D

ont tell veteran music publisher

Mark Altman, President of Morning
Music and a CMPA board member,
that streaming and subscription-
based online music services like Spo-
tify are the key to the well-being and prosperity for
his business going forward. He has seen the road to
the future and it is paved with good intentions and
reams of invoice statements with the price of a cof-
fee waiting at journeys end.
We have our own U.S. and U.K. company, so Im
seeing the results first hand, says Altman. I look
through the statements and there are about 15-20
lines of data for each song and the sum total is some-
thing like .053 cents. You get lines with three or four
decimal points before you see a number. The bot-
tom line is that technology has enabled us to see just
how little money we are getting.
A number of Supreme Court rulings in July of
last year more clearly defined the royalty landscape
in Canada, at least for the short term. The Court
upheld SOCANs right to collect a royalty on mu-
sic streamed over the Internet under SOCAN Tar-
iff 22A, which calls for a monthly fee of 6.8 percent
of the amounts paid by the subscriber with a mini-
mum fee of 43.3 cents per month, per subscriber,
but ruled that transmitting a single copy of a work
to a single individual, as with a download, does not
fall under the communication to the public right
within the Copyright Act.
Mark Jowett, CMPA board member and VP Inter-
national A&R/Publishing at Nettwerk, has a slightly
different take on the subject of financial returns
from online services than Altman, in part because
of his label affiliation. If I wear my Nettwerk Music
Group hat, which is also my label hat, the streaming
revenues have become very significant for us. In a
very short period of time, Spotify has become our
third biggest source of digital revenue in America.
But, the reality at this point is that streaming rev-
enues are much better for the labels and for artists
than for writers and publishers; thats something we
hope will be addressed.
David Basskin, President
Winter 2013 Vol. 11, No. 2
HEADLINES
Executive Directors
Update
SOCAN looks to CSHFs
future
Christopher J. Reed obit
Lou Ragagnin joins ole as
COO

Bloc Notes writer/artist
launches new album in
France
Sony/ATV writers songs
with Josh Groban, Pitbull
Red Brick Songs signs
slew of new deals
NW1 in Club Roll alliance
SOCANs Paul Spurgeon
looks back on eventful
career
Marty Simons MRD rolls
out PowerScore
LINDI ORTEGA: IN SYNC AND ON THE ROAD: ole/Last
Gang songwriter/artist Lindi Ortega is spending the
first quarter of 2013 on tour, beginning with dates in
Canada and the U.S. and then moving on to the U.K.
and Europe. Late last year, Ortega appeared on the
ABC-TV hit series, Nashville, performing the song
Fever To Burn from her current album, Cigarettes
& Truckstops, a result of oles long-term commitment
to getting Ortegas music into film and onto TV. It was
one of three songs featured in episodes of the show.
Photo: Julie Moe.
P2
P3
Much Ado About Nothing?
P5
P6
P9
P10
P12
P6
P4
Online Music Services a boon or bust for publishers
and writers?
Music Publisher Canada
ISSN 1705-5563
Published three times per year by
the Canadian Music Publishers
Association
320 56 Wellesley St. W.
Toronto, ON M5S 2S3
By Martin Melhuish
Continues on page 3
P9
2 Music Publisher Canada / Winter 2013
Executive Directors update
I
ve deleted about half a dozen attempts at opening sen-
tences for this report. I was trying to say something orig-
inal and inspiring about the vantage point on 2013 that
we hold in these early days in January, something that MPC
readers would find thought provoking, that would set a to
the barricades tone for the new year. And while I person-
ally am feeling uncharacteristically renewed by the changing
of the calendar, I think my problem with sentence creation
is that January 1, 2013 is not a significant date for our in-
dustryno brilliant new business models launched, no won-
derful new copyright decisions, no sudden solutions to a
business still experiencing cataclysmic change. Usually, the
good thing that can be said about cataclysms is that they are
pretty quick, but I think many of us are finding the extended
nature of the change process in our business wearing.
So, the challenges of last year continue to be the chal-
lenges of this year. That doesnt mean that there hasnt been
progress, but we still cant look below us to solid ground, exhale,
and say, so this is how things are going to be. While there are new
problems to solve daily, we need to haul ourselves up out of them
and use some of our best thoughts toward the big, amorphous prob-
lem: how do we convince the general public that music has value?
Music used to be the size of an album cover, then the size of a cd
case, then the size of an iPod mini, now its air. We need new props.
Individual songs still break through and
break hearts, whether old or new, but
music collectively no longer occupies as
much space between human ears as it
once did. Ive been part of a number of
conversations about this question, and I
think we have made progress in under-
standing how and why the perception of
value has plummeted over the past few
years. Music used to be cool, now, tech-
nology is. Somehow, when we werent
paying attention, while we didnt real-
ize that our cool status was up for grabs,
apps, games, mobile devices, user gener-
ated videos, etc. etc. became the basis of
cultural dialogue in the way that people
used to talk about songs. Of course, this
isnt to say that songs dont matter, but it is to say that humans now
have a huge new, shiny range of ways to express themselves. This has
cultural implications, business implications, political implications.
The new head of SACEM, Jean-Noel Tronc, has described govern-
ment in Europe as being IT mesmerized.
The weakness with the IT mesmerized world is that at some
point, governments will realize that years of legislation and market
support for technology at the expense of content will mean that the
shiny devices will be all dressed up with nowhere to go, that is, there
will be no content worth hearing, or seeing, or playing, if there are
no business models to encourage the development of content and
laws to protect it. Part of the challenge in solving this problem is that
myriad sectors of the music industry seem to have trouble recogniz-
ing our common ground. All of the sectors of the music industry are
content enterprises, regardless of what our particular roles might be
in creating that content, and we need to start thinking cohesively.
This point has been recognized by more and more of us, but actual-
izing it is still problematic. However, the more we can say the same
thing about the value of music, the importance of copyright, the
need for forward thinking public policy and industrial support, the
innovation of efficient systems and infrastructure, the faster we can
stand on that solid ground.
Like many of you, I have come back to my office to start booking
flights and planning meetings for a number of conferences in the
months ahead. I hope I will get to see you in Cannes, in Toronto,
(welcome, FolkAlliance!), Regina, Vancouver, Washington, and so
on. I am resolving to try and see the conversations I will be having
through a lens of commonality. I am keen to see if we can improve
our value proposition, our creativity, our efficiency, our transparency,
together. Perhaps when I write this report in January 2014 I will be
able to rejoice in dramatic, positive change for the music industry.
320 56 Wellesley St. W., Toronto, ON M5S 2S3
Phone (416) 926-7952
www.musicpublishercanada.ca
Music Publisher Canada is a membership benefit for members of
the Canadian Music Publishers Association. It is intended to inform
music publishers and other interested readers about the activities
and issues surrounding music publishing in Canada. The opinions
expressed herein are not necessarily those of the publisher.
2013 All rights reserved.
Editorial comments to martin.melhuish@sympatico.ca
Publisher Catharine Saxberg
Editor Martin Melhuish
Page layout Chris Jones
CMPA Communications Committee
Vivian Barclay (Warner Chappell Music Canada Ltd.)
Jodie Ferneyhough (CCS Rights Management)
Gary Furniss (Sony/ATV Music Publishing Canada)
Elisabeth Bihl (Canadian Music Centre)
Tony Tobias (Pangaea Media & Music Inc.)
Music Publisher Canada acknowledges the financial support of
Catharine Saxberg
JOIN CMPA! If you own music copyrights
you should be a member of the Canadian Music Publishers
Association (CMPA). We are the voice of music publishing in
Canada. We promote and protect the interests of Canadian
music publishers and creators. For more information contact
Catharine Saxberg at csaxberg@musicpublishing.ca You can find
our website at www.musicpublishercanada.ca
Music Publisher Canada / Winter 2013 3
Calculation of online royalties beyond complicated
Continued from page 11
and CEO of the CMRRA, who in late 2007
oversaw the first distribution by CMRRA-SO-
DRAC Inc. (CSI) of reproduction royalties
from online music services, agrees: It is sad-
ly the case that the compensation of song-
writers and publishers is so much lower. I
would love to see it changed and thats what
we have been working towards for years, but
the fight goes on
The one commonality with online music
services seems to be that none of them de-
liver a single cent per song play. In the fall of
last year, Josh Davison, Tech Lead at the digi-
tal media planning firm, Centro, in Chicago
and a member of the group, Parks and Gar-
dens, revealed on twitter that the payment
they receive for a song stream on Spotify is
US$0.00966947678815. On iTune Match its
US$0.0330526797710.
By comparison, web developer Scott Bus-
cemi, during that same period, reported
that his client Honey Boy Duprees per-
stream earnings were US$0.003424338 from
iTunes Match, US$0.0091 from Rhapsody,
US$0.000921014 from Spotify Free (Ad Sup-
ported) and US$0.007191596 from Spotify
(Subscription Mobile).
When Rolling Stone magazine put the
spotlight on the new economics of the mu-
sic industry, unable to find any definitive
source of information on royalty rates for
streaming, the magazine went with a quick
calculation by an unidentified band man-
ager. The subsequent revelation was that on
a song streamed 60 times from a subscrip-
tion service like Spotify, MOG and Rdio, the
label and the recording artist, depending on
contract terms, split 38 cents while the song-
writer received 9 cents.
In that same Rolling Stone piece, Jeff
Price, co-founder and former CEO of
TuneCore and a pioneer of the new music
business model, weighed in on the com-
plexity of the calculations involved. It is
beyond complicated, said Price, who re-
cently began collaborating with SOCAN on
a number of initiatives that would benefit
the organizations membership. It took
me literally three months to understand
this thing, Each service has to run literally
five formulas each month on calculation
number one, they have Subsection Number
One and Subsection Number Two. They
throw out the higher of those and then
compare that one against the other three.
After that, they have to run this formula
five different times.
Spotify, and a number of other online
music services are not in Canada yet, be-
cause, in part, they have been unable to
reach an agreement with CSI. There is
Rdio, which is a good service, but it means
very little on a revenue level, Mark Jowett
points out. Theres Deezer, which is also
a streaming service somewhat like Rdio,
which went into all the markets that Spo-
tify wasnt, including Brazil, Canada and
Germany. I think Spotify, which is not in
Canada yet, is in Brazil and Germany now.
Pandora is not here either because they
couldnt come to a rights agreement with
CSI. Rhapsody is here. It used to have more
impact, but now its very inconsequential.
In Canada, its really about Rdio and You-
Tube and YouTube would generate more
income than Rdio at this point. Outside of
Canada, Spotify dwarfs Rdio, but YouTube
is also very significant.
And what are the prospects of a Canadi-
an presence for Spotify and the other hold-
outs? We are still in very intermittent discus-
sions with Spotify, but we have yet to arrive
at mutually agreeable terms, explains David
Basskin. But we have had discussions with
many, if not all of the foreign services which
are not presently operating in Canada, and
we have answered many queries regarding
our tariffs and licensing policies. However,
to say that any of those services have their
eyes on Canada at the moment would be
conjecture on our part. While none of those
services have ever said, Were not coming to
Canada, and thats that! none of them have
shared their launch plans, if any, with us and
none of them, including Amazon, Google,
Spotify or Pandora, have made any formal
announcements.
Spotifys revenue, I think, is doubling ev-
ery two months and is becoming very signifi-
cant... and, its a fantastic user experience,
says Mark Jowett. If the publishers can fight
to get more of that revenue, then I think it
bodes well for the industry as a whole. I think
we all want to encourage that digital growth.
Its an exciting time in that way.
SUBSCRIPTION SERVICES IN CANA-
DA: BBM Music, Deezer, eMusic, Galaxie,
Music Unlimited, Rara.com, Rdio, Siren Mu-
sic, Slacker, Songza, Telus, The Vault, Vevo,
Xbox Music, YouTube and Zik.
E
arly last year, SOCAN acquired the assets of the Canadian Songwriters Hall of Fame (CSHF) and
announced it was committed to putting the organization and its popular annual induction cer-
emony on a more solid footing. The transition period of the past year has been about the cre-
ation of a new governance structure at CSHF, explains SOCAN Chief Financial Officer David Wood, who
indicates that this year the induction Gala, a daunting undertaking, will likely be postponed in favour of
getting some other initiatives up and running.
Going forward, Wood says there are four main things that SOCAN wants to focus on: the induction
ceremony, in a format yet to be decided; the online presence, which would see the two current Websites
populated with more content and rebuilt without Flash so that they can work on Apps; the establishment
of a physical Hall of Fame in partnership with the National Music Centre in Calgary, a relationship yet to
be formalized, and the development and launch of an educational program that would have a presence
in schools across Canada.
The new board of directors will include CSHFs founding partners, Canadian Music Publishers As-
sociation (CMPA) and Songwriters Association of Canada (SAC) along with 10 others including four
directors from SOCAN, one each from APEM and SPACQ, a representative from a record company and
three random independents. The two big things have been music industry inclusivity and balancing the
governance, says Wood. With just two-thirds of the board now in place, we have eight directors that
equally represent SOCAN and non-SOCAN members, publishers and writers, French and English.
CSHF settling in as part of the SOCAN family
SOCAN CFO David Wood
4 Music Publisher Canada / Winter 2013
C
hristopher J. Reed, Founder and President of Intermde Music, passed away in the late
summer of last year at his home in the Dominican Republic. He was 61.
Reed, who was born in London, England, came to Canada in the late 60s settling in
Qubec where, in 1973, he founded les ditions Intermde Inc. In subsequent years,
the company would work with some of the top artists in the province including Gilles
Vigneault, Robert Charlebois, Jean-Pierre Ferland, Diane Tell, Sylvain Lelivre and Jim Corcoran.
Reed, who was a founding member of lADISQ, also co-founded lAssociation des professionnels
de ldition musicale (APEM)/the Professional Music Publisher`s Association (PMPA) with a num-
ber of other independent music publishers in Qubec. He served on the Board of Directors of the
association as Vice-President from May 2002 to May 2011. He was named an Honorary Member of
APEM/PMPA in May 2010.
Christopher J. Reed, a pillar of the Qubec music publishing
industry, passes away at age 61
CMPA board member Diane Pinet
(Bloc-Notes Music Publishing) with
Christopher J. Reed.
CMPA Executive Director Catharine Saxberg (l) and ICMPs Coco Carmona,
Legal and Regulatory Affairs, met a number of members of the European
Parliament late last year to discuss copyright. They are seen here with
Portuguese Representative, Patrao Neves.
A
ll of the songs and compositions that SOCAN
administers are now available online to anyone
who visits the organizations website and clicks
on the Search public repertoire field on the top right
of the page.
As SOCAN notes: Want to find out who owns the
copyright to the song you plan to use in your movie?
Looking for the music publisher of an old Canadian hit
song? Or just want to settle a bet about which song-
writer collaborated with the artist to create that hit
single? Now you can...
I
n the last issue of Music Publisher Canada, we talked about
the renovations going on at the Canadian Music Centre,
which occupies the venerable and architecturally-distinc-
tive Chalmers House at 20 St. Joseph Street in Toronto. The
work is complete, and much to the delight of CMC Executive
Director Elisabeth Bihl and staff, a brand new functional per-
formance and meeting space has been created alongside the
existing library. This is a picture of that multi-purpose commu-
nity space for meetings, event hosting, concerts, rehearsals, a
CD boutique and a sound recording facility to record perfor-
mances, podcasts and interviews.
CMC renovation brings new performance and meeting space
Music Publisher Canada / Winter 2013 5
W
arner/Chappell Music Canada GM Vivian Barclay
was in Haiti late last year to work with Habitat for
Humanitys Jimmy & Rosalynn Carter Work Proj-
ect building houses in the area of the country devastated by
earthquakes. When the earthquake happened in Haiti, that
hit really close to home, Barclay
recently told samaritanmag.com.
I was born in Canada, but grew
up in Jamaica and Haiti is close
to Jamaica. In your mind, as ev-
erybody does, youre like: What
can I do to help? I started to do-
nate money, but I also felt that I
wanted to do some more... [The
first year I was there] we com-
pleted 100 homes in seven days
in a community called Santo in
Logne, Haiti, which was at [the
earthquakes epicenter]. It had
been almost two years since the
earthquake and 400,000 people
were still living in tents. This year,
its three years after the fact and
there are probably just under
3000,000 people in tents. Bar-
clay (r) is pictured with Rosianne,
standing in the door of her new
home that she helped build with
the volunteers.
ole welcomes accomplished
executive Lou Ragagnin to
the company as COO
F
ormer Canadian Olympic Committee
and 100th Grey Cup Chief Operating
Officer Lou Ragagnin will join ole as
COO in late January. Ragagnin, who will be
located in Toronto and report to ole Chair-
man and CEO, Robert Ott, will be responsible
for the tactical execution of the annual and
long-term company business plans and the
day-to-day managing, executing and enhanc-
ing of all internal operational processes and
infrastructure.
Ragagnin, who is a Chartered Accountant and holds a Bach-
elor of Business Administration Degree (Honours) from the
Schulich School of Business, York University, most recently
demonstrated his leadership ability as President and COO for
the 100th Grey Cup Festival this year in Toronto where he was
responsible for the development and implementation of the
strategic and operational plans for the very successful and ex-
citing Grey Cup Game and associated Grey Cup Festival. Previ-
ously, as COO for the Canadian Olympic Committee, Ragagnin
was responsible for overall operations of the organization.
An experienced senior executive with a track record of de-
livering outstanding results in diverse situations and industries,
Lou Ragagnin has proven himself to be equally adept at develop-
ing corporate strategy and ensuring that action-oriented and de-
tailed business plans align to deliver desired results, ole notes.
Warner/Chappells Vivian Barclay:
bringing hope to Haiti one house
at a time
T
he Unison Benevolent Fund is a non-profit organization that provides counselling, emergency relief,
and benefit programs for those in the Canadian music community who face personal or professional
challenges due to hardship, illness, unemployment or economic difficulties. Unison is not membership
based. There are no registration fees or membership dues. However, Unison is asking that everyone in the
music community register online.
Even though you may never need to access the fund, Unison is working on initiatives that will help the
music community as a whole, says Sheila Hamilton, Executive Director of the Fund. Registering with Unison
helps in two ways: with greater numbers Unison will be able to negotiate better discounts and services, plus
it allows Unison to communicate to more people in the community and ask them to help spread the word
about Unison.
Registration information is kept strictly confidential and will not be sold or given to anyone else, ever. Visit
www.unisonfund.ca to register now.
Unison ask for music community to register online
Sheila Hamilton
I
nternationally renowned Canadian pianist Glenn Goulds is on the list of luminaries named as
recipients of the Recording Academys Lifetime Achievement Award. Gould will be honoured
with six other artistes at a special invitation-only ceremony held during GRAMMY Week
on Saturday, Feb. 9, 2013, and a formal acknowledgment will be made during the 55th Annual
GRAMMY Awards in Los Angeles on Sunday, Feb. 10, 2013. Stephen Posen, Goulds long-time
friend and the Sole Executor of the Glenn Gould Estate will be attending the ceremonies to ac-
cept the award. We are very excited and honoured to be receiving this, says Jodie Ferneyhough,
IP Manager for the Gould Estate and President of CMPA. As part of the celebrations of Goulds
legacy, Sony Classics has issued an array of Glenn Gould Anniversary releases, celebrating what
would have been the great pianists 80th birthday year, and 30th anniversary of his death.
Lifetime Achievement
Grammy for Gould
6 Music Publisher Canada / Winter 2013
Publisher
News
Publisher
News
Bloc Notes writer/artist Roch Voisine
launches new album in France
Tom Wilson releases
new Lee Harvey
Osmond album
O
n February 18, Bloc Notes Music Publishing writer/artist Roch Voisine, who has
sold more than 11 million albums worldwide, will launch his new album Duopho-
nique in France. He reprises 12 of his best-known songs with the Philarmonique
Orchestra of Prague under the direction of Qubecois, Marc Ouellette, with arrangements
by Ouellette, JF Berger and Charlot Barbeau. Featured artists include Coeur de Pirate (He-
lene), Isabelle Boulay (La berceuse du petit diable), Patrick Fiori (Je resterai l) and
Vronic DiCaire (Avant de partir). A Qubec version of the album will be released in
autumn 2013.
Voisine will tour Qubec through January, February and early March to present his new greatest hits show, Confidences.
The second leg of the tour will be in Europe in April 2013 with fifteen shows in several cities in France, Switzerland and
Belgium. In the fall of 2013, Voisine returns for a Canadian tour at which time he will release a new album with all of his
English hits and three new titles. Finally, the year 2013 will end with part three of the Confidences tour in Europe.
In other Bloc Notes Music news, the company and writer Fred St Gelais were involved with two SOCAN Awards for the
best songs of the year including Comme Avant by Marie Mai, written by Mai, St Gelais and Rob Wells and Si on change-
ait by M. Bachand, Marc Dupr, Marie Mai and St Gelais.
S
ony/ATV songwriter/artist Tom
Wilson, founding member of Junk-
house and Juno Award- winning
Blackie & The Rodeo Kings, returns with
a new album from his acid-folk group
Lee Harvey Osmond. The Folk Sinner,
released January 15th through Latent
Recordings, features collaborations with
Hawksley Workman, Margo Timmins, Oh
Susanna, Astrid Young and fellow BARK
member Colin Linden, as well as mem-
bers of the Skydiggers, Junkhouse and
The Sadies. Tom recently co-wrote several
songs for Colin James latest album Fifteen
(Maple) and is touring North America
throughout 2013.
Glenn Morrison, The Parachute Club
sign with Sony/ATV
S
ony/ATV Music Publishing Canada has signed Glenn Morrison and The
Parachute Club. Glenn Morrison is an internationally-renowned DJ, pro-
ducer and songwriter who has toured with David Guetta, Tiesto and Ar-
min van Buuren, among others. Morrisons music has topped the World Dance
Charts and has been featured in several video games including Diablo II and
Midnight Club 3: Dub Edition. Morrison is currently writing for his upcom-
ing album release with Robbins Entertainment/SME, whose previous releases
include Cascada and Afrojack. Sony/ATV has also signed an administration
agreement with The Parachute Club, whose songs include the Top 10 hit Rise
Up, At The Feet Of The Moon and Love Is Fire.
M
ulti-platinum recording artist and Gram-
my Award-winner Josh Groban recently
released his first new single Brave,
co-written by Sony/ATV Music Publishing Canada
songwriters Thomas Tawgs Salter and Chantal
Kreviazuk. Tawgs co-wrote five more songs with
Groban for the upcoming album, All That Echoes
(Warner/Reprise) set for release February 5, 2013.
Kreviazuk, who also co-wrote Over My Dead
Body for Drakes platinum-selling album, Take
Care (Cash Money/Universal), recently co-wrote
Feel This Moment recorded by multi-platinum
artist Pitbull, featuring Christina Aguilera from his
new album Global Warming (RCA)
Sony/ATV: Songs with
Josh Groban, Pitbull
Glenn Morrison
Photo: John Wright
(l-r) Frederic Forget; Roch Voisine; Diane Pinet,
President of Bloc Notes Music Publishing; and
Marion Bec.
Chantal Kreviazuk
Music Publisher Canada / Winter 2013 7
Sony/ATV songwriter/producer Rob Wells (far right) re-
cently co-wrote at Sony/ATVs Toronto office with Randy
Bachman and multiple Grammy Award-winner and Uni-
versal artist Melanie Fiona for upcoming projects, at the
Sony/ATV offices.
Bachman, Wells and Fiona in writing
sessions at Sony/ATV offices
peermusic writers/artists The Tragically Hip had
their 13th studio album entitled Now For Plan A and
produced by Gavin Brown (Metric, Billy Talent, Three
Days Grace) released worldwide last October with the
first single, At Transformation, quickly reaching #1
at Canadian Rock Radio. The band, which was recently
inducted into The Edge 102.1 FM Hall of Fame the
first Canadian band to receive this honour have been
touring North America in support of the record and
will continue with a Canadian arena tour in early 2013
and a full European tour in the summer. In addition to
the recent album, The Hip have released the live DVD
Bobcaygeon, which peermusic notes, truly showcases
the power of their live performance.
peermusic signs deals with Music Sales
Group, SQE Music
peermusic has expanded its relation-
ship with Music Sales Group, with an
administration deal for Canada. Music
Sales is one of the larg-
est independent music
publishers with an
incredible catalogue of
popular and classical
music. Within the pop-
ular catalogue are such
hits as Diamonds Are
A Girls Best Friend
and Tainted Love.
The classical catalogue
represents some of the current leading
composers as well as the classics of the
20th Century. peermusic has also signed a
worldwide ex-U.S.A. deal with SQE Music.
The SQE catalogue represents the entire works of Broken Social Scene
founding member Brendan Canning and a variety of up and coming art-
ists from the around the world.
Plan A is touring for peermusic
writer/artists The Tragically Hip
ole has extended its Canadian sub-publishing deal with the worlds num-
ber one non-fiction media company, Discovery Communications. Discovery
Studios Music Services is the operational unit of the company working with
ole to continue maximizing the value of the companys publishing catalog.
ole has been an extremely collaborative and effective partner for Discovery,
and we look forward to continuing this relationship to allow Discovery to
continue delivering the highest quality content that satisfies curiosity for
viewers around the world, said Gary Ford, Vice President, Global Music
Services, Discovery Communications.
Discovery Communications extends
publishing administration deal with ole
Tragically Hip
Arthur
MacArthur
Grammy Award-winning producer/artist/songwriter Timbaland, with whom ole signed a music publishing
catalog acquisition and multi-year worldwide publishing administration deal on future songs last year, kicks off
the New Year with a hit as co-writer and co-producer of the Justin Timberlake single, Suit & Tie. The song,
which is from Timberlakes upcoming third studio album, The 20/20 Experience, his first in six years, features
a guest appearance by rapper Jay-Z as well as vocals by Timbaland. Notably, the new MySpace site, of which
Timberlake is a co-owner, launched with an offer to potential registrants to freely stream the new single.
JT and ole Writer/Producer Timbaland
Create Buzz with Suit & Tie
Brendan Canning
ole writer/producer/
artist Timbaland
(centre) with oles
Chad Richardson (l)
and David Weitzman at
oles Los Angeles offce.
Photo: Julie Moe.
8 Music Publisher Canada / Winter 2013
Publisher
News
Publisher
C
ordova Bay Music Publishing artist Steph Macpherson branched out with the release of her critically-ac-
claimed, debut album, Bells & Whistles, in the U.S. on January 15. In support of the release Macpherson and
her band set off on a two-week tour down the West Coast. Among the many shows booked, one of the high-
lights will be a special invite-only showcase with Jason Plumb at the famous Hotel Caf in Los Angeles for Hollywood
music supervisors. Cordova Bay notes, Stephs knack for thoughtful lyrics and catchy melodies will no doubt be a fit
for film and TV.
Canadian band Acres of Lions are back from a successful tour in the U.K. where they released
their latest album Collections through famed U.K. indie, Fierce Panda. Upon arriving home, the
band went straight into the studio with Toronto producer Brian Moncarz (Moneen, The Reason,
Neverending White Lights) to start work on a brand new release due out in early spring on
Cordova Bay Records.
M
apleMusic Publishing and Adam King, a successful songwriter/producer/engi-
neer, have signed a co-publishing agreement. King has previously won a Juno
Award for his work with The Good Lovelies. Other credits include Royal Wood,
Hannah Georgas, Jill Barber, iSh, Eva Avila, Ali Slaight and Cider Sky, among others. Adam
King (Songs Of MapleMusic Publishing) was recently recognized with a RIAA certified
Gold plaque for his contributions to the song Northern Lights (Cider Sky) as it was fea-
tured in the film and soundtrack for The Twilight Saga: Breaking Dawn.
MapleMusic, Adam King in co-pub agreement
O
ver the past year, MapleMusic Publishing/Atomic Boogie Music has had a string of sync successes with Flash Lightnins songs ap-
pearing in movie trailers for Thor, Sherlock Holmes 2: Game of Shadows, Lawless and The Last Stand. Candy Coated Killahzs Tasha
Schumann recorded a song and landed a brief cameo in the upcoming film, Cobu, starring Derek Hough and BoA, that was shot in
Toronto. Juno-nominated Royal Wood continues his impressive songwriting output with his new album We Were Born To Glory. Wood also
remains a sync mainstay with his songs featured in Flashpoint, Lost Girl, Ringer, Being Human, Rookie Blue, Made In Jersey and Cracked.
Heavy sync activity for Maple
Music/Atomic Boogie writers/artists
A
number of Third Side Music writer/artists including Grasscut, Two Fingers and The Death
Set have recently been heard in some quality ad campaigns. Grasscut, the underground
psych-electronic-folk duo which features Award-winning composer of music for film
and TV, Andrew Phillips, had their composition The Lights, used in K-Mart holiday ads in De-
cember. Two Fingers Fools Rhythm, which was included in Ninja Tunes 20th anniversary XX
box set, proved to be the perfect fit for the 2012 BMW 3 Series xDrive Corners Campaign while
The Death Set from Brooklyn, New York, who were praised by NME as the #1 biggest hope of
the future, were heard in an ad for the Google Chrome Book computer with the composition,
Negative Thinking, which has been characterized as the timeless call-to-upraise-arms.
In other news, TSM has partnered with Cumbancha, a record label, booking agency and
music publisher founded by Jacob Edgar, an Ethnomusicologist and music producer who, since 1998, has been the head of music research
and product development at famed independent record label, Putumayo World Music. TSM indicates that it is their goal to bring some
of the most captivating music from around the world to a big or small screen near you! The Cumbancha catalogue includes world music
luminaries like Bombino, Luis Maita, the Sierra Leone Refuge All-Stars and Sarazino.
TSM has moved in with sister company Ninja Tunes in Los Angeles. The address is 1030 N. Alvarado Street, Unit 102, Los Angeles, CA
90026 (213) 484-8720
Third Side Music: Quality sync licenses for
writers, Cumbancha partnership
Cordova Bay: Steph Macpherson showcases, Acres of Lions record
Steph
Macpherson
Adam King in his stu-
dio with Gold record.
Photo: Joel Stouffer.
Music Publisher Canada / Winter 2013 9
Simon Wilcox
I
t has been a busy year
for peermusic writer/artist
Simon Wilcox and 2013 does
not look like its slowing down.
Wilcoxs collaboration with artist
Josh Groban (Warner) has landed
the song Below The Line on his
upcoming album All That Echoes,
as well the single Give Me Your
Hand by The Ready Set (Warner)
is Top 30 and climbing the U.S.
Top 40 radio charts. Wilcox has
several other songs coming out in
2013 including with Walk Off The
Earth (Sony) and is continuing to
write in U.S., U.K. and Canada.
R
ed Brick Songs, a Canadian publishing company led by Jennifer
Mitchell, who is also President of Casablanca Media Publishing,
ended 2012 with a number of new deals:
Sub-publishing deals include those with the Lenono and Ono cata-
logues, encompassing the works of legendary songwriter and Beatle, John
Lennon, including Imagine, Xmas Song (War is Over), Beautiful Boy
(Darling Boy), Instant Karma! (We All Shine On), Jealous Guy and Oh
Yoko! with Budde Music Inc. and Budde Songs,
Inc., which includes the hits Forever Young and
Big In Japan by Alphaville, among many others
with the publishing arm of U.K.- based, legend-
ary record indie label, Cooking Vinyl and with
Concord Music Group, Inc., which includes clas-
sic songs by John Fogerty, Miles Davis, John Col-
trane, John Lee Hooker, Sonny Rollins among
many others.
Worldwide co-publishing deals include those with Alt-Country, Canadian
band, Cuff The Duke, through a joint venture with Toronto indie label, Pa-
per Bag Records (with more signings to come!) with Chicago-based, indie-
pop band, On An On (except for Europe), whose debut album Give In will
be released in North America on January 29th on Roll Call Records and in
Europe on March 4th on City Slang with Field Mouse, a Brooklyn-based,
dream pop band, known for their lush sonic textures and harmonies and
with Library Voices, a Canadian, energetic indie-pop band from Regina,
Saskatchewan.
peermusic writer/artist Kathleen Edwards album Voyageur
has been the top of several Best of 2012 lists including
Spins 50 Best Album with Change The Sheets topping
Spins Best Songs of 2012. Voyageur was also nominated
for the prestigious Polaris Prize, and Kathleen won the
SOCAN songwriting competition with her song A Soft
Place to Land.
Red Brick Songs heads into New
Year with slew of new deals
NWI in Club Roll alliance,
acquires rights for West Mor-
raine catalogue
N
ettwerk One Music has formed a strategic publish-
ing alliance with the recently-launched, Montral-
based independent record label, Club Roll Music.
Nettwerk One will actively promote and administer Club
Rolls publishing properties, worldwide. Its really refresh-
ing to see what Club Roll is going to accomplish, says Mark
Jowett, Nettwerks Vice-President of International A&R/Pub-
lishing. Nettwerk One has identified Club Roll as a purveyor
of excellent music that is uniquely flavored and stylistically
different, that will nicely compliment NW1s roster of synch
and licensing content. Club Rolls
experience in, and understanding of,
the evolving indie music landscape,
as well as the labels direct connec-
tion to artists, are all characteris-
tics that illustrate it as a channel of
valuable intellectual property. Club
Roll, which was founded by Lenny
Levine, Dan Seligman, Hilary Leftick
and Shaun Bronstein, is distributed
by Universal Music Canada.
In other NW1 news, the com-
pany has taken over the rights for
the West Morraine catalogue, which
contains a major interest in many
key Johnny Reid songs.
Simon Wilcox
maintains busy
writing schedule
10 Music Publisher Canada / Winter 2013
In retirement, SOCANs Paul Spurgeon leaves legacy of passionate
advocacy and financial growth
A
s Paul Spurgeon, long-time
VP, Legal Services & General
Counsel at SOCAN, retired in
December of last year, there
was a general sense that cre-
ators, and those that advocate on their be-
half, were losing one of the leading lights
in the ongoing battle for fair compensation
for their work.
Spurgeon joined CAPAC, one of SO-
CANs predecessors, in 1978 as Legal Coun-
sel and was involved in the merger of CAPAC
and PROCAN, which emerged as SOCAN in
1990. During his time with CAPAC/SOCAN,
the growth of performing rights royalty in-
come rose from approximately $25 million
in 1977 (CAPAC/PROCAN figures com-
bined) to over a quarter of a billion dollars
($261.5 million) in 2011, the last SOCAN
financial report available. That was a direct
result of the tariffs that lawyers like Spur-
geon had to fight for before the Copyright
Board and negotiate.
Im proud of the fact that I played a part
in getting tariffs that allowed us to distribute
that money, says Spurgeon, who was elected
to the Legal Committee of CISAC in the late
80s and has also served that organization as
Chair and Vice-Chair. In the future, I think
there will be continued growth as more and
more windows of access open up. When a
new use comes along, we file a tariff or a
set of tariffs as we keep abreast of new tech-
nologies.
Spurgeon points out that because of the
Copyright Act, initially, cable and satellite
television couldnt be licensed. We had to
get the law changed, which we did, and then
we had to go before the Copyright Board
and justify a tariff. They said that it wasnt a
musical work that was being communicated,
it was something else. We started the process
in the late 80s, we got the law changed in
the early 90s and then the proceeding to
set the tariff started and didnt conclude un-
til the late 90s. We then got all this
money because cable had to pay us
retroactively and it was in the millions
of dollars.
Spurgeon believes that SOCAN
was the first society in the world to file
a tariff for Internet transmission of
music. That was in 1995, before Nap-
ster and illegal, or even legal, down-
loading. We didnt know who was out
there, so we thought we would get
the money from the ISPs and figured
three percent of their revenue was
fair. Of course, they said, No way! We
are just a dumb pipe. We went all the
way to the Supreme Court and they
agreed with them. They said, Yes, they
are dumb pipes, but they will be liable
if they do more than just provide the
means necessary for somebody else to com-
municate the music. They told us [SOCAN]
to go after the people who are providing the
content to them. So, we opened the door.
It wasnt long before the Internet was
home to a large number of portals for
music illegal and legal with sites for
downloading or streaming, and more. Con-
tinues Spurgeon, We went before the Board
and told them we wanted a tariff for all these
uses, including ringtones. We subsequently
got Tariff 22 for that purpose. The Board set
tariffs, not for everything, but basically for
what we requested.
The tariff survived appeals to both the
Federal Court and the Supreme Court. But
theres always another day and another bat-
tle. Last year, it was the matter of payment
on the download of tunes. We got to the
Supreme Court on July 12 and we lost,
says Spurgeon. In a deeply-divided Court
(5-4), they said we cant get any money for
the transmission in a download. We totally
disagree with that. This is not the end of it
because the Copyright Act was amended on
November 7 of last year and created a Mak-
ing Available Right. Our view is that this al-
lows us to license works whether its a down-
load or whether its a stream. We think that
amendment will change things and, right
now, were in a proceeding where the ring-
tone people are asking for all of their money
back and they dont want to pay anymore.
We are going to go back to the Board and
say, Not only do we think that isnt correct,
we now want money for downloads again.
Spurgeon acknowledges that the Inter-
net has brought about a lot of change but he
reckons that nothing has changed with re-
gard to the fact that users dont want to pay
or, rather, they dont want to pay as much as
the rights holders think their music is worth.
Theres a continual tension that has existed
between the copyright owners and the copy-
right users, Spurgeon says. Now there is
an additional third element in this mix and
that is the consumer. Consumers have been
involved in this because they are kind of wak-
ing up. Why? Because every consumer is on
the Internet and because of the easy access,
they think music is free.
Spurgeons enthusiasm for the fight may
have something to do with the fact that he is
actually a card-carrying member of the mu-
sicians union as a drummer/percussionist
with a particular affinity for the vibraphone,
which he says he intends to pursue further
now that he has opened up some personal
time for himself. Along the way, he did some
private studies with drummer Graham Lear
(Gino Vannelli, Santana). It wasnt until the
late 80s that he stopped playing with any
regularity.
Ive taken a lot of this stuff personally
because I believe in the cause that we fight
for here every day in ensuring that creators
rights are protected, he states. That means
we have to have tariffs that work and strong
laws and treaties. Going forward, its going
By Martin Melhuish
Theres a continual tension that has existed between the copyright
owners and the copyright users. Now there is an additional third
element in this mix and that is the consumer. Paul Spurgeon
Paul Spurgeon
Music Publisher Canada / Winter 2013 11
to require some real focus and a holistic viewpoint.
Publishers, who wear many hats here in Canada, have
a vital part to play with creators, who need the busi-
ness-sense they can provide.
Creators need the advocacy we have provided
here at SOCAN. Money is the key thing. Creators and
the advocates for the rights of creators have to keep
fighting and never give up. We have to be proactive
and not merely defensive. Weve got to be prudent
and not overreach. Its a very delicate balance. There
are going to be a lot of challenges in the future and
Im wishing the best to all those that take over that
fight in the best interest of the creators and publish-
ers. They deserve to be compensated for what they
do.
On Spurgeons retirement, no going away party
was thrown by the Canadian Association of Broad-
casters (CAB), though you would imagine that they
would have been very happy to wish him a fond fare-
well. But, Spurgeon says he did get some nice cards
from a number of lawyers that he had faced on the
other side over the years and, with a grin, quotes a
line from Shakespeares Taming of the Shrew: ...
and do as adversaries do in law, strive mightily, but
eat and drink as friends.
(King Kong, The Hunger Games, Batman Begins, Sixth Sense) and Alexandre
Desplat (Argo, The Kings Speech, Harry Potter and the Deathly Hallows: Part I
& II, The Twilight Saga: New Moon), among others.
Simons aforementioned Grammy association this year comes with the track
Ashamed, that is heard on Rick Ross nominated Rap album, God Forgives, I
Dont, which debuted at #1 on Billboard in the summer of last year. From start
to finish, the Ross track, for which Simon is given a credit, freely references the
song Shameless that Simon co-wrote for Wilson Pickett more than 32 years ago
while he was recording with Pickett at Andre Perrys Le Studio complex in Morin
Heights, Qubec.
As a drummer and songwriter, Simon has jammed with Jimi Hendrix, opened
for The Who he still considers Pete Townshend a friend co-written a hit for
Celine Dion in French (Les mots qui sonnent) and composed and published
music for more than 25 films. Given those experiences, and many more, youd
think that the Rick Ross Grammy association would be taken in stride. Youd be
right, except for a once-in-a-lifetime moment that one can only share with a son
or a daughter who thinks youre a bit of a troglodyte when it comes to musical
taste.
I went to my son and said: Have you ever heard of this? referring to the
Rick Ross record and he says, Dad! I bought the record! I said, Thats me! Im
playing the drums on it and I wrote the bass line! Priceless!
Simons Shameless Grammy association
Continued from page 12
BS Productions the new action station
for Barbara Sedun
B
arbara Sedun, who
spent 17 years with
EMI Music Publishing
between 1991 and 2007 and
then returned as Senior Vice
President, EMI Music Publish-
ing in 2009, recently founded
BS Productions, an umbrella
company for many of her on-
going musical endeavours.
Among them is her work with
the Toronto duo Len, with
whom she has a long history
and Ottawa-based country
artist, Jordan McIntosh; mu-
sic supervision on the new TV
series, Rogue and an artist de-
velopment project with a young girl group named Sparkle on which she is working
with former Canadian Idol judge, Zack Werner, who is a rock performer in his own
right. Sedun, who has been a board member at the Canadian Songwriters Hall of
Fame and Manager of Music Programs for Manitoba Film and Music, continues with
her music network group known as BS Fridays, the details of which you can access
through the facebook page of the same name.
transmission: GLOBAL
SUMMIT set for April
9-12, 2013 in Vancouver
A
n expanded-capacity transmission:
GLOBAL SUMMIT is scheduled for
April 9-12, 2013 in Vancouver as the
popular conference, in which CMPA has been
a long-time partner, gets ready to welcome 500
leaders, creators, entrepreneurs and academ-
ics from across the globe. As usual, conference
organizer Tyl Van Toorn has set an ambitious
agenda paired with fine local food and amaz-
ing B.C. wine. Registration for tGS is limited to
500 participants to ensure broad, cross-industry
representation. The 2013 program comprises
three groups of activities including transmit-
TALKS, a series of keynotes, workshops, sym-
posia and B2B activity. transmitFORGE is an
international venture development program
providing mentorship, model improvement
and network expansion of opportunities for
funding, capacity building and increased mar-
ket share. transmitLIVE is a curated, multi-dis-
ciplinary showcase of creators and their work
from around the globe. For further informa-
tion regarding transmission: GLOBAL SUM-
MIT 2013, visit www.transmitnow.com
12 Music Publisher Canada / Winter 2013
2013 Looking To Be A PowerScore Year For MRDs Marty
Simon
W
ith a Golden Globe win, three Oscar nominations and
a British Academy Film Award nomination for his com-
poser clients and a song on a Grammy-nominated album
for himself, it has been a stellar start to a year already bursting with
promise for Montral-born Marty Simon, the founding director of
MRD Music Revenue Data Inc.
The company, which administers publishing catalogues and
provides composer royalty management services worldwide for hun-
dreds of film and TV programs, is ready to consolidate the roll-out
of PowerScore, intriguingly subtitled BrainPower
for film and TV music scores.
The simplest explanation of PowerScore is that
collection societies pay rights holders based on TV
broadcast Data; PowerScore provides composers and
music publishers with new tools, starting with exact
TV broadcast data, to reconcile those payments.
I was composing movie scores for Canadian and
U.S. companies and studied the royalty statements
as a composer and often as a publisher of these
film and TV projects in order to ensure control of
my works and timely payments of my royalties, says
Simon, whose large office desk doubles as a creative
and business centre with a keyboard and ProTools
on one side and his computer set-up on the other.
There were no services to answer some of the issues
I was finding and, shockingly, little data knowledge,
so I started a company to address film and TV music
royalty collections. The idea for PowerScore hit
about three years ago when the doors of Hollywood
were opening up for us. We were starting to get
films like Dark Knight and finding that our process was resulting in
significant revenue upswings.
PowerScore Music Tracking comprises 348 channels and net-
works covering U.S. and Canada providing custom TV broadcast air-
play reports with proven accuracy and verification. All channels and
networks in the system are licensed by Performing Rights Societies,
so if there is a play, then a payment is due. If airplays are identified
and payments have not been received, PowerScore data provides
an alert that there is a problem within payment systems. PSM-
Tracking, which identifies 16 data fields including title, day, time,
year, channel, territory, call letters and cable ID, analyzes 15 Million
records in 10 seconds to report all TV airplay weekly, monthly, quar-
terly or yearly and perhaps most importantly has the ability to report
all TV airplay history back to 2008.
Talking about the industry in general, Simon points out that
there is a consistent royalty amount collected worldwide by the
200-plus collection societies, which amounts to roughly $11 billion
a year. If you see the chart breakdown, youll see that more than
55 percent is constantly film and television, states Simon, who was
twice elected to the Board of Directors of SOCAN as a film and TV
music publisher and served as the 1st Vice Chairman of the SOCAN
Board from May 2006 to June 2009. The only market that is going
up in this collection is cable TV. Its most recently up 15 percent.
When you see that sort of strength and realize that they need con-
tent, then you know that there is an overwhelmed system that has
got lots of money but, if you are not filing your paperwork, youre
going to miss out. You have three years to claim royalties and after
that they go into the Black Box.
MRD currently offers two services: Global Royalty Management
with commission fees on royalties collected,
which includes a Revenue Assurance compo-
nent to create a self-auditing system for each
client, and Royalty Revenue Assurance, which
is an upfront fee charged against specific work-
loads to do with rights holders royalty flows.
Our business plan is clear, says Simon. Our advances in
innovation and constant improvement, puts us exactly where we
belong... at the crossroads of Art, Technology and Commerce.
The Golden Globe win mentioned in the opening of this piece
went to MRD client Mychael Danna for Original Score (Life of Pi).
Danna also picked up nominations for his work on the same film
at the Oscars Original Score and Original Song (Pis Lullaby)
and at the British Academy Film Awards (Original Music). MRD
client, Alexandre Desplat, who was nominated for a Golden Globe
in the Original Score category, is nominated for Original Score at
the Oscars for his work on the Ben Affleck film, Argo.
Among MRDs clients today are the rights holders of Pirates of
the Caribbean, Twilight and Dark Knight-Batman-films; Flashpoint;
Medium; the ER-TV series Little Miss Sunshine; The Hunger
Games; The Kings Speech; Life of Pi and close to 1000 titles, many
of them hit films. Recent MRD composer clients include Mychael
Danna (Life of Pi, Moneyball, Little Miss Sunshine), Hans Zimmer
(Inception, Da Vinci Code, Lion King, Pirates of the Caribbean,
The Dark Knight), James Newton Howard
There were no services to answer some of the issues I was finding
and, shockingly, little data knowledge, so I started a company to ad-
dress film and TV music royalty collections. Marty Simon
Continues on page 11
Marty Simon (centre) with composers Mychael Danna
(left) and Jeff Danna at 2011 SOCAN Awards.
Photo: Grant W. Martin Photography.