Emmylou’s Wrecking Ball Gets Deluxe Reissue; Dierks Bentley Documentary Due 2/22; New Album Releases

Juli Thanki | February 4th, 2014

  • Nonesuch Records will release a three-disc (including a documentary DVD) expanded version of Emmylou Harris’ 1995 album Wrecking Ball on April 8. Harris also announced she and Daniel Lanois will be touring this spring to celebrate this reissue.
  • The Tennessean‘s Nate Rau reports that, “Under current copyright law, songs recorded prior to Feb. 15, 1972, do not pay a performance royalty to the artist and musicians, but songs recorded after that date do. That means, for example, that Luke Bryan gets paid when his single ‘Drink a Beer’ is played on an Internet or satellite radio station, but Loretta Lynn is not paid for plays of ‘Coal Miner’s Daughter.'” However, Tennessee lawmakers have proposed a bill that will fix this loophole and allow artists to receive digital performance royalties for their pre-1972 recordings.
  • New documentary Dierks Bentley: Riser, will be released on February 22, three days before Bentley’s new album comes out. Here’s the trailer.
  • Peter Cooper’s new column focuses on Billy Block and his battle with Stage IV melanoma.
  • Todd Snider on Hard Working Americans’ self-titled debut: “It’s for free-spirited people and people who feel oppressed or left out…I don’t really think that we’ll be catering to the handsome fellas on the football team or their cheerleader girlfriends.” 
  • Here are some outtakes from Sarah Jarosz and The Milk Carton Kids’ Austin City Limits taping.
  • Our pal Dallas Terry interviewed Honeyhoney for Galleywinter.
  • CMT Edge’s Chris Parton interviewed Scott H. Biram.
  • Bob DiPiero talks about writing songs for Nashville in this interview posted on The A.V. Club.
  • Tracy Lawrence in The Chicago Sun-Times: “I’m all about getting out there and finding what I think is cool, even if it’s not the over-the-top power rock country stuff out there now…I want to say the things that are relevant to a person of my age through my songs. I think there is a big trick to being a mature artist these days. You have to continue to connect with fans by being real rather than just going out there trying to chase what everybody else is doing.” 
  • Blue Ridge Outdoors’ free February Trail Mix includes songs by St. Paul & The Broken Bones, Levi Lowrey, Dirk Powell, Lydia Loveless, and more.
  • Band of Horses’ live album, recorded at the Ryman, is streaming on RollingStone.com.
  • Changes at Sirius-XM mean you’ll unfortunately be hearing a lot less of bluegrass DJ Chris Jones.
  • Chrissie Dickinson reviewed Patty Griffin’s Chicago show for the Tribune.
  • If you’ve got $100,000 to spend on a Valentine’s present to yourself, Gram Parsons’ 1972 David Russell Young Custom Dreadnought is going up for auction on February 15.
  • This week’s album releases (thanks for supporting E145 by purchasing music through the below affiliate links):

Dirk Powell Walking Through Clay

Leyla McCalla Vari-Colored Songs: A Tribute to Langston Hughes

Suzy Bogguss Lucky

Parker Millsap Parker Millsap

A.J. Croce Twelve Tales

Amy Black This is Home

The Grahams Riverman’s Daughter (Deluxe Edition)

Buzz Cason Troubadour Heart

The Haden Triplets The Haden Triplets

Eric Paslay Eric Paslay

Tony Trischka Great Big World

Scott H. Biram Nothin’ But Blood

Whiskey Myers – Early Morning Shakes

  • And some movies to round out your Kenny Rogers DVD library:

The Gambler Collection

  1. Six String Richie
    February 4, 2014 at 2:15 pm

    Does anybody know if the above law applies to songwriters as well as performers? i.e. Would Loretta Lynn get a songwriting royalty for Coal Miner’s Daughter per radio spin but not a performers’ royalty under current law? Also, does anybody know the current songwriter royalty per radio spin or performer royalty per spin on radio?

  2. Barry Mazor
    February 4, 2014 at 7:25 pm

    Rau’s article, uncharacteristically, is pretty screwed up–confusing one sort of digital streaming rights with other performance rights, performer pay and the record label’s pay, and leaving “civilians” on copyright matters reading it understandably confused.

    It would take a lot of explaining to quickly describe the difference between digital streaming rights of the recorded performance itself , the songwriter’s piece of that as a writer, “mechanical” rights of that sort that apply to recordings in general but not streaming, and more. (Performers have never been paid, in the US, for individual plays of their records–unless they happen to be the songwriter.) It’s pretty complicated–and you can trust me on that, since I just finished a book that demands keeping all of that straight as they evolve over 60 key years.

    Suffice it to say that you need not cry for Loretta Lynn–and the payment for use of the performance as such, the vocal, n, is the least part of where her money comes from.

  3. Luckyoldsun
    February 5, 2014 at 6:28 pm

    “However, Tennessee lawmakers have proposed a bill that will fix this loophole and allow artists to receive digital performance royalties for their pre-1972 recordings.”

    I have my doubts that “Tennessee lawmakers” have the power to force a streaming service based in Virginia–or in the Virgin Islands–to pay royalties for music streamed out to someone in Ohio. Or California. Or New York.

    I’d suggest that anyone who’s looking to affect the royalty structure for digital performances might try talking to lawmakers in that big building in Washington D.C. with the dome on top.

  4. Barry Mazor
    February 6, 2014 at 6:00 am

    Yep: States can’t regulate copyrights or royalties at all. Period.

  5. Janice Brooks
    February 6, 2014 at 11:11 am

    Barry I’ll concure the royalties deal is more complicated then can be understood. I’ll continue to broadcast music pre 1972.

    I’m happy to say LIVE 365 has paid it’s royalties and I’m not one of those folks dealing with Loud City.

  6. nm
    February 6, 2014 at 1:14 pm

    Just to clarify: artists do get performance royalties for music recorded before 1972. They get royalties from the label for physical copies of those recordings sold, and for digital downloads of their songs and albums. They also royalties from SoundExchange for those recordings streamed on the web or played on satellite radio. (Producers of pre-1972 recordings may also get paid for satellite/streaming performances, if the artist is nice and gives SoundExchange a letter of direction.) So, ya know, if Flo & Eddie or Loretta Lynn aren’t getting those royalties (which I have no reason to believe) it’s only because they’ve been too lazy to fill out the very simple paperwork asking for them.

    The people who aren’t collecting performance royalties for satellite/streaming performances of pre-1972 recordings are the owners of the recordings, which in most cases means the label that put the original recording out (or, of course, the conglomerate that since 1972 has swallowed the smaller label that put the original recording out). (Artists who have had ownership of their recordings revert to them, which sometimes happens when smaller labels were originally involved, are also shut out in this case.) For some reason, it’s hard to get people all sad about the poor deprived labels, which is why we get inaccurate stories about the poor deprived artists instead.

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