Historic royalty income is no indication of future royalty income. Future royalty income is dependent upon future sales and licensing revenue generated by the sound recordings or compositions associated with this listing.
May 25, 2017, 3:35 PM MDT
Life of author + 70 years
Last 12 Months' Royalties:
$500 BMI Payee Account Fee*
Invest in the songwriter's share of a unique catalog that has over 16 years of history. This catalog earns money from 80s and 90s dance hits, including a Fatboy Slim song that sampled one these songs. In the last 12 months, this catalog generated $1,898.
Up for auction are public performance royalties from music by Doug Lazy, an American hip hop and dance music producer. Doug Lazy scored three No. 1 hits on Billboard's Dance Club Songs chart in the late 80s and early 90s, “Let It Roll,” “Let the Rhythm Pump” and “H.O.U.S.E.” "Let the Rhythm Pump" was Doug Lazy's biggest hit, spending 13 weeks on the charts. In December of last year, Billboard recognized it as one of the top 10 dance songs in 1990 in the article “Greatest of All Time: To 10 Dance Club Songs Year-by-Year.”
In 2000, legendary UK DJ and producer Fatboy Slim sampled Doug Lazy's vocals from “Let the Rhythm Pump” in the song “Ya Mama,” often referred to as “Push the Tempo.” The song reached No. 30 on the UK singles chart. That same year, “Ya Mama” appeared in the film Charlie's Angels and was featured on the soundtrack. The soundtrack was a success, receiving double Platinum certification in June of 2002.
1) Fatboy Slim's “Ya Mama” makes up 68% of the catalog. This song earns money in multiple ways. Because Fatboy Slim sampled “Let the Rhythm Pump,” the songwriter benefits by collecting royalties from both works. And since “Ya Mama” was featured in in Charlie's Angels this catalog also generates income any time the film airs on television or is streamed.
2) Fatboy Slim has been on the electronic music scene for over 20 years and he isn't slowing down. In March of this year, he released a new single and he is actively touring, with performances scheduled at several festivals in Europe throughout the summer.
What is being sold?
100% of the seller's interest in the songwriter's share of public performance royalties attributable to the seller's catalog of songs administered by BMI. See the “Financials” tab for a full track list.
How does this asset make money?
Every time “Ya Mama,” or any song in this catalog, is played on the radio, streamed, used in a show or film that airs on television, or any other type of public performance, you earn royalties. BMI makes payments quarterly and the first distribution you will receive is June 2017.
What rights are included?
Internet Streaming, AM/FM & Satellite Radio, TV/Film/Commercial Performances, etc.
Internet Streaming, Satellite Radio, Digital Downloads, CD Sales, TV/Film/Commercial Placements & Performances, Samples, etc.
About the Royalty Distributor
BMI represents more than 10.5 million musical works created and owned by more than 700,000 songwriters, composers and music publishers. BMI supports businesses and organizations that play music publicly by offering blanket music licenses that permit them to play more than 10.5 million musical works.
Click below to see a previous auction with music from the early '90s.
Public performance royalties are payments made by radio stations, hotels, restaurants, night clubs, etc. to the composition copyright holder(s) for each public performance of the copyrighted work. In the U.S., public performance royalties are typically paid to performing rights organizations (e.g., ASCAP, BMI) who then distribute the royalties to the copyright holder(s).
Mechanical royalties are royalties deriving from per-unit payments made by recording companies or digital download providers to the composition copyright holder(s) for every purchase of a sound recording that reproduces the copyrighted composition.
Non-interactive digital performance royalties are payments made by non-interactive music services (i.e. those that mimic the experience of a radio broadcast) of a statutorily-set amount (on either a per-play or annual basis—depending on the type of service) to SoundExchange for the benefit of the sound recording copyright holder and the performing artists for the right to perform the copyrighted sound recording via non-interactive, digital means.
non-interactive digital performance royalties
The royalties owed to the creator(s) of a musical composition which are paid in return for the right to reproduce, distribute, or perform the copyrighted work.
A musical composition is one of the two copyrightable parts of a recorded song. It consists of the song's music, including any accompanying words, (i.e. the portion of a song that is capable of being fully expressed as sheet music) and is separate from any particular recording of the song or its performance by any particular artist.
A sound recording is one of the two copyrightable portions of a recorded song. It results from the fixation of a series of musical, spoken, or other sounds in a tangible (at least momentarily permanent) medium.
The portion of royalties owed to the owner of a sound recording. The owner may the performing artist, the producer, or another party (such as a record label) who contractually acquired the ownership of the copyrighted work (e.g., through a recording agreement), owns it by virtue of an employer-employee relationship with the creator(s) of the work, or specially commissioned the work.
rights owner's share
The portion of royalties owed to the performers of a sound recording in return for the right to perform the copyrighted work via non-interactive, digital services (e.g., Pandora, Spotify).
The portion of royalties owed to the music publisher which are paid in return for the right to reproduce, distribute, or perform a copyrighted musical composition, arising from a contractual obligation (i.e. a publishing agreement) or employer-employee relationship with the creator of composition (i.e. the songwriter(s)).
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