04 February 2016

Chapter 30 – The dirty business of royalty splits

My only other failure of a session was with a writer who shall remain nameless (primarily because I can’t remember his name) so for now let’s call him writer X. I turned up to the session and writer X asked if I had any ideas with me. I said I did, but it was a fully formed song – I had written all of the words and music, except for two lines of lyrics in the middle 8 (see notes below for description of what a ‘middle 8’ is). Writer X was keen to move forward with it so we recorded the song, and he helped me write the two lines of lyrics in the middle 8. We had a great day, got on well, recorded the song, and at the end of the day came a rather awkward conversion about song splits … writer X wanted to split the song 50/50. While I was relatively new to this game, I didn’t feel that was quite fair.

Discussing song splits can be awkward for songwriters … rather like the moment you ask your new boyfriend / girlfriend if they’ve got any STD’s or skeletons in their closet you should know about – it can completely wreck the mood but it’s a conversation you need to have in order to forward. Songwriters get paid in royalties each time a song is played, so if two writers split a song 50/50, you’re basically splitting the income of the song down the middle (after everyone else has taken their piece of the pie of course). But lots of musician just aren’t business types (that’s why they became musicians!) and as we known, the British often loathe awkwardness and confrontation, so much so that when eating a steaming pile of dung in a restaurant many of us will happily lick the plate clean and report to the waiter that “oh yes it was delicious thank you!” So discussing song splits? not a favourite part of a songwriting session.

However, if you start a songwriting session fresh with nothing and you create something together, that’s nice and easy because regardless of who wrote what bit, you will often split it straight down the middle 50/50 and no such conversion need even happen. This is how a lot of writers work, and it makes the whole process clean and easy. If one contributes a significant amount more than the other, you can often work it out amicable in a quick conversion, especially if your co-writer is a fair and decent human being … you might split it 60/40 or 80/20. But for some, what should be a simple conversation can easily result in band splits, lawsuits, bad vibes and disaster – in it’s infancy who knows what could become of your song, and in many cases nothing actually will, but when a lot of ‘potential’ money is at stake, especially when it’s for a signed artists, or a well-known artist, it can get dirty. Where good decent folk are concerned, it rarely reaches such inhospitable greed-ridden territory. As for the situation I was in, I really didn’t like causing tension with writer X, but I also wanted to be treated fairly so I agreed to a 70/30 split. He eventually agreed but the experience had left a bad taste in my mouth, we didn’t work together again, and I never even used the song. Fortunately for me, he was the only writer I ever had a slightly confrontational experience with, and hopefully he will be the last.Meanwhile the contracts were close to being finalised, which meant I could at last move forward. Life was about change quite drastically for Andy and I …

*  A middle 8 is so called because it is a section in a song that tends to happen towards the middle of the song, and tends to be eight bars in length. The purpose of this section is to break up the simple repetition of a verse/chorus/verse/chorus structure by introducing new elements into the song.