First Choice, Rhythm On The Loose + More Songwriter Royalties

Some records never really retire. In 1977 the Philadelphia group First Choice cut "Let No Man Put Asunder," and nearly fifty years later it keeps getting reborn: Mary J. Blige covered it to close her 1999 album Mary, a generation of UK ravers knew it as the 1991 house anthem "Break of Dawn," and Hot Chip rebuilt it into "Huarache Lights" in 2015. That staying power is the whole thesis. The average dollar this catalog pays comes from songs over 40 years old, and it is still landing at full strength.

And it lands with remarkable consistency. Annual earnings have held inside a tight band for ten straight years, and the two most recent sit at the very top of that range, with the trailing twelve months essentially flat against the prior year.

The reach behind that income is global. The catalog pays entirely as songwriter public performance royalties, and over the trailing year about 76% came from outside the United States, led by the United Kingdom at roughly 34% of the total, ahead of the U.S. at about 24%. Money arrives across streaming, terrestrial and satellite radio, and live performance, with the international share collected through foreign societies.

These are proven, decades-old songs that have paid consistently through multiple formats and now collect from more than a dozen countries, anchored by a standard that keeps being re-recorded and re-sampled by new generations of artists.

The catalog centers on "Let No Man Put Asunder," first recorded by First Choice in 1977. The song has had a long second life: Mary J. Blige covered it in full on her 1999 album Mary, Lonnie Gordon recorded her own version, and it later drove two dance-floor staples, Hot Chip's "Huarache Lights" and the UK house classic "Break of Dawn" by Rhythm On The Loose.

Around that anchor sits a run of classic Philadelphia soul. Eddie Kendricks, the former Temptations vocalist, recorded "He's a Friend" and "Never Gonna Leave You" for his 1976 album He's a Friend. Love Committee cut "Just As Long As I Got You" for Salsoul in 1978, and The Trammps recorded "Disco Party" in 1976.

Together the compositions span the Philadelphia disco and soul tradition and its long afterlife in house and electronic music. That range is why the income today reads as much European club culture as American soul.

How This Investment Works. As the winning bidder, you will collect 100% of payments until you receive the fixed amount of $35,000 from this asset. 

Early Repayment. The seller of this asset can repay the remaining advance balance at any time. For example: If after two years, this asset has paid you $8,000 and the seller wants the royalty stream back, they can pay you $27,000 to reclaim the royalties.

This catalog cannot be added to the Secondary Market of The Exchange. 

A NOTE ABOUT COPYRIGHT LENGTH
The oldest composition in the catalog, “Disco Party” was published in 1976. According to U.S. copyright law, the copyright was automatically renewed to last 95 years from the publication date. That means that the copyright for “Disco Party” will be valid through at least 2071. 

The below songs are all subject to the 95-year length, and their copyrights will expire as follows:

“Let No Man Be Put Asunder”: Expires 2070
“Disco Party”: Expires 2071
“He’s A Friend”: Expires 2071