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Sylvia Moy's name appears with HDHs' names on THIS OLD HEART OF MINE [[IS WEAK FOR ME) only on the Tammi Terrell version. Certainly it's a different arrangement there but it's still the same song.
Smokey Robinson's name appears with HDHs' names on IT'S A GOOD FEELING only occasionally in discographies. Doesn't even appear on the Miracles album where the recording was first included.
I don't get it. Any ideas or info? Thanks.
Inaccuracies or mistakes?
Or complaints from people that contributed and didn't understand early on what it meant early on not to get credit?
The real deal is noted on the ASCAP and BMI websites. If it doesn't agree with what is on there, it's WRONG. Simple
Interesting.Quote:
Originally Posted by theboyfromxtown
And some people just felt like they were not credited unjustly.
Attachment 12840
Sometimes song writers SOLD their rights [[credit and royalties rights) for a one-time cash payment, when they were desperate for money. Their listing with ASCAP and BMI changed, and credits on further releases would change. I think Motown's issues and in-house listings changed from that, errors of omission being corrected, and some other reasons.
This all makes sense and is legally possible.
I wonder how much you would make off a 60's hit these days?
When R. Dean Taylor was on here, he said the writing credits on a hit like Love Child when divided a bunch of ways, didn't amount to much.
That was quite a few years ago
Just repeating what I said in an earlier thread but fits in better here.
'I Can't Go On Without You' by Tammi Terrell [[1966) is the same tune as 'Little Bright Star' by The Supremes [[1965) but the Terrell track is credited to Faqua, Bristol and Moy whereas the Supremes track is credited to Capps and Dean.
Would this be a case of songwriters selling their rights to a song?
When I started out as an annotater for CD listings, I was told: "We pay who we paid last time [[the track came out). But you should always check ASCAP/BMI, and if there's a discrepancy, see me."
Good advice where money is concerned, and I still follow it when annotating. But I haven't always followed it on DFTMC, where I tend to reflect who was credited on the first release, or in the Library Of Congress registration of the song. Render unto Caesar the things that are Caesar's, but when you're writing history you should try to find out the facts!