits, so he told them to leave his name out of it.

I always wondered how much of that statement is true, and if there is some truth to it, what songs he did contribute to without getting credits. I know he came up with the intro to You Could Be Mine without getting a credit in the booklet, but I don't know if there is more.

I can well imagine. I think Duff's influence is massively underrated. Izzy gets all the plaudits but of all the solo albums I think, without a shadow of a doubt, the one that sounds most like GnR when they were still operating as a band is Believe in Me. As an album I prefer the JuJu Hounds personally but sonically Believe in Me has the overall sound closest to Guns. The JuJu Hounds sounds like Think About You, CD sounds like Estranged, 5 O'clock sounds like Locomotive, but the glue that brought everything together was Duff and his bass/drum guitar knowledge and skill in terms of the overall sound.

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3 hours ago, Blackstar said:

He was in a band called The Prodigal Sons and Del James' roommate, probably part of the Hell House clique.

EDIT: Del James mentions him here:

DJ: I was living in an apartment with one of the scene's biggest dealers, and no it's not Izzy Stradlin. If Izzy was running low, he would come by and cop. Me and Billy McCloud from the Prodigal Sons lived there with this other dude who shall remain nameless and that place got so out of control that my friends forcibly evicted me and moved me into Hell House, okay? Fucking high is an understatement.

https://www.a-4-d.com/t3524-2008-09-08-mudkiss-fanzine-interview-with-del-james

Some more information from his sister:

yester10.jpgyester10.jpg

yester11.jpg

yester12.jpg

yester13.jpg

Thank you! Amazing that I'm still learning things about that era.

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6 hours ago, MCollins said:

I can well imagine. I think Duff's influence is massively underrated. Izzy gets all the plaudits but of all the solo albums I think, without a shadow of a doubt, the one that sounds most like GnR when they were still operating as a band is Believe in Me. As an album I prefer the JuJu Hounds personally but sonically Believe in Me has the overall sound closest to Guns. The JuJu Hounds sounds like Think About You, CD sounds like Estranged, 5 O'clock sounds like Locomotive, but the glue that brought everything together was Duff and his bass/drum guitar knowledge and skill in terms of the overall sound.

Ironically as he never got a chance to play on an album of original material, but Gilby's Pawnshop Guitars album has that classic GNR sound. The first Snakepit album too. But that's not surprising as it had Slash, Gilby and Matt in the band plus Dizzy as a guest.

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  • Blackstar changed the title to Writing credits and publishing shares for GN'R songs
3 hours ago, Amir said:

The General and Monsters no longer has Guns N' Roses listed as an artist, only comes up in results if you search for it by title.

If you mean on SESAC, it didn't have it before either. I found it searching for Axl's writing credits. I don't think it means anything though.

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The part that I don't really understand is how Bucket wouldn't have any portion of royalties on TWAT. I mean I get that Axl may have written the basic structure of the song, but wouldn't the solo be worth something? I'm not sure how something like that get's factored in. And you would think if it's really up to Axl's discretion, then surely that solo above almost any other one would have scored Bucket some points?!?

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On 11/5/2023 at 3:41 PM, uzi your illusion said:

The part that I don't really understand is how Bucket wouldn't have any portion of royalties on TWAT. I mean I get that Axl may have written the basic structure of the song, but wouldn't the solo be worth something? I'm not sure how something like that get's factored in. And you would think if it's really up to Axl's discretion, then surely that solo above almost any other one would have scored Bucket some points?!?

He has credits for performing on it. The solo elevates it for sure, but that's just one case. Not every song has a memorable solo, but who would decide it for copyright reasons?

I mean, is not that I agree with it, but I see how such a thing could not work.

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Updated the OP with information from CMRRA (Canadian music rights database), regarding:

- Axl's shares for Perhaps and The General (and Monsters)

- More precise shares for Oh My God, Shackler's Revenge, Sorry and Scraped.

Edited by Blackstar
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