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.
Jul 05, 2017, 3:18 PM MDT
Life of author + 70 years
Last 12 Months' Royalties:
$250 ASCAP Assignment fee
Here's a chance to invest in some good old fashioned country music, with tracks from American artist Justin Moore and Canadian country star Johnny Reid. The catalog includes eight tracks and its earnings are nearly evenly split between the U.S. and Canada. Over the last 12 months, these songs have produced $3,558 in royalties.
There are five tracks from Justin Moore that provide 45% of this catalog's income. The titles, “I Could Kick Your Ass,” “Hank It,” and “Like There's No Tomorrow,” are all off his debut certified-gold album Justin Moore. That album reached No 3 on Billboard's Top Country Albums and enjoyed crossover success at No. 10 on Billboard 200 in 2010.
As for the Canadian portion of the catalog, Johnny Reid's “Out of the Blue” is the highest earning song, accounting for 42% of royalties. Off his fourth studio album Kicking Stonesin 2007, the song peaked at No. 7 on the Canadian Country Charts. The album Kicking Stones was nominated for a 2008 Juno Award for Country Recording of the Year and certified Gold by the Canadian Recording Industry Association.
Finally, the catalog also contains a song from JJ Lawhorn, a country music up-and-comer, as well as a female anthem by Danielle Peck.
Radio is the largest source of income with 43% of earnings. Many of these songs are more than five years old and still receive notable radio play. For the last six years, yearly royalties from radio have averaged over $1,200.
Songs that get radio play often build a foundation of streaming and other types of income as the radio royalties winds down, and this catalog is no exception. Streaming makes up 27% of this catalog's royalties to date, however in the last four quarters streaming shows a significant growth rate of 39%. As royalties from radio start to slow, we see income from streaming begin to rise.
100% of the seller's interest in the songwriter's share of public performance royalties for select musical works in the seller's catalog of songs administered by ASCAP. See the “Financials” tab for a full track list.
How does this asset make money?
Every time “Out of the Blue” or any song in this catalog, is played on the radio or any other type of public performance, you earn royalties. ASCAP makes payments quarterly and the first distribution you will receive is July 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
ASCAP is the American Society of Composers, Authors and Publishers. It is a membership association of more than 575,000 composers, songwriters, lyricists and music publishers of every kind of music. ASCAP also represents music creators worldwide through agreements with affiliated international societies.
Take a look at some of our past auctions with country music assets:
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)).
If an asset requires splitting up a catalog by works or percentages, Royalty Exchange may need to provide royalty accounting services to the buyer, seller, or both. This is because the royalty distributor may not be able to split royalties as intended by the asset transfer. Royalty Exchange's involvement helps to ensure accurate royalty payments. It also helps assure buyers and sellers that they are not missing out on potential earnings.
The accounting process often involves manual spreadsheet work and coordinating with royalty distributors. Royalty Exchange's goal is for the accounting service to be temporary. We plan to work with distributors to find solutions that will allow us to revert accounting and payment obligations back to the distributor, removing ourselves from the process. In the meantime, we've instituted the 5% fee to help offset costs in the manual accounting.
Please see the sample accounting agreement document for reference.
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