Would You Sell Your Song Catalogue?

Jeeni Blog

Helping the next generation of talent to build a global fanbase

Would You Sell Your Song Catalogue?

Today, we hear another mega-star has sold their song catalogue. This time Neil Young has agreed a deal and sold 50% of the rights to his entire back catalogue. Hipgnosis Song Fund purchased 1,180 songs by the Canadian musician in a deal that is said to be worth an estimated $150 million (£110 million), according to the BBC.

The Young acquisition comes after the company acquired the rights to 100% of former Fleetwood Mac singer Lindsay Buckingham‘s back catalogue and 50% of his future work this week, as well as Jimmy Iovine’s worldwide producer royalties. “This is a deal that changes Hipgnosis forever,” Hipgnosis founder Merck Mercuriadis said of the Young deal.

Hipgnosis are known for turning royalties into a steady income stream – with the firm making money every time one of its songs is played on the radio or featured in a film/TV show. Other recent acquisitions by Hipgnosis include catalogues by the likes of Blondie, L.A. Reid, RZA and The-Dream. The company also purchased a publishing portfolio from Kobalt in September. The sale included songs by Fleetwood Mac, 50 Cent, Beyoncé and many others.

The Neil Young sale seems to be part of the growing trend of artists cashing in on their lifetimes work. Bob Dylan was reported in December 2020 as selling to Universal Music. According to the New York Times, the music icon has sold his back catalogue for an eye-watering $300 million (£225 million), giving Universal the ownership of over 600 songs spanning a period of almost six decades.

While the deal means that Universal now control one of the most celebrated back catalogues in history, Dylan is also listed as the principal songwriter on the vast majority of efforts – which means Universal does not have to share future revenues with any other songwriters.

In the same month, Stevie Nicks agreed a deal with Primary Wave for $100million, giving them 80% of her back catalogue which includes her 70's hit 'Dreams' just as it is making a Billboard comeback after going viral in the TikTok video of skateboarder Nathan Apodaca drinking Ocean Spray juice.

To make these kinds of figures, you have to have a catalogue which will give the buyer a payback, but with younger bands such as The Killers doing the same, is this the best way for songwriters, singers and bands to create certain income? With the poor payouts from the online streaming platforms, it makes good business sense, but only for those able to create enough desired material.

For those new and emerging creative stars, companies like www.jeeni.com and Patreon have been created to redress the balance, so revenue generated goes to the creators, not the suits and pen-pushers, meaning artists of the future will possibly be able to afford to create back catalogues and continue to benefit from them.

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13
Aug

THE ETHICAL ANSWER TO THE GREAT STREAMING RIP-OFF

For too many years, the giants who control the world's music streaming services have been ripping off the creators and performers of the content that allows these services to exist. The figures are staggering, 355 million paying subscribers to an industry worth over twenty-four billion dollars a year. But most artists who provide the content don't earn enough from their monthly streaming royalties to buy a pizza. Now there is an ethical alternative, a streaming service run by artists for artists, where creatives and supporters own a share in the company and keep 100% of what they make. It's a Portsmouth-based venture called Jeeni. Last month, the UK Government report on the major streaming services painted a picture of a broken model that fails to reward musicians fairly. Superstar Nile Rodgers calls it a huge victory for his peers. “I want to believe in my optimistic heart and soul that things will change,” he told the Financial Times, after giving evidence to the Government committee. Rogers is appearing at the Victorious Festival in Jeeni's home town of Portsmouth, alongside a raft of artists who have set up their showcases on the Jeeni platform since their campaign was launched. The founders of Jeeni have a track-record of success, and include veteran entrepreneur Mel Croucher, who founded the UK videogames industry in the 1970s. He is joined by several GRAMMY-Award-Winners and celebrities, including Roger Watson, the ex-boss of Arista Records, responsible for selling over 500,000 records. "We've all made it to the top," says Watson, and now we're giving something back to a new generation. We've got the experience, they've got the talent. Now we're giving them all the tools they need to showcase their work on Jeeni, and get properly rewarded for their efforts, as well as own a piece of the action too." Jeeni's CEO, Shena Mitchell is also no stranger to successful start-ups. She founded The Innovation Warehouse and has now taken Jeeni to the crowdfunding platform Crowdcube, where budding superstars can own a slice of the company for less than the price of that legendary pizza. More information: jeeni.com/investhttps://www.crowdcube.com/companies/jeeni/pitches/qD0WNq

04
Jun

10 Reasons why the world needs Jeeni

My name is Mel Croucher. I'm a record producer and computer nerd. Over the years I've worked with a whole bunch of superstars like Prince, Frank Zappa and Eminem. In other words, I've been around successful musicians all my working life. A few years back I was hearing from more and more artists how unhappy they were with the big streaming services. So I polled 4,200 of them about their Top-Ten Problems with Spotify, Apple Music, Soundcloud, Deezer, and the rest. The poll result was a shocker, and I asked a bunch of the best brains in the music business to help me create an ethical alternative. It's taken us two years, and we call our alternative JEENI. Here's what the artists we polled told us, and here's our Jeeni solution to their problems. 1 - Money. Artists get paid a pittance. Platforms like YouTube pay $0.00069 per view, so even 10,000 views earns us less than the cost of a pizza per month.Jeeni solution. OK, we get it. You do all the hard work, so you deserve all the rewards. How about a Jeeni deal where you to keep 100% of all music sales, ticketing, and merchandise sold through our platform. 2 - Recognition. We try really hard, but streaming platforms just don't get us more fans or recognition.Jeeni solution. Right. Let's make Jeeni an artist development platform. Our founder invented viral marketing in 1994. Then he achieved the world's first million-user viral campaign. Now he's designed all the tools you need to grow your fanbase and get recognition: all part of the Jeeni service. 3 - Communication. We don't know the identity of who's streaming our stuff, so we can't get in direct contact with anyone who wants to know more about us.Jeeni solution. OK. Here's the deal. With Jeeni you get a built-in fan database to contact everyone who votes for you or likes your work, and you communicate direct with them as often as you like. Safely, legally and all opt-in. 4 - B*llsh*t. The big streaming platforms are full of it. We hate the adverts, we hate the artificial likes, we hate the paid-for recommendations, we hate the hype.Jeeni solution. The answer to this is an ethical alternative. We guarantee Jeeni will stay advert-free. We pledge our charts are the result of democratic votes by real people. And we promise that all Jeeni content comes from genuine unpaid sources. Oh yeah, we'll also pay our taxes in full, because we believe we should make a positive contribution to the society we live in. 5 - Rip Offs. We just can't break through, and even when we think we're making progress as artists we get ripped off.Jeeni solution. Yep. The entertainment business has always been full of shysters. Let's be honest here, the people behind Jeeni have all made it to the top somehow, and between us we've made every mistake in the book. Our mission is to help you achieve success and avoid the rip-offs. That's why our Jeeni Mentors, Ambassadors and Masterclasses have joined forces to do exactly that. 6 - Choice. The big streaming services all offer similar content, dominated by the same big star names.Jeeni solution. Agreed, so let's ignore the content everyone else uses and leave our competitors to fight it out! Jeeni is designed for undiscovered artists to break through, based on talent alone, not ad-spend. 7 - Channels. My work doesn't fit into mainstream channels. For example, what about channels for spoken-word?Jeeni solution. No problem. Jeeni already has dedicated spoken-word channels for poetry, comedy, and voice actors, plus channels for entertainments ranging from dance to videogame soundtracks. And if we don't already have a channel that suits your need ... we'll sit down and create it! 8 - Visibility. People either don't know about our work, or can't find it even if they do.Jeeni solution. We've designed the smartest user interface we can. On Jeeni, you can search by name, type of channel, instrumentation, latest uploads, popularity, even by influences and heroes. But above all, our artists have complete control over publicising their own announcements to their specific Jeeni audience. 9 - Fakes. What's the difference between the Jeeni Awards and the fake results dominated by celebrity voting?Jeeni solution. Simple. Jeeni doesn't have celebrity voting. Our Awards will always be based on one member - one vote. No ifs, no buts. 10 - Live performance. I'd like to stream an event, and charge people to watch it. Can Jeeni do that?Jeeni solution. Um, not yet, but we're working on it! Come on now, we're not perfect, so we need your help. Jeeni has returned to Crowdcube to raise more funds for helping new talent. Jeeni founding director Mel Croucher says, “We’re ahead of our original schedule, but there’s still so much more to do. We need to scale our online platform globally now and build our mass artist showcases. Jeeni raised £100K in 6 days and we’re working hard to get more investors on board. Then we can hit all our targets, and give our new artists the recognition they deserve.” If you want to see our pitch click HERE.

08
Jul

Zed, The Dreamer – ‘I died too’ Single Review

Charming, layered and dreamy, the latest single from this starry-eyed balladeer might be his most impactful yet. With a rich roster of influential artists like Bon Iver, Michael Kiwanuka and Matt Corby, Zed, The Dreamer has a wide and varied well from which he draws inspiration and these influences reveal themselves quite clearly across Zed's young, bright discography. The style of the previously mentioned muses can essentially be reduced to an initial representation of the broad genre of folk music, however, they all individually decide to expand beyond that folk core by enriching it with their own individual styles, experiences and personalities. This is a skill that Zed has adopted in full-effect. A notable element of Zed’s style is his subtle embrace of lo-fi aesthetics. Before, this has materalised as some unfiltered-out background fuzz in tracks like ‘Comfort (Not Love)’, but Zed's latest track takes this raw, casual sentiment to a further level as he uses it to almost reinforce the heart aching messages that he displays in ‘i died too’. The track whirs to life like a tape machine accelerating to the right speed, instantly giving off a warm, analogue tone to the track. The sudden click to silence after just a second of guitar also contributes to a feeling that this is an impromptu recording, straight from the heart, to the microphone. As more elements are introduced, this nonchalant façade crumbles and Zed’s ballad blossoms into a polished and astonishing chorus of love. Intricate and symbolic lyrics aren't needed for the confessional “Baby, I love you” chorus, because the verse has already provided poetic details into the relationship. Interestingly, after the first chorus, Zed doesn’t use its natural momentum to maintain the energy, but instead, he brings the composition back down to where we began with an interlude of radio-effect conversational samples and background ambience that replaces the full, lush textures that we just heard over the chorus. Once back down to the ground, Zed’s forlorn vocals begin to slowly levitate the piece once more with the next verse. The second verse consists of simple guitar-tapped percussion, rumbling bass and shimmering chords, all ornamenting Zed’s gentle acoustic guitar and crooning vocals which creates the folk centre of the piece. The second verse much more seamlessly feeds into the second chorus which now professes the title of the piece, “I died too” in replace of “I love you”. This heartbreaking variation to the chorus is such a clever story-telling device. It’s not often that a chorus is altered to reveal an entirely different side to an emotive narrative, it adds a stunning amount of weight behind an already compelling single. The piece winds down one final time as a more distant and mournful "Baby, I love you" is heard underneath auto-tuned vocalisations and a self-comforting "It's alright, now" repetition. This extended ending at almost a minute long is a beautiful finish to an already unorthodox song structure. A final, pensive guitar chord rings out to finish the piece with one last poignant resignation. Zed, The Dreamer will be performing at Victorious festival this August (26th-28th) so be sure to check him out if you have tickets!

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