MJ Bizniz news...let's keep it in this thread for months o come

We are proud to feature these talented songwriters.

Click on the links below to find information about each writer and to access the music in their catalogs.

For a listing of ALL writers and songs represented by Sony/ATV Music and included on our website-click on the music search button below. This will take you to our Music Search engine!
All | International | Local

A-ha
view profile | view songs
Alison Moyet
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Barry Gray
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Beck
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Belle and Sebastian
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Billy Mann
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Bless Beats
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Bob Dylan
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Boy Kill Boy
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Cherry Ghost
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Chicago
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Cyndi Lauper
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Daniel Bedingfield
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David Crosby
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Def Leppard
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Destiny's Child
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Diane Warren
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Don Black
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Eliot Kennedy
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Elliot Minor
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Erasure
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Everything But The Girl
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Fall Out Boy
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Frank Farian
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Gary Barlow
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Gipsy Kings
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Graham Nash
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Ian Brown
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Isobel Campbell
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James Morrison
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Jazzie B
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Jerry Leiber & Mike Stoller
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Jimi Hendrix
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Joe Jackson
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John Reid
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Joni Mitchell
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Katie Melua
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Kraftwerk
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KT Tunstall
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Lauryn Hill
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Lennon & McCartney
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Leonard Cohen
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Manic Street Preachers
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Martin Terefe
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Matt Prime
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Michael Andrews
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Mike Batt
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Mikkel Eriksen
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Neil Diamond
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Nile Rodgers
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Noel Gallagher
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Pearl Jam
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Pet Shop Boys
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Placebo
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Ray Davies
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Razorlight
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Richard 'Biff' Stannard
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Richie Sambora
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Rise Against
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Robert Palmer
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Robert Plant
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Ron Sexsmith
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Sade
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Simon Woodgate
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Sophie Solomon
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Stevie Nicks
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Strawbs
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System Of A Down
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The Hoosiers
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The Kooks
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The Ting Tings
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Tommy D
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Travis
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Vince Clarke
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Wayne Hector
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We Are Scientists
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Westcott & Rodway
view profile | view songs
Will Young
view profile | view songs
Wyclef Jean
view profile | view songs

http://www.sonyatv.com/en-uk/index.php/articles/artist_writer

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LindaC781 said:

Wow. Chicago?? Love them. (I am a child of the 60's and 70's). Neil Diamond? This is an impressive list. There are many artists on here that I absolutely adore.

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sophia_louise said:

what does it mean? he publishes them? what is that?? lol

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sophia_louise said:

what does it mean? he publishes them? what is that?? lol

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WHAT DOES A MUSIC PUBLISHER DO?

Music publishers are concerned with administering copyrights, licensing songs to record companies and others, and collecting royalties on behalf of the songwriter. Some of the more important music publishing activities are listed below:


Mechanical Royalties
The term "mechanical royalties" initially referred to royalties paid whenever a song was reproduced by a mechanical device (remember that one of a copyright owner's exclusive rights is the right to authorize the reproduction of their work). The term "mechanical royalties" was applied to the reproduction of songs in music boxes, player pianos rolls, and later, phonograph records. This term is still used, and "mechanical royalties" now refers to royalties paid for the reproduction of songs on CD, DAT, audiocassette, flexi-discs, musical greeting cards, and other devices sold on a "per unit" basis.

The amount of money a record company must pay for a mechanical license is generally set by the Copyright Royalty Tribunal. This rate is sometimes referred to as a "statutory" rate. The current statutory rate through December 31, 2007 is nine and one-tenth cent ($.091) per song. This means that a single song can generate up to $.91 cents for every 10 records sold. Unfortunately, it is record industry custom to pay only 75% of the statutory rate to new or moderately successful songwriters. This means that a typical songwriter without enormous clout would generate a little more than 68 cents for every 10 records sold. After the publisher collects this money from the record company and takes its share of the income, a songwriter may receive as little as half of this amount.


Foreign Monies
Foreign countries sometimes have different laws governing the collection and distribution of mechanical royalties. As a result, it is often necessary for publishers to enter into agreements with a foreign publisher (or "subpublishers") to collect a songwriter's mechanical royalties in that territory. After the subpublisher takes a cut (anywhere from 15% to 25%) the rest of this foreign income is divided between the publisher and the songwriter according to their agreement.


Synchronization Licenses
Whenever a song is used with a visual image, it is necessary to obtain a "synchronization" (or "synch") license permitting the use of that song. Music publishers issue synch licenses to television advertisers, motion picture companies, video manufacturers and CD-Rom companies. A portion of this money (usually 1/2 the net proceeds) is paid to the songwriter.


Transcription Licenses
Because radio is not a visual medium, the use of a song as part of a radio commercial requires a separate license, known as a "transcription license." Sometimes songwriters are able to negotiate provisions in their publishing contract preventing their songs from use in certain contexts, such as ads for alcohol, tobacco, political campaigns or other uses the songwriter may find offensive.


Print Licenses
Although sheet music sales have diminished over the years, many songs are still available in print form. These include books of songs by specific artists, instruction books or compilations of hits within a given genre (i.e., "100 Country Hits of All Time"). The music publisher issues print licenses and collects this income from the sheet music company, while the songwriter receives a small royalty derived from the sale of his or her song in print form.


Administration and Registration of Copyrights
Because music publishers generate money by licensing copyrighted compositions, they must also perform various administrative tasks involving copyright transfers and the registration of musical copyrights with the U.S. Copyright Office. Registering your copyright with the US Copyright Office provides added protection to copyright holders, and can permit the copyright owner to recover statutory damages of up to $100,000 and attorneys fees if the copyright is subsequently infringed.


Public Performance Royalties
A copyright owner also has the exclusive right to authorize the "public performance" of that work. This is why radio and television broadcasters must enter into licenses with performance rights organizations such as BMI, ASCAP and SESAC. These performance rights organizations collect income on behalf of songwriters and music publishers whenever a song is publicly broadcast. A future column of the Fine Print will discuss these performance rights organizations in more detail.

Even though music publishers do not collect this performance rights income, publishers remain entitled to 50% of the money received by BMI, ASCAP, SESAC and others. Publishers also register songs with these performance rights organizations.


"Song Plugging"
This obscure term refers to music bizzers who promote the compositions of others. This may involve convincing popular artists to cover your song, or convincing Disney to use your latest tune in their next animated feature.


Translations
Publishers may also authorize translations in order to generate income from cover versions of a particular song in foreign countries.


Obtaining a Record Deal
Music publishers are usually generally most in signing established songwriters or recording artists who write their own material. However, some publishers may be willing to sign new songwriters or bands without a record deal. If a publisher believes an undiscovered artist will one day sell lots of hit records, they may help the artist record demos and assist in trying to land a major record deal. If the artist gets signed, the music publisher will hope to see a reward for its investment in the form of mechanical royalties, public performance royalties and other derivative income. A publisher may even be willing to contribute to tour support or provide extra promotions money in order to generate future publishing income from record sales and airplay.

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Country singer-songwriter Taylor Swift has been a take-charge person since she was 4. (Ken Hively / Los Angeles Times)





Taylor Swift's story

Fearless country singer rewrites her own future

Randy Lewis / Los Angeles Times

Taylor Swift doesn't bat a blue eye at rewriting history.

Take the 18-year-old's latest single, "Love Story." It's about romance and destiny -- two subjects that often occupy her teenage brain. She even invokes the world's most celebrated star-crossed lovers in this sunny hit that's climbing the country singles chart.



It's Romeo and Juliet with a significant difference: Nobody dies.

"I was going through a situation like that where I could relate," the energetic singer-songwriter said recently on a whirlwind visit to Los Angeles. "I used to be in high school where you see (a boyfriend) every day. Then I was in a situation where it wasn't so easy for me, and I wrote this song because I could relate to the whole Romeo and Juliet thing. I was really inspired by that story.



"Except for the ending," she quickly added. "I feel like they had such promise, and they were so crazy for each other. And if that had just gone a little bit differently, it could have been the best love story ever told. And it is one of the best love stories ever told, but it's a tragedy. I thought, why can't you ... make it a happy ending and put a key change in the song and turn it into a marriage proposal?"



Whether it's Shakespeare, dating or the music business, Swift is only too willing to reshape the rules about how things ought to be. She's demonstrated that repeatedly since she was a brazen 12-year-old who went door to door down Nashville's famed Music Row of record company offices saying, "Hi, I'm Taylor! I write songs, and I think you should sign me."



When her peers were busy with after-school sports or drama club, she would head to her job at Sony/ATV Music Publishing where, at 14, she was hired to write more songs as a professional in the country music capital.



Now, after selling more than 3 million copies of her 2006 debut album, "Taylor Swift," the tall and perky blonde with thick curly tresses tops the album chart after the release of her new album, "Fearless." Swift also recently won her first American Music Award for Favorite Country Female.



Although it's poised to be one of the big-gun releases of the holiday season, that doesn't intimidate Swift or her record company.



"I think any time you've had this kind of success it starts to get weighty," said Scott Borchetta, president of Big Machine Records, who signed Swift before his label was fully up and running. "But she's delivered a brilliant record."



For Swift, who co-produced the new album, it's all about getting her material out to listeners.



"You have to hear the song we just recorded yesterday!" she says.



The song she's talking about, "Forever and Always," was born near the end of the recording process, and Swift pleaded with Borchetta to let her add it to the album a day before she had to turn in the final version.



"It's about watching somebody fade away in a relationship," she said. "They said they were going to be with you forever, that they loved you, and then something changed in the relationship, and you don't know what it is, but you're watching them slowly drift. That emotion of rejection, for me, usually starts out sad and then gets mad. This song starts with this pretty melody that's easy to sing along with, then in the end ... I'm basically screaming it because I'm so mad. I'm really proud of that."

http://detnews.com/apps/pbcs.dll/article?AID=/20081208/LIFESTYLE06/812080312

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Rasta Pasta said:

Yes Michael's songs are under Mijac


And Sony/ATV does have digital agreements.

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​

SOMETHING FOR THE WEEKEND? -
Highlights of 2008

CLICK HERE​

Looking back on 2008 here are some of our favourite tracks...​

Timbaland feat. One Republic - "Apologize"​

While this guitar anthem by Colorado five-piece, One Republic, garnered a good deal of attention it was really only been Timbaland remixed the track for his album Timbaland Presents: Shock Value that the track really entered into public consciousness. "Apologize" topped the charts in Australia, Canada, Germany, Holland, Italy, New Zealand, Sweden and Switzerland. It reached no. 3 in the UK singles chart and had a 25- week run in the US top ten. One Republic followed it up with the also sensational rock ballad "Stop and Stare". ​

Oasis - "The Shock Of Lightning"​

As the first single from Oasis' seventh studio album Dig Out Your Soul (which topped the UK album charts), it comes as no surprise that "The Shock of Lightning" is an 'instantly and brutally alluring' track. Packed with Oasis' quintessential rock swagger this energetic track demonstrartes that the band is back on top form. ​

Akon - "Right Now (Na Na Na)"​

Written by Akon and Giorgio Tuinfort, "Right Now (Na Na Na)" is Akon's first single of his third album Freedom. While maintaining his hip hop and R&B roots, this track shows Akon stepping into a more dance-friendly direction. Reaching no. 6 in the UK singles chart we think we'll be seeing much more of Akon in 2009. ​

Will Young - "Changes"​

"Changes" was the first single from Will Young's fourth album Let It Go which was certified gold within 24 hours. Co-written with Eg White, this mature pop track is packed with class and dignity. While it may be written about a man who hope's his life changes the feel of the song is far from downtrodden, instead the overall feel is inspiring and uplifting. We think it's subtle and beautiful. ​

Take That - "Greatest Day"​

"Greatest Day" is taken from pop's national treasures Take That's album The Circus. Take That just seem to go from strength to strength and with an opening line 'today this could be the greatest day of our lives' we can't wait to see what tomorrow will bring. ​

Leona Lewis - "Better In Time"
It's hard to believe that two years ago we wouldn't have known the name Leona Lewis, such is the speed this artist has been catapulted into fame. Yet unlike many artists who have fallen before her, Leona Lewis doesn't just depend on her outstanding voice, her management ensures she has the best writing teams behinf her. "Better In Time" is a perfect example; this tender ballad with it's one listen hook and elegant melody is Lewis' third single in the UK from her debut album Spririt. Written by J.R. Rotem and Andrea Martin, the track reached no. 2 in the UK singles chart.

The Kooks - "Sway"​

Single number three from the Kook's sophomore album Konk, is "Sway"; a track more dark and brooding that the Kook's other pop based singles which helped earn them their success. With bluesy guitars, impressive strings and passionate vocals we wish all rock ballads felt this deeply personal and sincere. "Sway" shows there is more to the Kook's than many would have guessed. ​

Flo Rida feat T-Pain - "Low"​

Reaching no. 2 on the UK singles carts and topping the US charts for eight weeks is the infectious booty-shaking ode to larger bottomed lasses. "Low" is a collaboration between Florida based hip hop artist Flor Rida (get it?) and R&B artist T-Pain. While erudite it may not be, when you're dancing in a club or just around your bedroom this track's contagious beat and sensual flow is exactly what you want to hear. ​

Ne-Yo - "Closer" ​

Responsible for writing hit R&B ballads for Beyonce ('Irreplaceable') and Rihanna ('Hate That I Love You'), in 2008 N-Yo decided to don his dancing shows and writer and perform the well-crafted "Closer". The track is produced and co-written by the Norweigan powerhouse Stargate which undoubtably helps give it its slick modern lusty feel. With a hypnotic synth-focused chorus backed by a simple house beat, this track is destined to become and urban disco classic. ​

Razorlight - "Wire To Wire"​

This slow-burning piano led track was Razorlight's first single from their third album Slipway Fires and reached no. 5 on the UK singles chart. "Wire to Wire" differs from most other Razorlight tracks insomuch that it features practically no guitars. Instead it has a haunting feel created by the piano, Borrell's voice and gospel-like chorus'. ​

The Ting Tings - "That's Not My Name"​

"That's Not My Name" is the famous tantrum by The Ting Tings. With Katie White's powerful presence and defiant delivery this track has become the unexepected girl power anthem of 2008. 'Like a well-shaken can of cola, this track is brimming with sticky, yummy, fizzy goodness'- unsurprisingly this gloriously fun indie pop tune topped the UK singles chart. The ting is, we think they're going to be around for a long while. ​

Wiley - "Wearing My Rolex"​

The electro/grime/garage hybrid "Wearing My Rolex" reached no. 2 on the UK Charts. Critics say that it's a 'brilliant piece of urban club pop, melding fat house beats, a rubbery electro bassline and a sample from DSK's dance hit "What Would We Do?" to a hip shaking effect'. Produced and co-written by Gareth Keane (aka Bless Beats), this track is a sampling of what's in store for this up and coming writer. Watch this space! ​

James Morrison feat Nelly Furtado - "Broken Strings"​

Released on the 8th of December, "Broken Strings" is the second single from James Morrison's sophomore album Songs for You, Truths for Me. Morrison and Furtado's voices blend brilliantly in this stunning but bittersweet corker. However Morrison in Furtado's absense has also performed this track with Keisha Buchanan from the Sugarbabes and most with Girls Aloud. This is smart and soulful adult pop at its best. ​

Rihanna - "Take A Bow"​

Reaching the top of the UK singles chart is Rihanna's slow break up ballad "Take A Bow". Composed by Stargate and Ne-Yo. "Take A Bow" illustrates the story of a wronged woman who's boyfriend tries feebly to apologise after being unfaithful. Check out US star Taylor Swift's live version below: ​

http://www.youtube.com/watch?v=lpK-QXGZiIE​

To access the playlist simply clickhere or at the top of the page. If you experience problems opening the link, copy and paste the link below into your browser: ​

https://satv.sonydadc.com:443/sony_atv/cgi-bin/ratePlaylistForward?playlistMessageId=b6qe%2Bt38DtU%3D​

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Sony/ATV’s "Musical Notes" #29 - Duke Ellington

Sony/ATV’s "Musical Notes" #29
A fortnightly newsletter highlighting some of the many classic songs in the Sony/ATV Music Publishing catalog.

From Alan Warner, Creative Consultant

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DUKE ELLINGTON…
Composer, pianist, bandleader

As difficult as it is to imagine life without music, it is impossible to perceive jazz without Duke Ellington. He was arguably the greatest American composer of the 20th Century and he led one of the most celebrated groups of musicians.

Born in Washington D.C. in 1899, his fame as a bandleader was really cemented when his Orchestra took up residence at Harlem’s famous Cotton Club in 1927.

Sony/ATV controls many of the Duke’s most popular titles among which are: CARAVAN, DO NOTHIN’ TILL YOU HEAR FROM ME, I GOT IT BAD AND THAT AIN’T GOOD, SOPHISTICATED LADY, DON’T GET AROUND MUCH ANYMORE, PRELUDE TO A KISS, MOOD INDIGO, JUST SQUEEZE ME (BUT DON’T TEASE ME), I’M BEGINNING TO SEE THE LIGHT, SOPHISTICATED LADY, MOON INDIGO, I LET A SONG GO OUT OF MY HEART, SOLITUDE, IN A SENTIMENTAL MOOD and SATIN DOLL plus that eternal jazz anthem IT DON’T MEAN A THING (IF IT AIN’T GOT THAT SWING)!

The pages which follow present 56 standout Duke Ellington works in our catalog with selected listings of key recordings of each.

Among recent recordings of these songs is Herbie Hancock’s interpretation of SOLITUDE on his Grammy®-winning album "River: The Joni Letters" and Rod Stewart’s version of DON’T GET AROUND MUCH ANYMORE on Volume II of his successful "Great American Songbook" series of records.

Ellington’s initial theme tune was EAST ST. LOUIS TOODLE-OO, a tune which Steely Dan included on their "Pretzel Logic" album back in 1974.

When researching the Duke’s recordings of his own compositions, it’s important to remember that he re-cut many of them several times in his long career; indeed, he recorded BLACK AND TAN FANTASY three times for different labels, all within a few months of each other back in 1927! In addition, certain tunes had more than one title and I’ve indicated a few of these below. Many of the Duke’s recordings were instrumentals and in certain cases, lyrics were added afterwards.

Finally, a slew of the most famous Ellington tunes were combined into a hit 1981 Broadway musical called "Sophisticated Ladies".

Full article here:

http://www.sonyatv.com/index.php/news/429

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[SIZE=-2]MTV UK[/SIZE]Eminem offers details on upcoming new album 'Relapse'
[SIZE=-1]Detroit Free Press, United States - Dec 13, 2008[/SIZE]
[SIZE=-1]Finally, Eminem is giving us some details on his highly anticipated new studio album, "Relapse." Em's new record will likely land sometime this spring or ...[/SIZE]
[SIZE=-1]Eminem, Dr. Dre up to mischief in the studio [SIZE=-1]Reuters[/SIZE][/SIZE]
[SIZE=-1]Eminem Discusses Relapse Rumors, Leaked Tracks, And New Book [SIZE=-1]BallerStatus.com[/SIZE][/SIZE]
[SIZE=-1]Eminem Responds To Leaks [SIZE=-1]MTV UK[/SIZE][/SIZE]
[SIZE=-1]Examiner.com - Prefixmag[/SIZE]
[SIZE=-1]all 76 news articles »[/SIZE]

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/ATV’s "Musical Notes" #22 - Brook Benton
Jul 25, 2008

Sony/ATV’s "Musical Notes" #22
A fortnightly newsletter highlighting some of the many classic songs in the Sony/ATV Music Publishing catalog.

From Alan Warner, Creative Consultant

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On his new Atco/Rhino album, Simply Red’s frontman Mick Hucknall salutes bluesman Bobby Bland, and sings an emotive version of Brook Benton’s composition...I’LL TAKE CARE OF YOU.

A list of Brook’s key Sony/ATV compositions is in our latest newsletter.

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SUMMERTIME REGGAE

IN THE SUMMERTIME is the song written by Ray Dorset who led the British group Mungo Jerry to an international hit with it originally in 1970.

"In the summertime when the weather is fine
You can stretch right up and touch the sky
Now when the weather is fine
You got women, you got women on your mind"

Dancehall reggae singer Shaggy along with Rayvon revived the song in 1995 on his 'Boombastic’ album’ and it entered the UK chart that July, becoming a #5 smash success.

Reggae songs have often had chart potential in the summer months and are well worth reviving during the upcoming holiday season.

The infectious remake of Neil Diamond’s RED RED WINE by British reggae group UB40 entered the UK charts in August ’83, eventually hitting #1 there in early September. It was a hit for UB40 in the US but not until five years later – in 1988!

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Stories behind classic Sony/ATV songs:

#6: IT’S JUST A MATTER OF TIME

"Someday, someway, you’ll realize that you’ve been blind
Yes darling, you’re going to need me again
It’s Just A Matter Of Time"

Co-written and sung by Brook Benton

"It’s Just A Matter Of Time" is one of a series of standout ballads co-written and recorded by the late, great Brook Benton. Born in Camden, South Carolina in 1931, Brook possessed a silky smooth baritone voice and, when produced by Clyde Otis at Mercury Records aided by swirling string arrangements by Belford Hendricks, he became one of the leading R&B & Pop singers of the late 50’s and 60’s. That song later crossed over and became a major country smash on no less than three different occasions: by Sonny James in 1970, by Glen Campbell in ’86 and by Randy Travis in ’89.

In fact, Alabama’s own Sonny James (known affectionately during his thirty year career as ‘The Southern Gentleman") was so successful with his revival of "It’s Just A Matter Of Time" that he went on to top the country charts nine months later with one more of Brook’s hits: "Endlessly".

Another song with proven success in various markets is the evocative "Looking Back" which gave Nat King Cole a Top 10 R&B & Hot 100 seller in the spring of ’58. Check out how easily the song turns into a rousing gospel statement by The Blind Boys Of Alabama. Similarly, "Looking Back" also resonates over a reggae rhythm as in the version by Jamaican singer John Holt.

On a lighter note, Brook’s folk-based "Boll Weevil Song" was a huge seller in ’61. And Clyde Otis’s pairing of Brook with the legendary Dinah Washington resulted in two unforgettable duet performances of which "A Rockin’ Good Way" is outstanding; the two singers memorably trading not only lines in the song but also humorous asides. Bonnie Tyler & Shakin’ Stevens successfully revived the duet in the UK in 1984.

Here’s a list of key Brook Benton songs published by Sony/ATV:

THE BOLL WEEVIL SONG (BB/Clyde Otis)
By Brook Benton (Mercury/Universal: 1961) US #2 R&B, #3 Pop, #1 AC, UK #30

ENDLESSLY (BB/Clyde Otis)
"Higher than the highest mountain
And deeper than the deepest sea
That’s how I will love you,
Oh darling, Endlessly"
By Brook Benton (Mercury/Universal: 1959) US #3 R&B, #12 Pop, UK #28
By Sonny James (Capitol/EMI: 1970) US #1 Country
By Mavis Staples (Volt/Concord: 1972) US #30 R&B
By Eddie Middleton (Epic/Sony BMG: 1977) US #38 Country
Other versions incl: Randy Crawford (Warner Bros/WMG), Dobby Dobson (Trojan/Universal), The Upsetters (Trojan/Universal)

FOR MY BABY (BB/Clyde Otis)
By Brook Benton (Mercury/Universal: 1961) US #2 R&B, #28 Pop
By Cal Smith (Decca/Universal: 1972) US #58 Country

I’LL TAKE CARE OF YOU (BB)
"I know you’ve been hurt by someone else
I can tell by the way you carry yourself
But if you let me, here’s what I’ll do
I’ll Take Care Of You"
By Bobby Bland (Duke/Universal: 1960) US #2 R&B
BY O.V. Wright (Back Beat/Universal: 1969) US #43 R&B
Other versions incl: Mick Hucknall (Atco/Rhino/WMG)

IT’S JUST A HOUSE WITHOUT YOU (BB/Clyde Otis/Teddy Randazzo/Cirino Colacrai)
By Brook Benton (Mercury/Universal: 1961) US #8 AC, #45 Pop

IT’S JUST A MATTER OF TIME (BB/Clyde Otis/Belford Hendricks)
By Brook Benton (Mercury/Universal: 1959) US #1 R&B, #3 Pop
By Sonny James (Capitol/EMI: 1970) US #1 Country, #31 AC
By Glen Campbell (Atlantic America/WMG: 1986) US #7 Country
By Randy Travis (Warner Bros/WMG: 1989) US #1 Country
Other versions incl: Solomon Burke (Atlantic/WMG), Little Anthony &
The Imperials (Veep/EMI), Tammy Wynette (Epic/Sony BMG),
Timi Yuro (Liberty/EMI), Tom Jones (UK Decca/Universal)

KIDDIO (BB/Clyde Otis)
By Brook Benton (Mercury/Universal: 1960) US #1 R&B, #7 Pop, UK #41
Other versions incl: John Lee Hooker (Virgin/EMI)

LIE TO ME (BB/Margie Singleton)
By Brook Benton (Mercury/Universal: 1962) US #3 R&B, #13 Pop
Other versions incl: Larry Wren (50 States)

LOOKING BACK (BB/Clyde Otis/Belford Hendricks)
"Looking Back over my life
I can see where I caused you strife
But I know, yes I know,
I’d never make that same mistake again"
By Nat King Cole (Capitol/EMI: 1958) US #2 R&B, #5 Pop
By Nat King Cole (Capitol/EMI: 1965 re-recording) US #27 AC
By Joe Simon (Sound Stage 7: 1969) US #42 R&B, #70 Pop
By Jerry Foster (Cinnamon: 1974) US #51 Country
Other versions incl: Sam Cooke (Sar/Abkco), John Holt (Trojan/Universal), The Blind Boys Of Alabama (Vee-Jay)

A LOVER’S QUESTION (BB/Jimmy Williams)
"Does she love me with all her heart?
Should I worry when we’re apart?
It’s A Lover’s Question, I’d like to know"
By Clyde McPhatter (Atlantic/WMG: 1958) US #1 R&B, #6 Pop
By Otis Redding (Atco/UMG: 1969) US #20 R&B
By Del Reeves (United Artists/EMI: 1970) US #14 Country
By Loggins & Messina (Columbia/Sony BMG: 1975) US #89 Pop
By Jacky Ward (Mercury/Universal: 1978) US #3 Country
Other versions incl: Lou Rawls & Phoebe Snow (Manhattan/EMI), Johnny Burnette (Liberty/EMI), Johnnie Ray (Liberty/EMI), Ernestine Anderson (Mercury/Universal)

A ROCKIN’ GOOD WAY (TO MESS AROUND AND FALL IN LOVE)(BB/Clyde Otis/Luchi DeJesus)
"Now that you’ve kissed me and you rocked my soul
Don’t come around knockin’ rock and roll
‘Cause that’s A Rockin’ Good Way, That’s A Rockin’ Good Way,
That’s A Rockin’ Good Way To Mess Around And Fall In Love"
By Dinah Washington & Brook Benton (Mercury/Universal: 1960) US #1 R&B, #7 Pop
By Shakin’ Stevens & Bonnie Tyler (Epic/Sony BMG: 1984) UK #5
Other versions incl: Priscilla Brown & The Spaniels (Vee-Jay), Bob & Marcia (Trojan/Universal), Peaches & Herb (Date/Sony BMG)

SO CLOSE (BB/Clyde Otis/Luther Dixon)
By Brook Benton (Mercury/Universal: 1959) US #5 R&B, #38 Pop

THANK YOU PRETTY BABY (BB/Clyde Otis)
By Brook Benton (Mercury/Universal: 1959) US #1 R&B, #16 Pop

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PLEASE DON’T STOP THE MUSIC!

Old & new Sony/ATV songs were featured in the recently completed 6th season of ABC Television’s smash-hit show "Dancing With The Stars". Cyndi Lauper’s TRUE COLORS (Steinberg/Kelly) was danced as a Rumba, Little Richard’s rocker RIP IT UP (Blackwell/Marascalco) was featured as a Jive, Rihanna’s DON’T STOP THE MUSIC (Eriksen/Storm/Hermansen/Jackson) became a Cha Cha, Colbie Caillat’s BUBBLY (Caillat/Reeves) was a Foxtrot, John Mayer’s SAY (Mayer) was a Rumba and Flo Rida’s LOW was also a Cha Cha.

http://www.sonyatv.com/en-au/index.php/articles/233

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vncwilliam said:

if anyone ever has time..hopefully they can find 'In THe Summertime', by Mungo Jerry..i heard that on a radio station..now THAT's how you write a song. has to be one of the funnest songs in history. MJ you rock on finding great music, and owning it, too.

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dare_me said:

lol i LOVE this song!!!

in the summer time when the weather is hot you can stretch right up and touch the sky, when the weather's fine you got women you got women on your mind...

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vncwilliam said:

i'm lookin at timbaland..and i realize why MJ is so successful...so many beat up on MJ's prospects. Paul Mac beat up on his own music. but MJ saw the gem... as i post this, one more drank by tpain and ludacris(featuring MJ's someone put your hand out) is number 1 on the power seven at seven on power 106 fm hip hop station in los angeles. that's not counting the countless times i hear number 1 atv songs when i'm not posting. and i post a lot.

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SOMEONE PUT YOUR HAND OUT
Writer: Teddy Riley, Michael Jackson
Publisher: Mijac Music
http://songwritershalloffame.org/index.php/songs/detailed/C116/P80/

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GenieBottle said:

I just have to post this vid because what Busta says is soo awesome! Mike is gangsta!unk:

The fans may not recogniz, the media may pretend not to reconize...but the rest of the music industry sure as hell recognises! to the key players and people who matter in the music industry, Michael pwns lol!

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