How to Use a Beautiful Song for Healing Jan. ’26/’62

(with a little help from the Beatles and Buddy Holly)

There are moments in life when words are not enough, and yet silence feels too empty. That’s when a beautiful song can step in and quietly hold us together. Long before people talked about “music therapy,” listeners were already using songs to mend broken hearts, calm anxious minds, and make sense of their own story. If you look at artists like the Beatles or Buddy Holly and the Crickets, you can see how deeply healing music can be—and how simple it is to invite that same healing into your own daily life.

Not every song feels healing, even if it’s catchy. Healing songs tend to have a few simple qualities: emotional honesty, a memorable melody, and a sense of human connection. Think about a song like the Beatles’ “Let It Be.” The chords are simple, the lyrics are gentle, and the message is one of acceptance and quiet faith: “There will be an answer, let it be.” It doesn’t try to fix your life; it just keeps you company while you breathe through it.

Buddy Holly and the Crickets brought a different kind of healing. Their songs often held the bright, hopeful energy of young love and possibility—music you could dance to, cry to, or drive to with the windows down. Under the surface of the rock ’n’ roll beat, there’s a comforting reminder that life keeps moving, and so can you. Rhythm itself can be healing when your nervous system is jangled, a steady beat can give your body something to entrain to, like a heartbeat you can trust.   *****************************************A HEARTBEAT YOU CAN TRUST

When you find a song that feels like “home,” your body often knows before your mind does. You might feel your shoulders drop, your breathing slow, or tears appear from nowhere. That’s healing at work.

One of the most powerful ways to use music for healing is to build a simple personal ritual around a single song. It doesn’t need to be dramatic or complicated. In fact, the more ordinary it is, the better it can slip into your daily life.

You might choose a Beatles song that always steadies you, or a Buddy Holly track that reminds you of resilience and lightness. Or you might choose a new piece of music that seems to hold your feelings without judgment. Once you’ve chosen the song, try this:

• Find a quiet place where you won’t be interrupted for three to five minutes.
• Put your phone on Do Not Disturb, except for the music player.
• Before you press play, set a clear intention: for example, “This is three minutes just to feel what I feel,” or “For this song, I give myself permission to rest.”

Then simply listen. No multitasking, no scrolling, no “shoulds.” Let the lyrics and melody move through you. If memories come up, let them come. If nothing special happens, that’s fine too. The healing is often in the simple act of giving yourself a protected time and space, with the song as your companion.

12‑Track Playlist — Black Blues Originals and the 1960s White Covers They Inspired

Below is a curated 12‑track playlist pairing the original recordings by Muddy Waters, John Lee Hooker, and Howlin’ Wolf with the notable 1960s white covers or artists who built on each song’s riff, groove, or vocal approach. Each entry includes a short note on why the pairing matters and how the cover translated the original into 1960s R&B/rock vocabulary.

1. “Mannish Boy” — Muddy Waters (original) → Rolling Stones (live covers) Note: A raw, call‑and‑response riff anthem; Stones adopted the swagger, riff emphasis, and frontman bravado that became central to their early identity.

2. “Rollin’ Stone” — Muddy Waters (original) → The Rolling Stones (name/influence) Note: Title and riff inspired the band’s name and early repertoire; the song’s riff‑first structure became a rock naming myth and template.

3. “Hoochie Coochie Man” — Muddy Waters (original) → Various British blues acts Note: Willie Dixon’s stop‑time riff and boastful lyrics provided a blueprint for riff‑driven rock songwriting and stage persona.

4. “Little Red Rooster” — Howlin’ Wolf (original) → The Rolling Stones (UK No.1 cover) Note: A direct cover that shows how a Wolf classic could be reworked into a mainstream British hit while retaining its blues core.

5. “Smokestack Lightnin’” — Howlin’ Wolf (original) → Blues‑rock adaptations (1960s bands) Note: Hypnotic, droning groove and vocal menace that influenced the pacing and mood of heavy blues‑rock performances.

6. “Spoonful” — Howlin’ Wolf (original) → Cream (cover) Note: Cream’s extended, heavy arrangement amplified Wolf’s dark lyricism into psychedelic blues‑rock territory.

7. “Boom Boom” — John Lee Hooker (original) → The Animals; garage bands (covers) Note: Hooker’s one‑chord groove translated easily into danceable rock covers and became a staple of 1960s R&B sets.

8. “Boogie Chillen’” — John Lee Hooker (original) → Garage and British blues groups Note: The primitive, driving boogie was a direct ancestor of many garage‑band rhythms and early rock riffs.

9. “Crawling King Snake” — John Lee Hooker (original) → The Doors; other rock acts (covers) Note: A blues standard whose spare groove and vocal phrasing were adapted into darker, rock‑oriented arrangements.

10. “Killing Floor” — Howlin’ Wolf (original) → Jimi Hendrix Experience; later blues‑rock acts (influence/covers) Note: The song’s aggressive riffing and tension influenced heavier electric guitar approaches in late‑60s rock.

11. “I’m a Man” — Bo Diddley / Muddy/Howlin’ Wolf repertoire (original roots) → British R&B bands (covers/adaptations) Note: The assertive, rhythmic vocal delivery and riff patterns in this family of songs fed into the swagger and rhythmic drive of many 1960s acts.

12. “One Bourbon, One Scotch, One Beer” — John Lee Hooker / original variants → George Thorogood; 1960s–70s rock adaptations Note: A narrative blues standard that later rock performers reworked into barroom rock staples, showing how blues storytelling migrated into rock performance.

13. Short listening guide

• Start with the originals to hear the raw grooves, vocal power, and lyrical economy that made these songs adaptable.

• Then listen to the covers to hear how 1960s artists amplified riffs, added rock instrumentation, and reframed vocal delivery for new audiences.

• Pay attention to three transmission routes: recorded 78s/LPs, American Folk Blues Festival tours, and British musicians’ record collections — each helped move these songs from Black blues clubs into mainstream rock. HONORING AFRICAN AMERICAN ROOTS FOUNDATION MUSIC April 1, 2026, by Bri Lane Loving You!!!

Many people think of music as something they process with their ears and mind, but healing listening involves the whole body. When you listen to a song that touches you, notice what happens physically.

Do certain harmonies give you goosebumps, like the stacked vocals the Beatles were so famous for? Does a certain guitar tone—like Buddy Holly’s clean, bright Stratocaster sound—seem to vibrate in your chest? Do you feel your jaw unclench, or your hands soften?

Try putting one hand on your heart and one on your belly while you listen. Breathe slowly and let the song “massage” your inner space. You’re not analyzing the music; you’re letting it wash through you like warm water. This kind of embodied listening can ease tension and help you feel more grounded, even if you can’t explain why.

One of the secret powers of songs is that they say what we can’t always say ourselves. When Paul McCartney sings “When I find myself in times of trouble,” it gives your own “times of trouble” permission to exist. When Buddy Holly sings about longing or heartache, he’s giving shape and rhythm to feelings that otherwise might sit inside you as a vague heaviness.

You can deepen the healing effect by consciously using the lyrics. For example:

• Pick a line that really resonates with you and write it down in a journal.
• Underneath it, write a few sentences about what that line means in your own life right now.
• Let the song become a kind of mirror, reflecting something true that you needed help seeing.

In this way, you’re not just passively consuming music; you’re in a kind of quiet dialogue with it. The song speaks, you respond, and slowly a deeper understanding of your own feelings begins to emerge.

The Beatles’ music means different things to people depending on when they hear it in their lives. The same is true of Buddy Holly. A song you danced to as a teenager might become a kind of anchor during a difficult adult season. Healing with music isn’t just about one moment—it can be about returning to the same song many times and letting it travel with you through different chapters.

You might create a small playlist of “healing songs” that you return to often: perhaps a Beatles track that comforts you, a Buddy Holly song that lifts your energy, and a newer piece of music that feels like a gentle hand on your shoulder. Over time, your body starts to recognize these songs as signals of safety. When one of them comes on, your system knows, “I’m allowed to relax now.”

This is why certain songs can make us cry within seconds: they carry a whole history of previous times they helped us survive.

It’s important to remember that music doesn’t have to “fix” you to be healing. The Beatles never promised that one song would solve your life; Buddy Holly didn’t claim a three‑minute track would erase grief. What they offered instead was presence—something honest, melodic, and human to share the road with you.

When you use music for healing, try to release the idea that you must feel “better” by the end of the song. Instead, ask a gentler question: “Do I feel more accompanied? Do I feel a little less alone in this moment?” If the answer is yes, the song has already done its work. WORDS of LOVE Tell Me How Youi Feel-

***What Makes “Let It Be” So Meaningful in the Lives of So Many? Jan. 10, ’26

Some songs arrive like visitors in our lives; others take up permanent residence. “Let It Be” by the Beatles is one of those rare songs that seems to move in and stay. Decades after it was written, people still turn to it in moments of grief, confusion, and change. What is it about this song that touches so many hearts, across ages and cultures, and keeps feeling relevant no matter what’s happening in the world?

A song born out of real struggle

Part of the power of “Let It Be” lies in where it came from. Paul McCartney has said that the song was inspired by a dream of his mother, Mary, who died when he was a teenager. In the dream, she appeared to him during a stressful period in his life, saying, “It will be all right, just let it be.” That origin matters, because we can feel the authenticity behind the words. This isn’t abstract philosophy; it’s a message of comfort from someone he loved and lost.

When listeners learn this backstory, the line “Mother Mary comes to me, speaking words of wisdom, let it be” takes on an intimate, human quality. Even if we interpret “Mother Mary” in a spiritual or religious sense, we can still hear the voice of someone kind and wise, stepping into our troubled minds with a simple, soothing instruction. The song carries the emotional weight of a real family story, and that makes its comfort feel earned, not manufactured.

Simple words for complicated feelings

Another reason “Let It Be” is so meaningful is its language. The lyrics are incredibly simple. There are no clever metaphors or dense poetic twists. Lines like “When I find myself in times of trouble” and “In my hour of darkness” speak in straightforward, everyday words. Ironically, this simplicity is what makes the song able to hold complicated feelings.

People rarely think in poetry when they’re really suffering; their inner voice sounds more like, “I’m overwhelmed” or “I don’t know what to do.” The language of “Let It Be” mirrors that. It doesn’t judge or lecture; it just acknowledges the difficulty: there is trouble, there is darkness, there is broken heartedness in the world. By not rushing too quickly to a “solution,” the song validates the listener’s experience first.

Then, the refrain “Let it be” offers a gentle shift—not a command to fight, fix, or escape, but an invitation to soften around what is happening. For many people, that’s exactly what they need: permission to stop struggling for a moment and simply breathe.

A melody that feels like a blessing

If the lyrics are the mind of the song, the melody is its heart. “Let It Be” uses a simple, hymn‑like melodic line that’s easy to remember and easy to sing along with. It doesn’t show off. Instead, it moves in a stepwise, reassuring way, almost like someone walking beside you at a calm, steady pace.

The chorus lifts slightly higher than the verse, giving a sense of rising above the trouble for a moment. The phrase “Let it be” repeats, but never in a harsh or demanding way; it feels more like a soothing mantra. Many listeners describe feeling their shoulders relax or their breathing slow when the chorus comes back around. It has the shape of a blessing: it rises, opens, and settles gently, leaving behind a sense of acceptance and peace.

This melodic simplicity also means the song can be covered in many styles—piano, guitar, choirs, even solo voices in quiet rooms—and still retain its emotional effect. That flexibility has helped it travel across generations and musical tastes.

Harmony that balances sorrow and hope

Harmonically, “Let It Be” walks a delicate line between sadness and optimism. The chords are mostly straightforward, but there’s a subtle blend of major and minor flavors that keeps the song from feeling either too dark or too cheerful. This balance is important. If the song were purely major and upbeat, it might feel like it was minimizing the listener’s pain. If it were all minor and gloomy, it might deepen despair instead of easing it.

Instead, the harmony feels like a voice that can sit with your sadness while still believing in light. When the chorus arrives, the music leans toward a more resolved, major sound, giving the sense that even though life is complicated, there’s a deeper stability underneath. For listeners, this creates a feeling that “Yes, things are hard, but I’m held by something steady.”

Acceptance without giving up

The phrase “let it be” can be misunderstood as passivity or surrender in a negative sense, but the song doesn’t carry that energy. It doesn’t say “give up” or “stop caring.” It suggests something more subtle: allowing what we cannot control, while trusting that some kind of answer or meaning will emerge in its own time. “There will be an answer, let it be” is not a promise that everything will instantly improve; it is a reminder that life is larger than our current confusion.

This nuance is why so many people turn to the song in times of grief, illness, or major transition. It doesn’t try to convince them that everything is fine when it clearly isn’t. Instead, it offers a way to live inside the not‑knowing. For many, that’s deeply healing: being allowed to lean into acceptance, without losing hope.

A shared song for private pain

“Let It Be” is also meaningful because it operates on two levels at once: it feels intensely personal, yet it has become a communal anthem. People play it at funerals, memorials, and vigils; they sing it alone in their cars or while washing dishes at the end of a hard day. Each listener brings their own story—lost parents, broken relationships, health struggles, world events—and the song seems to make space for all of it.

When a song like this is shared, it quietly tells us, “You’re not the only one who feels this.” Knowing that millions of others have wept or found comfort to the same melody creates a sense of invisible community. We may never meet those people, but we’re connected through this piece of music. That shared experience can make our own burdens feel a little lighter.

A companion that grows with us

Over time, “Let It Be” can become a kind of lifelong companion. Someone might first hear it as a teenager and feel it as a gentle reassurance. Later, in midlife, it may take on new depth when they face loss or burnout. In old age, the song can become almost like a wise old friend, reminding them to trust the flow of life, even as their own story approaches its closing chapters.

The song doesn’t change, but we do, and as we change, different lines and moments in the music speak to us in new ways. That evolving relationship is a hallmark of a truly meaningful song. It doesn’t lock us into one fixed emotion; it meets us wherever we are and offers a slightly different kind of comfort each time.

> When I listen to “Let It Be,” I hear more than a classic Beatles song. I hear a quiet invitation to breathe, to soften my grip on what I can’t control, and to trust that some deeper wisdom is at work, even when I can’t see it. That’s why, all these years later, the song still feels like a friend I can turn to whenever I need a little musical healing.

If you’d like-

• Flat Fees and No Royalties: Artists were treated as disposable labor. For instance, Bessie Smith, the “Empress of the Blues,” sold over 6 million records for Columbia in the 1920s-1930s, generating millions in revenue, but received no royalties due to her illiteracy and exclusion from royalty systems like ASCAP (which favored white composers).
   

  history.com
  Similarly, Big Bill Broonzy recorded hundreds of blues tracks but got nothing beyond initial payments, as he lacked knowledge to negotiate.
   

  history.com
• Appropriation and Pseudonyms: Labels used fake names or omitted credits to obscure artists’ identities, limiting their fame and bargaining power. Mobile recording units in the South exploited rural, impoverished musicians like those in the Mississippi Delta, who owned nothing but their talent and lived in conditions akin to serfdom.
   

  events.asucollegeoflaw.com
• Black-Owned Label Failures: Harry Pace’s Black Swan Records (1921-1923) attempted to counter this but collapsed due to white-controlled pressing plants, distribution, and capital shortages, absorbed by Paramount.
   

  history.com

• White Covers Outselling Originals: Pat Boone’s sanitized versions of Little Richard’s “Tutti Frutti” and Fats Domino’s hits topped charts, while originals were confined to “race” markets.
   

  events.asucollegeoflaw.com
  Elvis Presley covered Big Mama Thornton’s “Hound Dog” (1952 original), earning millions, but Thornton got a one-time $500 fee with no royalties.
   

  thelovepost.global
  Bo Diddley’s hits were similarly covered, preventing his crossover success.
• Cheap Rights Sales and Fraudulent Credits: Little Richard sold “Tutti Frutti” publishing for $50 to his manager’s dummy company, with credits including false names.
   

  events.asucollegeoflaw.com
  Chuck Berry faced similar issues; his guitar riffs defined rock, but he received minimal compensation amid legal battles.
• Manager Exploitation: Frankie Lymon & the Teenagers’ “Why Do Fools Fall in Love” (1956) had credits stolen by manager Morris Levy, excluding co-writers and denying royalties until lawsuits decades later.
   

  events.asucollegeoflaw.com

• Underreported Earnings and Pension Scams: Sam Moore of Sam & Dave (hits like “Soul Man,” 1967) earned ~$3 million in the 1960s but had only $66,000 reported, resulting in a tiny pension; a 1993 lawsuit against AFTRA revealed systemic fraud affecting mostly Black artists, settling for $8.4 million in 2002.
   

  theconversation.com
• No Royalties for Hits: Ruth Brown (Atlantic’s “house that Ruth built” in the 1950s-1960s) fought in the 1980s to recover royalties, exposing how labels deducted “expenses” to zero out payments.
   

  news.westernu.ca
  Professor Longhair got nothing for his Mardi Gras anthem.
   

  events.asucollegeoflaw.com
• Appropriation in Rock/Soul Fusion: Led Zeppelin’s uncredited use of Willie Dixon’s blues lyrics (e.g., “Whole Lotta Love,” 1969) led to later settlements, but initial profits went unshared.
   

  events.asucollegeoflaw.com
  British acts like Eric Clapton built careers on Black delta blues without equitable sharing.

• Rhythm & Blues Foundation (1988–ongoing): Founded after Ruth Brown’s campaign exposed Atlantic Records’ royalty denials, with initial funding from Ahmet Ertegun ($1.5 million) and later Berry Gordy and Universal Music Group. It has distributed over $3 million in grants for medical, financial, and emergency aid to hundreds of pre-1970s R&B pioneers (e.g., Ruth Brown, Sam & Dave). The Pioneer Awards honored over 150 artists, preserving legacies while providing direct support. Outcomes include life-saving assistance and recognition, though it’s charitable rather than systemic royalty recovery.
• Lawsuits and Settlements (1990s–2010s): Artists like Sam Moore (Sam & Dave) sued unions and labels for underreported earnings, settling for millions (e.g., $8.4 million in 2002). Ruth Brown’s 1980s activism led to industry concessions. These highlighted fraudulent accounting but resulted in piecemeal payouts.

• Title II (CLASSICS Act): Closed the “pre-1972 loophole,” granting federal protection and digital performance royalties to legacy recordings. Pre-MMA, services like SiriusXM/Pandora paid nothing for classics (e.g., Otis Redding, Sam & Dave). Post-MMA, SoundExchange distributed over $10 million in the first year to pre-1972 artists/estates, many Black soul/R&B legends.
• Other Provisions: Created the Mechanical Licensing Collective (MLC) for streamlined streaming mechanicals; recognized producers/engineers for royalties.

• Black Music Action Coalition (BMAC, 2020–ongoing): Advocacy group demanding accountability. Pushed for executive diversity, fair contracts, and back royalties. Issued “report cards” grading labels on Black representation/progress.
• Corporate Audits and Pledges: BMG (2020) audited contracts, finding racial disparities in royalties; pledged corrections. Universal/Warner/Sony committed $100 million+ to social justice funds and diversity hires. Some explored repaying exploitative historical deals.
• Reparations Discussions: Calls for direct payments to descendants/heirs (e.g., Bessie Smith). Canada’s ADVANCE collective advocated historical royalty audits.
• Streaming-Specific Advocacy: Low payouts persist; UN reports (2020s) recommend new “equitable remuneration” royalties directly to artists (including non-featured performers). EU Parliament (2024) pushed transparency/minimum rates; France set minimums (2022). US proposals (e.g., Rashida Tlaib’s resolution) seek new royalty programs. Groups like United Musicians and Allied Workers advocate user-centric models (pay based on individual listening) over pro-rata (big pot favoring megastars).

• Exploitation echoes: Young Black artists face lopsided deals (e.g., Megan Thee Stallion’s 2020 lawsuit).
• Streaming inequities: Black genres dominate but yield low returns; “payola” via playlists persists.
• Partial Progress: MMA aided legacies, but modern artists need ownership reforms (e.g., California’s FAIR Act proposals for contract termination).

• Title I (MLMA): Created the MLC (launched January 2021) to administer a blanket license for mechanical royalties from digital music providers (DMPs like Spotify). It centralizes collection, matching, and distribution, replacing inefficient song-by-song licensing. DMPs pay into the system, and the MLC matches royalties to songwriters/publishers at no cost to rights holders.
   

  copyright.gov +1
• Title II (CLASSICS Act): Extended federal copyright protection to pre-1972 sound recordings, closing a loophole that denied digital royalties for classics (e.g., early blues, jazz, R&B). Royalties are now collected via SoundExchange for non-interactive streams (e.g., Pandora).
   

  en.wikipedia.org +1
• Title III (AMP Act): Codified royalty shares for producers, mixers, and engineers (2-5% of artist royalties), addressing underpayment in production credits.
   

  copyright.gov
  Implementation began in 2019, with full MLC operations in 2021. By 2025, the MLC’s database holds over 44 million works, and SoundExchange has processed billions in distributions.
   

  themlc.com

• MLC Distributions (Mechanical Royalties): From 2021-2025, the MLC has distributed over $3.3 billion in matched royalties, including blanket licenses and historical unmatched funds transferred from DMPs (~$427 million initially).
   

  creativeindustriesnews.com +1
  Annual breakdowns show steady growth until a slight dip in 2024 due to market fluctuations:
  • 2021: $473.3 million (initial launch, partial year)
  • 2022: $586.7 million (including $71.5 million from reprocessing)
  • 2023: $842.2 million (peak, with $88.4 million reprocessed)
  • 2024: $771.1 million (including $54.2 million reprocessed)
  • 2025 (partial, through October): Estimated ~$600-700 million, pushing cumulative past $3.3 billion.
     

    musicbusinessworldwide.com
  Reprocessing (re-matching older data) added $288.9 million across 2021-2024, improving payouts by 7.3% on average.
   

  themlc.com
  Match rates rose from 84.4% (initial) to 91.7% by 2025, thanks to database enhancements and outreach.
   

  themlc.com
• SoundExchange Distributions (Performance Royalties, Including Pre-1972): Cumulative payouts reached $12 billion by early 2025, up from $9 billion in 2022 and $11 billion in 2024.
   

  soundexchange.com +2
  Quarterly figures indicate annual totals around $1 billion in recent years (e.g., Q1 2025: $253 million; Q2 2025: $241 million).
   

  soundexchange.com +1
  Pre-1972 specifics: Over $10 million distributed in the first months post-MMA (2018-2019), addressing prior annual losses of $60-70 million.
   

  recordingacademy.com +1
  By 2025, pre-1972 royalties are integrated into overall distributions, benefiting thousands of legacy recordings

• Pre-1972 Protections: Thousands of artists (e.g., Motown’s Supremes, via advocate Mary Wilson) now receive digital performance royalties for classics recorded before 1972.
   

   
  This directly counters past inequities, where Black musicians lost billions due to loopholes.
   

  researchgate.net +1
  Initial payouts exceeded $10 million, with ongoing integration into SoundExchange’s $1 billion+ annual distributions.
   

  recordingacademy.com
• Mechanical Royalties for Songwriters: The MLC’s distributions have reached over 50,000 members, including legacy songwriters, with tools for claiming unmatched funds (~$400 million held as of 2025).
   

  recordingacademy.com +1
  Outreach recovered ~$1 million for “missing” members, many underrepresented.
   

  themlc.com
• Equity Focus: Post-2020 BLM movement, the MMA’s transparency has supported advocacy (e.g., BMAC’s report cards), highlighting benefits for Black creators who dominate streaming genres.
   

  blackprelaw.studentgroups.columbia.edu
  However, full reparations for historical theft remain unaddressed.
   

  researchgate.net

• Unmatched and “Black Box” Funds: ~$544 million in blanket unmatched royalties held as of 2025, plus $196 million historical, disproportionately affecting independent/legacy artists due to poor data.
   

  themlc.com +1
  Critics argue distribution favors major publishers.
   

  bclawreview.bc.edu
• Imbalances in Compensation: Streaming rates remain low; the MMA didn’t overhaul rate-setting, leading to calls for the American Music Fairness Act (AMFA) for terrestrial radio royalties.
   

  southerncalifornialawreview.com +1
  Black artists feel structural inequities persist.
   

  researchgate.net +1
• Implementation Shortcomings: Early unmatched peaked at $561 million (2021); while reduced, delays and complexity hinder small creators.
   

  digitalmusicnews.com
  No equitable distributions occurred by 2025.
   

  themlc.com
• Broader Critique: Seen as a “compromise” benefiting DMPs more than artists, leaving loopholes open.
   

  forbes.com +1

• Growth and Recognition: MLC named a “Most Innovative Company” in 2025; distributions hit $3 billion milestone.
   

  blog.themlc.com
  SoundExchange surpassed $12 billion, with Q1-Q2 2025 at $494 million.
   

  soundexchange.com
• Ongoing Advocacy: Reflections on MMA’s 5-year anniversary (2023) emphasized progress but need for AMFA.
   

  @SoundExchange
  2025 analyses highlight generational impacts on Black musicians, calling for further reforms.
   

  researchgate.net +1

• Complementary Nature: The MMA deliberately excluded terrestrial radio performance royalties (a provision from earlier bills like Fair Play Fair Pay Act was dropped for consensus). AMFA is often described as the “next step” or “unfinished business” of the MMA, extending artist compensation to traditional radio while preserving songwriter royalties (paid separately via ASCAP/BMI).
• Equity for African American Musicians: Both aid legacy creators. MMA’s pre-1972 fix benefits pioneers in blues, soul, and R&B. AMFA would provide ongoing radio royalties for genres heavily played on terrestrial stations, addressing exploitation where radio uses Black-innovated music without artist pay.
• Challenges: MMA faced implementation critiques (e.g., unmatched funds). AMFA faces broadcaster resistance, arguing promotional value of radio play and potential harm to small stations (mitigated by caps).

• Musical Works (Compositions): Rights for lyrics/melody (songwriters/publishers). Performance royalties are nearly universal worldwide, including for terrestrial (AM/FM) radio, collected by PROs/CMOs like ASCAP/BMI (US), PRS (UK), GEMA (Germany), SACEM (France).
• Sound Recordings (Masters): Rights for recorded performances (artists/labels). “Neighboring rights” or performer/master royalties vary significantly, especially for terrestrial radio.

• Recorded music revenues: $29.6 billion (+4.8% YoY, IFPI Global Music Report 2025), driven by streaming (67% of total).
• Creator royalties (mostly compositions): €13.97 billion (+6.6% YoY, CISAC Global Collections Report 2025), with digital exceeding €5 billion (35%+ of total).

• Countries that pay performer/master royalties on terrestrial radio: Nearly all major markets (e.g., UK, Germany, France, Japan, Canada, Australia, Brazil, South Korea, Mexico, most EU). Collected via CMOs like PPL (UK), GVL (Germany), CAPIF (Argentina).
• Exceptions (no pay): U.S., China (recently added limited rights), Iran, North Korea, Rwanda.
• Impact: Foreign CMOs often withhold U.S. royalties due to non-reciprocity. SoundExchange has agreements with 66+ international CMOs for reciprocal collection.

• Europe: Leads collections (58% CISAC share); strong neighboring rights, high digital growth.
• North America (mostly U.S.): Dominant in recorded revenues but lags in terrestrial performer pay.
• Asia-Pacific: Fast growth (e.g., Japan strong in physical/digital; emerging in India/China).
• Latin America/Africa/MENA: Double-digit growth (+22%+ regions), streaming-driven.