MARC record from Internet Archive

LEADER: 02303cam 2200457Mi 4500
001 ocn956790900
003 OCoLC
005 20211030075510.0
008 160721t20162015enk e b 001 0 eng
040 $aAU@$beng$erda$cAU@$dOCLCO$dOCLCF$dYDXCP$dUKMGB
015 $aGBB646381$2bnb
016 7 $a017794951$2Uk
019 $a920727177
020 $a9781472122117
020 $a1472122119
035 $a(OCoLC)956790900$z(OCoLC)920727177
082 04 $a782.4216309$223
100 1 $aHeylin, Clinton,$eauthor.
245 10 $aIt's one for the money :$bthe song snatchers who carved up a century of pop & sparked a musical revolution /$cClinton Heylin.
246 3 $aIt is one for the money.
264 1 $aLondon$bConstable,$c2016.
264 4 $c©2015.
300 $axviii, 461 pages ;$c20 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aFirst published: 2015.
504 $aIncludes bibliographical references and index.
520 $aSong publishing is the one constant in the carousel of recorded music now spanning the past century, and has been the way that song-credits and publishing revenue have caused ructions and recriminations, and inspired writers by making them poor and lawyers rich. Whether it be Procul Harum going to court to decide who really wrote 'Whiter Shade of Pale' or the Moody Blues wanting their fair share of 'Nights of White Satin', when the song-credits get divvied up, a parting of the ways citing 'musical differences' is almost inevitable. So here are some choice examples of poplore held up to the light, some familiar to music fans, others not, designed to prove that Dylan knew of what he wrote when he suggested, 'money doesn't talk, it swears'.
650 0 $aPopular music$xWriting and publishing.
650 0 $aMusic trade.
650 0 $aCopyright$xMusic.
650 7 $aCopyright$xMusic.$2fast$0(OCoLC)fst00878748
650 7 $aMusic trade.$2fast$0(OCoLC)fst01030641
650 7 $aPopular music$xWriting and publishing.$2fast$0(OCoLC)fst01071469
938 $aYBP Library Services$bYANK$n12499449
029 0 $aAU@$b000058452856
029 1 $aUNITY$b138159351
029 1 $aUKMGB$b017794951
994 $aZ0$bP4A
948 $hNO HOLDINGS IN P4A - 41 OTHER HOLDINGS