2014 marks the 45th Anniversary of the establishment of the Invictus, Hot Wax and Music Merchant labels – the three brands that Eddie Holland, Lamont Dozier and Brian Holland launched following their unpleasant break from Berry Gordy’s Motown Kingdom. Given that the 45rpm record was the fulcrum of the new operation, Demon Music thought that this might be the perfect excuse to commemorate the 45th anniversary by pulling together each and every 45 release from the discography of Invictus, Hot Wax and Music Merchant – both A and B sides. That’s 96 x Invictus 45s, 44 x Hot Wax 45s and 17 x Music Merchant 45s – 157 singles and 269 unique recordings overall.
Together with the above they also scoured the globe for many of the mythical unreleased singles and a number of incredibly rare acetates now residing in private collections. Demon was able to unearth previously unreleased recordings by the Chairmen Of The Board, the Jones Girls, Honey Cone, the Barrino Brothers, Eloise Laws, and 100 Proof Aged In Soul, and they’ve popped these in as an added bonus. Hence another 16 tracks there. Not to mention the three unreleased Tom Moulton remixes that were found on Chairmen Of The Board’s “You’ve Got Me Dangling On A String” and “Give Me Just A Little More Time” and Freda Payne’s “Unhooked Generation” ? Or the three exclusive Tom Moulton instrumental mixes of the above only obtainable via an enclosed Download card?
Dean Rudland was enlisted to author the 60 page accompanying booklet and he scoured the planet for a number of intriguing scans and pieces of memorabilia and everything has been encased inside a deluxe user-friendly box designed for quick reference.
This really is the most extensive re-issue project ever carried out on this significant part of Soul music history. The Invictus, Hot Wax and Music Merchant labels extended Holland-Dozier-Holland’s golden touch with back to back international hits like Freda Payne’s iconic “Band Of Gold” and Chairmen Of The Board’s “Give Me Just A Little More Time” and then went to further enormous successes with Honey Cone and Laura Lee among many others. Now, for the first time ever, you can own the entire catalogue in one exquisite and lavish box set .
We get quite a few inquiries from people looking to connect with others for collaborations or what not, as well as artists just wanting feedback on their music. Therefore, we’d like to give everyone a chance to introduce or promote themselves and share what they do or what they’re looking for from the community. So please introduce yourself and let us know what you’re up to! Simply leave your comment below. (Put a link to your Soundcloud or Reverbnation page if you have one too).
Detroit’s very own Gershwin brothers, the legendary Brain and Edward Holland, created the soundtrack for a epoch, composing world renowned hits for the likes of Diana Ross and the Supremes, the Temptations, Phil Collins, Rod Stewart, Freda Payne, the Honey Cone, and many more. At this intimate gathering on August 11th at Lincoln Center, these producers/songwriters will rehash the stories behind their time honored songs in an on-stage interaction with producer Harry Weinger, and then perform them in a potent intimate setting.
Today music has become an essential part of the film making process. In fact, music has become one of the primary factors in determining if a feature film is going to do well at the box office or not. But how is the music chosen for a feature film?
Today producers, a directors, agents, songwriters and composers all want to be involved in choosing the music you hear at the movies. Ultimately, however, the final decision rests with the producer — who is strongly influenced by his or her director. They are responsible for the final decision of which music will be used.
Movie music falls into three basic categories.
The first category is the underscore, or background music. Think of the haunting James Horner score for “Titanic,” John Williams’ lilting music for “ET” or Randy Newman’s whimsical score “Toy Story.”
The second category is specific songs used in the film. Sometimes producers decide on using preexisting songs that fit the mood of their film. A good example is the song “Hungry Heart” from Bruce Springsteen that was used in “The Perfect Storm” or the song “American Woman” by The Guess Who in the academy award winning “American Beauty.”
The third category is songs written specifically for a film. An example is the song “You’ll Be In My Heart” from Phil Collins who wrote it for the Disney film “Tarzan.”
Each of these categories involve very different negotiations. There are specific contracts for each category and royalties paid on the back end can vary widely.
Most strive to find music that will create a mood. Perhaps they are seeking music that will create the flavor of a certain period of place. Songs are often inserted in specific scenes to make the audience cry. Some songs are meant to elicit other emotions such as fear, excitement, sorrow or happiness.
Successful soundtracks add public interest to a film. Who doesn’t remember such monster soundtracks as “Saturday Night Fever” or “The Big Chill?” Film soundtracks have been among the best selling albums of all time.
Many times the songs that play while the opening credits are run are used by the producer and director to set the theme of the film. They infuse the film with a certain ambiance. As a result, these songs are frequently considered more important to the success of the film than other music used in the background.
Similarly, music used at the end of the film while the credits are rolling are important to the audience remembering the film. Today, more and more, multiple songs run over the end credits. This is done many times to allow additional songs to be included on the film’s soundtrack album.
A film producer who desires to include an existing song in his film has to first be granted the rights from the music publisher. After negotiations a fee agreement is reached. The fees collected by the music publisher are then shared with the songwriter and artists who perform the song. The music publisher agrees to a broad rights license or a synchronization agreement which grants the film studio the rights to use the song in the film which will be distributed to theaters worldwide. The film producers may also sell the film to television. They may also include the song in theatrical trailers and in promoting the film over radio, TV and Internet.
Much goes into choosing the music for major motion pictures. But what a wonderful thing it is to sit in the movie theater and hear the lilting theme of “Dr. Zhivago”, the snappy tunes of “Flashdance” or the beautiful voice of a young Judy Garland singing “Somewhere Over the Rainbow.” Truly movie soundtracks have become an important part of the soundtracks of our lives.
If you are producer who develops and distributes television shows, feature films or documentaries, you better make sure you have your music license agreements in place. There are a few reasons for this, but before we get to that lets just be clear what music licensing is all about.
As a producer, this type of license gives you the right to use someone else’s copyrighted music. As an example, you might use a service like Pond5 to get music for your television show or movie. In this particular case you are allowed to use the music for a nominal fee. The fee normally covers “all media, worldwide”.
In other circumstances, you may have to pay licensing revenues for a song through BMI or ASCAP. Licensing for this type of music is generally expensive.
What If You Don’t Get A Music License?
If you like to live dangerously, then don’t get a license. However, it is tantamount to playing Russian roulette. Why you may ask? It is a simple answer. If the people who wrote the song or created the track find out you are using their music for free (read stolen), they will sue you for damages. That can be very expensive. Even if your E&O insurance pays for the damages, it may be harder for you to get insurance the next time.
Songwriters, composers and music publishers deserve to be paid for their hard work. It is a talent that requires skill. So, as a producer it imperative that you have a license to use any and all music in your movies and shows.
Another very important reason a producer needs music licensing is a thing called “Chain of Title” documentation. In this particular case, these documents evidence proof of payment with any transfer of rights.
What does this mean to you the producer? It means whether you are delivering your television show to a network or your movie to a distributor they are going to have some legalese in the contract that is going to hold you accountable for all music licensing.
Most agreements will require: a copy of your fully executed music licenses covering your different musical compositions featured in your movie or TV show. The minimum term for any music license is perpetuity for worldwide free and pay TV, home video and DVD, theatrical and non-theatrical and internet usage. Proof of payment via cancelled check or wire transfer. If any composition or recording is asserted to be in the Public Domain, proof of such should be provided.
So, as a producer it is better to be safe than sorry. Do yourself a favor and just get a license to use music in your productions.
No matter how old you are, where you were born or what type of music you listen to, chances are you’ve bobbed your head to a Holland Dozier Holland song. Don’t know who they are? Don’t worry, your not alone. However, Holland Dozier Holland were responsible for some of the greatest hits throughout the 60’s and 70’s. Without them, we might not have The Supremes, Dianna Ross or The Temptations. In the following article, we’ll tell you a little bit more about this amazing songwriting and production team. Read on and learn.
Holland Dozier Holland was a songwriting group that consisted of brothers Brian and Eddie Holland and their good friend Lamont Dozier. They formed in 1962, at the beginning of the Motown takeover. Brian Holland and Dozier were the ones who composed and produced each song, while Eddie was the driving force behind the lyrics. While they originally formed as performing musicians themselves, they soon realized that they much preferred creating music for others and staying behind the scenes. This was particularly true for Eddie who happened to suffer terribly from stage fright.
During their tenure at Motown, the trio would create and produce 25 number 1 hits including popular songs like “Sugar Pie, Honey Bunch” for the Four tops and “Heat Wave,” “Baby Love,” “Stop In The Name Of Love,” and You Keep Me Hanging On” for the Supremes. It was as if practically every hit song that came from Motown Records was a Holland Dozier Holland song.
As is the case with a lot of musical acts, money became an issue between the song writing team and Motown executive Berry Gordy. In 1968, they left the label and decided to venture out on their own, creating Invictus and Hot Wax Records. However, in the legal preceding that followed their departure, the trio could not put out any more music under the name Holland Dozier Holland. For this reason, they began to use aliases until the lawsuit was finally settled in 1977.
It should be noted that even though there was a large lawsuit between the trio and Motown records, there was no love lost between the two. In fact, Dozier would often collaborate with Motown artists such as Michael Jackson and Dianna Ross. Holland Dozier Holland were inducted into the Rock and Roll Hall of Fame in 1990, and they have won countless BMI pop awards for the masterpieces they created.