Publishing
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Reservoir Media has purchased the catalog of Bronx-born talent Dion Francis DiMucci, better known as Dion. The deal includes his publishing catalog and future works as well as synchronization rights to his master recordings.
Best known for releasing defining, R&B-infused rock in the 1950s and ’60s, Dion’s catalog includes “Runaround Sue,” “The Wanderer,” “Ruby Baby” and “Dream Lover,” which he released with his band Dion and the Belmonts. Over the course of his career, he has accrued 11 top 10 Billboard Hot 100 hits and was inducted into the Rock and Roll Hall of Fame in 1989 and the Grammy Hall of Fame in 2002.
Despite his many decades of success, Dion continues to tour and release music today. In 2021, he released the album Stomping Ground featuring Eric Clapton, Peter Frampton, Bruce Springsteen, Mark Knopfler and more.
Dion’s songs have continued to permeate pop culture, particularly via their placement in films and TV shows, including Diner, Peggy Sue Got Married, Little Big League, The Sopranos, Behind Enemy Lines, The West Wing, The Wire and Ozark. Additionally, his life and songbook inspired the creation of The Wanderer, a musical that had a successful pre-Broadway run at Paper Mill Playhouse in April 2022.
“I am most pleased to enter into this great new relationship with Reservoir,” Dion said in a statement. “I know how much the Reservoir team appreciates my work, and I am looking forward to some exciting times ahead with them. I want to thank the entire Reservoir team for helping to make it happen, particularly Rell Lafargue, Jonathan Sturges and Faith Newman. I also want to thank Marvin Katz, my attorney, who introduced me to Reservoir and represented me in the transaction.”
Reservoir’s executive vp of A&R and catalog development, Faith Newman, added, “Dion is a pillar of early rock and roll music and wrote and recorded songs that are universally loved and recognized. He continues to make music with and inspire the genre’s biggest names today. It’s an honor to support both his evergreen catalog and future hits.”
It’s the end of an era for a Kobalt Music original. Sas Metcalfe, the company’s first employee and longtime chief creative officer, will be stepping down effective Feb. 28, it was announced on Thursday (Jan. 26). The North Wales native possesses a creative taste that is “second to none,” commented founder and chairman Willard Ahdritz, who hired her in 2001, and has “built a great spirit in her team because she is happy to share success.”
The Metcalfe-led global creative team is almost 70% female, according to the company, and is responsible for signing a roster that currently includes such hitmakers as Max Martin, Lorde, Ozuna, The Weeknd, The Chicks, Finneas, Diplo, Gunna, Karol G and many more.
“When I look back, I’m in awe of how much great music the Kobalt creative team has ushered into the world,” said Metcalfe. “But what makes me most proud is working alongside so many talented music lovers and helping them develop into great creative and A&R minds – I’d argue they are some of the best in the music industry today.”
Metcalfe’s music business journey began in the early 1980s with a marketing assistant job at CBS Records in London. She later got the A&R bug thanks in part to working as a scout at Rocking Horse Records before a three-year stint as an A&R manager at Arista Records. Nine years at Warner Chappell followed, where she signed Radiohead and Dido as head of A&R, before taking a similar post at EMI Records in 1998. She joined Kobalt, again, as Ahdritz’s first hire, three years later. “It’s amazing how far we’ve come in over 20 years together,” he said.
Added Kobalt CEO Laurent Hubert, “Simply put, Sas is one of a kind. Her impact in the music industry and at Kobalt is undeniable, as she nurtured and managed not just amazing songwriters but also built one of the best global creative teams in the industry. The work that Sas has done at Kobalt will be felt for many years to come. We thank Sas for her extraordinary contribution to making Kobalt what it is today.”
Avex USA and Brandon Silverstein Publishing have jointly signed 23-year-old hitmaker Jasper Harris to a global publishing agreement. The producer behind Jack Harlow’s “First Class,” Post Malone and Doja Cat’s “I Like You,” and Baby Keem and Kendrick Lamar’s “Family Ties” and more, he will begin working with Avex and Brandon Silverstein Publishing later this year.
Harris is nominated for four nods at the upcoming Grammy Awards for his recent work, including best rap album (Come Home the Kids Miss You by Jack Harlow and I Never Liked You by Future), best melodic rap performance (“First Class” by Jack Harlow), and best pop duo/group performance (“I Like You” by Post Malone and Doja Cat).
Brandon Silverstein Publishing is the re-branding of S10 Publishing. Over the last few years, the boutique publishing house and Avex USA, the American branch of Japanese music and entertainment company Avex Group, have signed talents like “Peaches” writer HARV, Jamaican singer Shenseea, The Kid LAROI collaborator and Internet Money member Cxdy, “Build a Bitch” co-writer David Arkwright, “Stunnin’” producer Declan Hoy, and Travis Scott, Bad Bunny and Future writer/producer KOSA. Since its founding, their joint publishing clients have earned three No. 1 Top 40 US radio hits.
“All of us at Avex have fallen in love with Jasper and his music. He’s an incredible talent,” says Naoki Osada, CEO of Avex USA. “We have a fresh and diverse team that is hugely excited and grateful to be working with Jasper and his management to support his vision globally through Avex.”
Brandon Silverstein, founder and CEO of Brandon Silverstein Publishing, says he is “incredibly excited to welcome Jasper to the publishing family. I’m grateful for his trust in the team and could not be more confident in his ability to become the biggest producer in the world. We look forward to making history alongside both Jasper and his amazing management team.”
Harris adds, “I am incredibly grateful to be joining the Avex and Silverstein publishing team. They’re such a strong and dynamic group, and their passion for my music combined with their global reach feels like the most natural combination as I enter the next phase of my career. We are so like-minded in our goals and I couldn’t be more excited for our future together”
“Jasper’s an exceptional young man with an endless dedication to his craft. We want to thank Brandon, Naoki, Lucas, and the whole Avex/Silverstein team for their belief in him. We couldn’t be more excited to be working together,” says Sam French and Mason Klein of Mixed Management.
EMPIRE Publishing, the publishing arm of independent distribution and service company EMPIRE, has announced its new joint venture with Surf Club, a collective of young artists, producers and writers founded by superstar producer Hit-Boy. Along with the news of the partnership itself, EMPIRE and Surf Club have also announced their first three signees: Gary “G Dav” Davis, Jesse “Dr. Blum” Blum, and Randy “Bandz” Holmes.
G Dav is a contributor to a number of major rap records, including Nas‘s King Disease, which earned him a Grammy for best rap album; Dr. Blum is an accomplished multi-instrumentalist, best known for his touring work with Twenty One Pilots and cuts with Big Sean and Rage Against the Machine; Bandz is a writing and production talent, bringing his West Coast-infused sound to YG, OhGheesy, Kamaiyah and more.
Though Hit-Boy himself is not working with EMPIRE for publishing administration and remains in his previous deal, the new partnership involves the EMPIRE Publishing team — run by industry vets Al McLean, Vinny Kumar and Brett Sweeney — providing publishing administrative services to the three new signees and helping Hit-Boy Surf Club identify and sign new talent in the future.
The Surf Club collective is led by Hit-Boy along with managing partner Nima Nasseri, president Jameel “Double” James, and head of a&r James Bentley.
EMPIRE’s directors of business affairs Benedict Paz and Sarah Beth Gerlecz negotiated and finalized the partnership.
“We want to build Surf Club up to be great, create outstanding pieces of work and music. I’ve been looking for a publishing situation for years, and Empire really made it happen,” says Hit-Boy, whose credits include “Sicko Mode” by Travis Scott, “Clique” by Ye, “Trophies” by Drake, and many more.
“Hit-Boy is a prolific record producer,” says Sweeney. “His resume precedes him and his team is composed of innovative entrepreneurs. We are excited to be in business with Hit and the Surf Club team and empower their writers.”
“EMPIRE has long been in the business of pushing the culture forward on a global scale, enabling recording artists to excel independently with its distribution and label services,” adds Paz. “This partnership with a talent like Hit-Boy and the passionate individuals of the Surf Club team mirror that same ethos at EMPIRE Publishing and we are excited for what this is set to accomplish in the music publishing space.”
Concord Music Publishing has acquired the majority of country songwriter-producer Corey Crowder‘s catalog and signed him to a co-publishing deal that also includes his future works. He was formerly signed to Tree Vibez.
The acquisition of Crowder’s catalog includes Chris Young’s two-times platinum single “Famous Friends” (featuring Kane Brown) and other hits from Young, Florida Georgia Line and Chase Rice, among many others.
“Corey is a proven, consistent, country hit-maker,” says Brad Kennard, senior vp of A&R at Concord Music Publishing in Nashville. He adds that the signing and acquisition represent “a big leap forward for Concord’s footing within the active country market. We are committed to representing significant real estate in the format. Further evidenced by locating Concord global headquarters here, we aim to continue our aggressive growth in Nashville.”
Kennard adds that Crowder’s catalog “stacks up with the best of the best and fits perfectly” alongside the company’s existing roster of country songwriters, including Hillary Lindsey, Lori McKenna, Andy Albert, Josh Miller and Russell Dickerson.
Crowder, a Georgia native, relocated to Nashville in 2010 and has built a catalog of songs that also includes Young’s Billboard Country Airplay chart-toppers “I’m Comin’ Over” and “Think of You” featuring Cassadee Pope (neither of which is included in the acquisition). He’s also a co-writer on the Florida Georgia Line hits “Long Live” and “I Love My Country,” as well as the duo’s Rice collaboration “Drinkin’ Beer. Talkin’ God. Amen.” In 2022, Crowder earned the Country Music Association’s Triple Play award for his role in writing three chart-topping songs within a 12-month period. He’s spent a total of four weeks atop Billboard‘s Country Songwriters chart.
As a producer, Crowder’s credits include work on Florida Georgia Line’s Life Rolls On album, Justin Bieber‘s “Yummy (Country Remix),” LoCash‘s “One Big Country Song” and the Chris Tomlin/Lady A collaboration “Who You Are to Me.” He’s also enjoyed placements on TV shows including Nashville, One Tree Hill and The Real World.
“The Concord team has such a great vision and passion for great songs and songwriters,” adds Crowder in a statement. “I’ve known a lot of the team and their writers for some time now. So, it felt like a natural fit.”
Reservoir Media said on Thursday it signed publishing deals for the catalogs and future works of Indian rappers MC Altaf and D’Evil and the producer Stunnah Beatz.
The deals are the result of a 2020 joint venture launched by Reservoir and Gully Gang, the label and entertainment group founded by Indian hip-hop star DIVINE. Established to sign and develop talented new songwriters in India, Altaf, D’Evil and Stunnah Beatz’s songs have racked up more than half a billion streams, including on collaborations with DIVINE like “Mirchi” and “Disco Rap” and Gunehgar, an album released late last year.
Investments by music companies based in the United States in artists, publishers and distributors based in Asia and other emerging markets has been growing at a rapid clip in recent years, with the trend expected to grow in 2023 particularly in the area of catalog investment. Luminate cited the opportunities in emerging markets, driven by the continued growth of streaming subscriptions there, as one of the main reasons investor appetite for song catalogs is growing.
India is the 17th-ranked music market globally, and it generated revenues of $219 million in 2021, up 20% from 2020, with streaming revenue jumping 87%, according to IFPI’s Global Music Report.
Founded in 2007, Reservoir has made investing in emerging markets a key prong of its diversification strategy. With its partner PopArabia, an independent music company headquartered in the United Arab Emirates, Reservoir acquired stakes in the Egyptian label 100COPIES, the Lebanese label and music publisher Voice of Beirut and signed publishing deals with Egypt’s Mohamed Ramadan, Lebanon’s Zeid Hamdan and Moroccan hip-hop star 7liwa.
Reservoir Founder and Chief Executive Officer Golnar Khosrowshahi said in a statement, “We’re proud to be ushering in these deals, which demonstrate Reservoir’s steadfast commitment to our ongoing emerging markets strategy. As we invest in these local acts and share them with global audiences, we are well-positioned to not only tap into their potential growth, but also help facilitate the flow of culture from East to West.”
Spek, Reservoir’s executive vice president of international and emerging markets and founder of PopArabia, described MC Altaf, D’Evil, and Stunnah Beatz as three artists “at the heart of some of India’s biggest rap music today.”
Chaitanya Kataria, Gully Gang chief executive officer, said he was “excited that (MC Altaf, D’Evil and Stunnah Beatz) will gain access to new global opportunities with support from Spek and Reservoir.”
Hipgnosis Songs Capital has closed its deal to buy 100% of Justin Bieber‘s publishing, as well as his artist royalties from his master recordings and neighboring rights, Hipgnosis has confirmed. The deal was priced at just north of $200 million, according to a source familiar with the situation, making this the largest rights sale for any artist of Bieber’s generation. It’s also Hipgnosis’ biggest acquisition to date, covering all 290 titles in Bieber’s catalog released prior to Dec. 31, 2021, including his most recent album Justice (2021).
Billboard originally reported in December that a Bieber deal valued at over $200 million was in the works amid founder and chief executive Merck Mercuriadis‘ efforts to “close about $500 million in deals” between mid-November and mid-December. Although Mercuriadis did not say what the deals were at the time, the Bieber acquisition appears to be part of that disclosure.
Following a hot 2021 for catalog sales, with deals like Bruce Springsteen and Paul Simon making headlines and some of the world’s biggest private equity players including Blackstone, KKR and Apollo Global Management all taking stakes in the market, rising interest rates and changes in currency exchanges cooled the sector in 2022. Still, deals have been getting done. Last year, Justin Timberlake, Leonard Cohen, Nile Rodgers, Kenny Chesney, Neil Young and Nelly Furtado all sold some of their rights to Hipgnosis. Sting, David Bowie‘s estate, Phil Collins and his Genesis bandmates, Future, Frank Zappa and Neil Diamond also sold certain assets to investors in 2022.
Typically, newer catalogs like Bieber’s are considered riskier investments since they don’t have as much history behind them to prove staying power. That means they often sell for lower multiples than those of classic acts. Bieber’s success, however, has been undeniable since his 2009 debut album, My World, and the 2010 follow-up My World 2.0, the latter of which topped the Billboard 200 albums chart and included the hit single “Baby.” In all, Bieber has charted eight No. 1 albums on the Billboard 200 chart, including his most recent full-length studio release, 2021’s Justice.
On the Billboard Hot 100 songs chart, Bieber has collected 26 top 10s, including eight No. 1s. His albums have generated 28 million equivalent album units in the U.S., of which 13.2 million are in traditional album sales, according to Luminate. His collected songs billed primarily to him, per Luminate, have generated 16.6 billion on-demand official streams in the U.S.
“The impact of Justin Bieber on global culture over the last 14 years has truly been remarkable,” said Mercuriadis in a statement. “At only 28 years of age, he is one of a handful of defining artists of the streaming era that has revitalized the entire music industry, taking a loyal and worldwide audience with him on a journey from teen phenomenon to culturally important artist. This acquisition ranks among the biggest deals ever made for an artist under the age of 70, such is the power of this incredible catalog that has almost 82 million monthly listeners and over 30 billion streams on Spotify alone. Scooter Braun has helped him build a magnificent catalogue, and it’s a pleasure to welcome Justin and his incredible songs and recordings to the Hipgnosis family.”
“I want to thank Merck and his entire Hipgnosis team and all of our partners involved for working so hard to make this historic deal happen,” says Scooter Braun, Bieber’s manager for 15 years, founder of SB Projects and CEO of HYBE America. “When Justin made the decision to make a catalog deal we quickly found the best partner to preserve and grow this amazing legacy was Merck and Hipgnosis. For over a decade now Justin Bieber has entertained us and moved us with some of the biggest songs in the world. I’m so proud of him and all those involved over the years in helping amass this incredible body of work. Justin is truly a once in a generation artist and that is reflected and acknowledged by the magnitude of this deal. For 15 years I have been grateful to witness this journey and today I am happy for all those involved. Justin’s greatness is just beginning.”
Justin Bieber was represented by Braun, David Bolno of NKSFB, Aaron Rosenberg and Audrey Benoualid of Myman Greenspan Fox Rosenberg Mobasser Younger & Light LLP, and Michael Rhodes of Cooley.
Hipgnosis Songs Capital was represented by William Leibowitz of William R. Leibowitz Law Group, Seth Traxler and Rory Wellever of Kirkland & Ellis LLP, and Robert Fowler and Lisa Ong of H.W. Fisher.
Primary Wave has announced its acquisition of Robby Krieger and Ray Manzarek‘s rights as it pertains to their involvement with The Doors. This includes the guitarist and late keyboardists’ recorded music, publishing, trademarks and merchandise rights and income. Jim Morrison, the band’s lead singer, and John Densmore, its drummer, continue to own the remaining interests in the Doors’ rights.
One of the most influential and enduring rock acts of its time, The Doors formed in Los Angeles in 1965, fearlessly injecting everything from bossa nova, blues, jazz and more into their songwriting. Epic songs like “Light My Fire” (seven minutes) and “The End” (nearly 12 minutes) were proof of their boundary-pushing pursuits in popular music. Defined by Manzarek’s busy keys, “Light My Fire” became the band’s first Billboard Hot 100 No. 1 hit in 1967. From there, the group went on to mint 6 gold-certified records with Morrison at the helm.
Manzarek died in 2013 at age 74 after a battle with cancer. Morrison, known as the “Lizard King,” passed away in 1971 at only 27.
Songs like “Riders on the Storm,” “People Are Strange,” “Break on Through (To the Other Side)” and more are still considered some of the most inventive and lyrically-profound of their time. “The End” took on even more cultural significance more than a decade after its release as the opening soundtrack to Francis Ford Coppola’s Apocalypse Now (1979).
By the 1990s, the group’s legacy was cemented with their induction into the Rock & Roll Hall of Fame and memorialized in the Val Kilmer-starring biopic The Doors (1991).
As the new rights holder of Krieger and Manzarek’s interests in The Doors’ catalog, Primary Wave will work alongside Jeff Jampol, the band’s manager and founder of Jampol Artist Management, to help with the marketing, digital, licensing, sync for further empowering the band’s legacy.
“Ray and I spent a lot of time discussing the future of The Doors’ legacy, and how to handle things after he departed this plane,” says Dorothy Manzarek. “Our family has worked patiently to find the right partners to continue Ray’s lifelong efforts in protecting and promoting his art, and now we are happy to have finally come to an agreement with Primary Wave. Under the continued guidance of our manager, Jeff Jampol, Primary Wave will be the right partners in this endeavor to build future generations of new Doors fans.”
“The Doors are one of the most legendary rock bands of all time. We are looking forward to growing the legacies of Robby Krieger and Ray Manzarek,” says Larry Mestel, CEO and founder of Primary Wave Music. “We are also very happy to be working alongside such an industry icon as Jeff Jampol to tastefully grow opportunities for The Doors.”
John Branca, David Byrnes, and Kelly Vallon Ciccotti negotiated the deal on behalf of the sellers.
TuneCore and Sentric Music Group have renewed and expanded their long-term partnership. The refreshed deal will allow TuneCore’s DIY musicians to use Sentric’s technology and direct global collection network to increase revenue opportunities. The original partnership was formed in 2018, allowing TuneCore artists to submit unlimited songs for a one-time $75 set-up fee and 15% commission with the option for synch services as well.
Big Machine Music — a subsidiary of HYBE America — has signed Troy Cartwright to an exclusive co-publishing deal. Last year, the Texas-born artist was named On the Horizon Artist by SiriusXM channel The Highway. As a songwriter, he has already written with Ryan Hurd, Josh Abbott Band, Nickelback and more.
Warner Chappell Music has signed an agreement with Truth or Dare Publishing to co-develop select artists from the Truth or Dare Management Projects roster. Led by Missi Gallimore, Truth or Dare Publishing’s client list features KK Johnson of Track 45, Ben Roberts of Carolina Story, Mary Gauthier, Abbey Cone and Sam Williams (grandson of Hank Williams).
Bucks Music Group has signed New Zealand-born Molly Payton to an exclusive publishing deal in the U.K. and Europe. She remains signed to Mushroom Music Publishing, which has a longstanding relationship with Bucks, for the rest of the world.
In a happy ending to one of the music industry’s grimmest and longest tales, John Fogerty has gained worldwide control of his Creedence Clearwater Revival publishing rights after a half-century struggle.
At a time when Fogerty’s peers such as Bruce Springsteen, Bob Dylan and Neil Young are selling their copyrights for hundreds of millions of dollars, the iconic Rock & Roll Hall of Famer has done the opposite: He recently bought a majority interest in the global publishing rights to his historic CCR song catalog from Concord for an undisclosed sum. The treasure trove includes such rock classics as “Proud Mary,” “Down on the Corner,” Fortunate Son,” “Bad Moon Rising” “Up Around the Bend” and “Green River.”
Concord has owned the rights since 2004 when the company bought Saul Zaentz’s Fantasy Records. One of the first moves Concord made was to reinstate and increase Fogerty’s artist royalties, which Fogerty had relinquished to Zaentz in 1980 to get out of his Fantasy deal and had not received in 25 years.
Concord retains the CCR master recordings already in its catalog and will continue to administer Fogerty’s share of the publishing catalog for an unspecified limited time.
Seated on the spacious patio of his Southern California home with his golden retriever, Creedy (short for Creedence) by his side, Fogerty, 77, admits gaining control of his copyrights is a day he never thought would come. “I tried really hard,” he says to get them back in the decades since he signed his label and publishing deal in 1968 with Fantasy but suffered setback after setback at the hands of Zaentz, who died in 2014.
“I’m the dad [of these songs]. I created them,” he says. “They never should have been taken away in the first place. And that hijacking left such a massive hole in me.” With the support and love of his manager and wife of 36 years, Julie Fogerty, he says he had gotten over the anger that plagued him for decades over Zaentz’s treatment, but the longing to own his songs never went away.
John Fogerty
Julie Fogerty
“The happiest way to look at it is, yeah, it isn’t everything,” he says of acquiring a majority, but not full ownership. “It’s not a 100% win for me, but it’s sure better than it was. I’m really kind of still in shock. I haven’t allowed my brain to really, actually, start feeling it yet.” Fogerty, who had retained his writer’s share of his CCR copyrights, also owns the masters and publishing to his solo material, including such hits as “Centerfield,” “Rockin’ All Over the World,” and “Almost Saturday Night.”
The reclaimed CCR copyrights number more than 65, mostly written by Fogerty during the group’s short, but extremely prolific career. As one of America’s seminal rock bands, CCR had a tremendous run, including landing five top 10 albums on the Billboard 200 between 1969 and 1970 before breaking up in 1972. Their popularity continues with new generations: CCR’s Chronicle: The 20 Greatest Hits, released in 1976, has spent 622 non-consecutive weeks on the Billboard 200, the fifth highest of any album on the chart. More than 50 years after its initial release, CCR hit “Have You Ever Seen the Rain” reached No. 1 on Billboard’s Rock Digital Songs Sales Chart in 2021.
Keep On Chooglin’
The latest effort to gain ownership of his publishing began 18 months ago as the Fogertys realized that under U.S. copyright law, rights to his compositions would begin reverting back to him in a few years as the songs turned 56 years old, but that wouldn’t have included rights outside the U.S. “Julie began to think larger and [told Concord], ‘John would like to buy his songs. He’d like to figure out a way’,” Fogerty says.
“While John is having the time of his life out there on the road, with his kids playing with him and celebrating this music, [I thought], why can’t we take those few years left [before the titles revert] and not have them give them to us, but we’ll buy them,” Julie Fogerty says. “Whatever the value plus a little bonus. We’ll figure out how to come up with the money and we’ll just buy that. [Concord’s] not going to lose because they’ll have the value.”
Concord initially declined and Fogerty was once again resigned. “I was sort of a bump on the log going, ‘Never going to happen,’” he says.
Julie Fogerty then brought in Irving Azoff, who had briefly managed Fogerty more than 20 years ago, to help mediate. She says Azoff called Concord chairman and CEO Scott Pascucci and said, “‘Scott, you’ve made so much money on Fogerty. Do you want to be known in the music business as Saul Zaentz or [revered late Warner Brothers Records head] Mo Ostin?’ And I think he heard that. And [Concord president] Bob Valentine has been incredible as well.’” Azoff encouraged the Fogertys to pursue worldwide rights, advising they would have to give up an ownership percentage in order to do so.
“John Fogerty is one of music’s greatest treasures. Now, finally after decades of suffering, I’m thrilled to see John regain ownership of his music,” Azoff tells Billboard in an email. “And kudos to Concord for understanding that doing the right thing for artists is great for their business as well.”
“John’s songs are some of the greatest compositions of the 20th century,” Valentine said in a statement. “We’ve been honored to own and represent these works ever since we acquired Fantasy in 2004. Given the unique set of circumstances around the history of John’s relationship with Fantasy, we were more than happy to oblige John and Julie in working out an agreement for these songs to revert back to him early. And we’re profoundly grateful that John has agreed to partner with Concord for the remaining worldwide copyrights on the share of these songs that we will retain.”
Fogerty was represented by Barnes & Thornburg partner Jason Karlov and associate Amanda Taber. Reed Smith’s Steven Sessa and Josh Love represented Concord.
The winding journey to reclaim his rights and undo the damage from his contentious relationship with Zaentz has been long and, at times, debilitating for Fogerty.
In addition to taking his artist royalties for decades, in 1985, Zaentz sued Fogerty for $144 million, alleging the artist’s then current hit, “The Old Man Down the Road,” ripped off CCR’s “Run Through the Jungle.” Even though Fogerty had written both songs, Zaentz claimed Fogerty was now plagiarizing a song Zaentz owned. After Fogerty won, his effort to be reimbursed for his $1.3 million in legal fees went all the way to the Supreme Court in 1993.
For years, Fogerty refused to play CCR songs live, unable to stomach Zaentz making money off his performances, but he softened his stance in 1987 with a little prodding from Bob Dylan. While at revered North Hollywood, Calif., club the Palomino, Fogerty, Dylan and George Harrison joined headliner Taj Mahal on stage. “The crowd started asking for ‘Proud Mary,’” Fogerty recalls. “Bob looked at me and said, ‘John, if you don’t do ‘Proud Mary,’ everybody’s gonna think it’s a Tina Turner song,’” referencing Ike & Tina Turner’s 1971 cover. “It’s Bob Dylan, for crying out loud. In my mind, I was still committed that I wasn’t going to do those songs, but I decided I guess I can give that up for three minutes.” Later that year, Fogerty began incorporating CCR songs back into his set.
‘They Tried to Erase Him’
Fogerty last tried in 1989 to buy his publishing when he and Zaentz sat face-to-face with legendary rock empresario Bill Graham acting as a mediator. They agreed on a sum, but then months later in final negotiations in the early ’90s, Fogerty says Zaentz doubled the price to a figure Fogerty couldn’t afford. Fogerty went to Warner Chappell and asked if the publishing company would go in on a deal with him. “I met with the top guy, and he looked at me and said, ‘It’s not sustainable.’ That might have been, at least as business kinds of things go, the worst day of my life,” Fogerty says. “I don’t think I could even impart to [Julie] how final that was: ‘There’s no hope for you. You’re dead.’”
He had a freeing revelation shortly thereafter when on a jog, he was listening to a radio therapist counsel a woman who had been with a man who refused to commit to marriage. The therapist told the women her boyfriend was never going to change, and she needed to understand that. “The light goes on in my head as I’m listening and I just fell on the ground,” Fogerty says. “I actually started laughing. I realized it was never going to happen. It was a horrible realization. Anyway, that was the end of that: Saul was a jerk and will be eternally that and, in some way or fashion, I got over that.”
When asked if he now would pursue ownership of his CCR masters, Fogerty says, “My heart of hearts would love if that ever happened, but I’m not actively sitting around worrying about that. The fact that I didn’t own my own songs was much more bothersome to me because of the treatment that I received.”
For now, Fogerty, whose last release was the socio-political track, “Weeping in the Promised Land,” in 2021, is focused on playing live. With his two sons in his touring band, he says, “playing is more joyful now than in any time in my life…. The last years of Creedence got to be like every band that dissolves, it was so tense. I mean, I miss my brother, [Creedence rhythm guitarist] Tom, who passed at a time when we were not really in each other’s lives [in 1990]. I’m looking forward to getting to heaven and playing in God’s band and Tom will be there.”
With control over how his music is used now, Julie Fogerty says she’d like “to take these iconic songs and reintroduce them to the new generation because I think the songs will be around forever,” adding there’s talk of both a biopic and a documentary about Fogerty. “But it’s mostly I think just connecting John to those songs. There were a lot of years where he felt like they tried to erase him.”
For Concord’s part, which released Creedence Clearwater Revival at the Royal Albert Hall last year without Fogerty’s participation, Valentine tells Billboard he hopes regaining his copyrights “gives John a sense of closure for the years of the feelings that he’s had ever since he signed with Fantasy…. Also, hopefully, [with] that sense of peace that it’s a new beginning. We hope he will be reinvigorated and continue to do things that promote the catalog. It’s extraordinarily important — not only culturally as one of the greatest American bands ever, but it’s an important component of Concord’s legacy. We hope it gives him a feeling of partnership and moving forward in a way that makes him feel more invested in the songs and Creedence with us.”
As Fogerty moves into the next chapter with the “lingering specter” that has haunted him for so long finally gone, he says with a big grin, “I’m ready to feel really good about music.”