The band did not get anything, as only George Kooymans is listed as the writer.

The song is a MIDI file and not the actual band's recording, so likely only the publisher and songwriter were compensated.

Music rights are a strange, complicated system with Publishing, Mechanical, and Performance rights. This system ensures that everyone gets paid except the artist.

Exactly, why do think ticket prices keep going up when the bands tour? And why do you think they keep touring?

Hopefully they made more off of Radar Love.

I'm guessing the OP meant Golden Earring?

.Radar Love was badass back in the day.Cruising
at high speeds with Radar Love on the Pioneer SuperTuner.

I remember those Pioneer supertuners....Had mine hooked up to Jenson triax speakers along w/ a Kraco equalizer.

Judging by the *triax* speakers - you must have had the cassette version, mine was an 8-track with mind blowers hooked to it.

Yep, I had the cassette version

I heard Greg Kihn stole the residuals for the song.

You have probably noticed that artists like ELO, Def Leopard and Jefferson Starship are re-recording their hits and re-releasing them.

That way they actually get paid when a song is used in a movie, or a CD or MP3 is sold; because they own these new recordings, not their old record companies.

Prior to this recent development, the songwriters only got paid when a song was played on the radio.

And note I wrote "songwriters", the band itself earns no money from airplay.

Even if a band ever did sell enough CDs to pay back the record company's "advance", they only were paid .15 cents per CD.

When she was popular, Madonna had the best "record deal" in the biz with $1 per CD sold - but only if the disc sold over 10 million copies.....otherwise she got an astounding .40 cents per disc.

And yet, everybody wants to be a rock-n-roll star!

Just for the chicks and blow.

Actually a lot of the information above isn't true.

Bands (as opposed to songwriters) do earn from radio play etc. There are two royalty streams. The bigger one for radio (and TV/film etc) goes to the songwriter -hence why songwriters love being covered. However, there is a seperate royalty stream that goes to the performer of the song (via their record label). This is about half the size of the other stream. This stream tends to be split 50/50 with the record label.

For example I had a band featured in "Truman Show" for about 30-40 seconds doing a cover of a T-Rex song. Marc Boland's estate got a decent chunk, and a similar amount went to the label/band. The problem there is that there is 1 record label and 5 band members.

In my experience a lot of artists tend to get very confused about their royalty streams, so take anything you read/hear with a pinch of salt. The cases of recording advances are typical. Bands spend a shitload in the studio,booking unecessary time and various other things. The problem is ALL of this expense is then re-couped from their royalties so they are effectively wasting their money and not the label's as they think. Tour expenses are the same (but for some historical reason not T-shirts) - record labels pay for flights for "girlfriends" etc but it all ultimately comes out of the artists revenue stream.

This is not to say that a lot of record labels aren't scummy. I've dealt with lots of bands who sign to label "A", record their album in a studio owed by the same label and then get charged headline rates for that studio time that anyone else wouldn't end up paying.

In the case of a pin using music, say metallica. There would be two licenses agreed. One for the rights to use the song, another for the recorded version. Both would have to be paid for, probably on a flat rate. Either the publisher (song writer) or the artist/record label can refuse their music to be used. Try getting Morrisey to agree to have his music used on an advert for McDonalds and you'll have fun. Bands also need to have assigned their "sync" rights to a label in order for it to be used for another medium. This is not always the case.

Finally older songs 50+ years will no longer be in "recorded/phonographic" copyright but will still be covered in terms of publishing/songwriting (50-70 years after the death of the composer).

Finally it never ceased to amaze me when big film studios used music but left it to the last minute. Paid their leading actors millions, spent millions more on filiming then started to howl with protest when they couldn't get songs for a pittace. Always fun when they forgot to license it and then had a choice of paying what we demanded or reshooting the entire scene.

All expense round trip to Free Gold Watch

100% true.

I was with Geffen Records for many years.

http://entertainment.howstuffworks.com/music-royalties1.htm

Man, that was a great 80's video.

There was a rumour that george kooymans got a Tz pin after he discovered the song was used in the game.
I saw a documentary some time ago where he showed his guitar storage, and the first thing he ran to was the pin and
proudly showed the soundscore, funny since he had probably hundreds of the nicest guitars.
If i can find the footage i'll post a link.

Hi sorry, not trying to have a go at Mr Vid. But artists and record labeles certainly do get paid from radio play etc. For the last 30 years I've recieved different streams of income from exploitation of my tracks (sadly rapidly getting smaller )

PRS handle the exploitation of the publishing (song writing) and is the biggest chunk (I get about £70 a play on national radio)

PPL handle the Phonographic rights (the recorded band version) about £30 per play

VPL are the best and give the record label money from showing videos - about £1000 a play for the biggest UK TV stations.

This money then normally gets split 50/50 into the band accounts. Indeed bands (not songwriters) can elect to register with these orginsations seperately.

Now there is a big danger of assuming the US is the world (and similarly the UK from my perspective) but this set up is pretty common in most territories. I sell very little in the US, so this has never been a big deal for me but I get exactly the same deal in Germany via GVL. If you look at a CD from Germany (or europe) there is a label code on it. It looks a little like a stick of rock with LC in the circle. This is assigned to artists, not songwriters and ensures they get payed when their music is exploited on radio etc.

A similar situation exists in france and Japan. I'm not sure about other teritories.

Someone would have been recieving a royalty stream for the recorded work of Geffen artists when they had a radio play over here. Whether or not it turned up in the artists pocket is a different argument I suspect the radio stations in the US have managed to convince people that they are providing "advertising" so shouldn't pay a royalty but this certainly isn't a universal truth.

The radio play part is a bit of red herring though as to license a track for a pin would be more similar to aquiring the rights to it for a film. Here they would have to pay a fee to the songwriter (publisher) and the record label for the recorded version. Depending on the contract there may or may not have been sync rights and moral rights waved by the artist. Record labels got a lot more suss about these issues when tapes and then CD came out. Normally some % of the license would then find it's way back to the recording artist (50% is not uncommon if you had a good lawyer)

Not familar enough with TZ but is it actually Golden Earings version of the track or a cover of it? Covering it would have been far cheaper as it just involves paying a studio musician a flat rate and then cutting a deal with the publisher

Anyway, music on pinball rocks! (and record labels generally suck. Can't really believe I'm sticking up for them. If you want to see truly slimy behaviour then try to challenge the 10% hold back for breakages. Fair enough for vinyl but really for mp3s?)

I'm still guessing Golden Earing in reality saw bugger all money from it!

In the USA, I get radio airplay checks from BMI, because I was the songwriter.

None of my former bandmates get any money, because they are not listed as writers.

-

Every rap song in the last 30 years has drum samples of Clyde Stubblefield, James Brown's funky drummer.

James Brown's estate collects those royalties, as James Brown is listed as the songwriter. Clyde gets no royalties, even though he invented and played those fills and beats.

-

Lesson to new musicians with stars in their eyes:

DON'T EVER LIST THE ENTIRE BAND AS THE SONGWRITERS.

Great interview with Clyde, showing how he does not get any royalties for the songs he wrote:

http://chirpinbyrd.com/clyde-stubblefield-the-funky-drummer-never-received-royalties-for-his-contribution-to-popular-music/

The whole rhythm thing is really bad as it's only melody that gets copyrighted. Ice Ice baby springs to mind as a classic rip of a rhythm track.

Not sure how it works with sampling drum beats. Worked with a band a while back who got a shed load of money from Mobb Deep (probably had some rap spelling of that name) who nicked a sample of there's without permission. Never knew who they were but some studio trickery cost them the price of a house.

The classic Led Zep drumbeat has been nicked so many times as well, but it's harder to feel sorry for them when you look at some of the "traditional arranged by Led Zepplin" stunts they pulled.

Wasn't there something with The Verve loosing all their rights to their biggest hit due to the small uncleared sample of a Rolling Stones track.

In the UK the delightful Simon Cowell has made a lively hood of playing triangle on all his releases so as to get a cut of the PPL money.

sorry "theirs" not "there's". Pet hate of mine...

Don't forget, also, to toss derivative works into the mix ... that just clouds things up even more.