British songwriter Russ Ballard highlights the enduring economic value of music publishing rights
Veteran British songwriter Russ Ballard has shared new insights into his career, highlighting how music publishing rights often yield greater long-term economic value than live performances in the European entertainment sector.
Veteran British songwriter and former Argent frontman Russ Ballard has reflected on his decades-long career. He highlighted how the enduring financial value of music publishing rights often eclipses the returns from live performances.
The economics of rock catalogues
Born in Hertfordshire in 1945, Ballard achieved initial success as the guitarist and lead vocalist for Argent. However, he found far greater commercial traction writing for other artists, demonstrating the lucrative nature of the songwriting catalogue market.
This dynamic underscores a critical reality in the European music industry. While major arena tours generate significant upfront revenue, Ritchie Blackmore admitted he plays large gigs primarily "to make money". The long-term asset value ultimately lies in publishing.
Ballard’s career illustrates this principle clearly. He wrote "Since You Been Gone" and "I Surrender" for Rainbow, alongside "God Gave Rock And Roll To You" for Kiss and "So You Win Again" for Hot Chocolate. These tracks have generated decades of royalties, outlasting the initial commercial cycles of the performing artists.
The songwriter’s anecdotes also reveal the informal networks that drive the transatlantic music business. From Ringo Starr personally requesting "hits" and selecting tracks for his 1983 album Old Wave, to Michael Bolton expressing a desire to collaborate in Los Angeles, personal relationships remain central to securing lucrative placements.
Ballard’s interactions with figures like Roger Daltrey further highlight the symbiotic nature of the industry. Daltrey reportedly insisted on Ballard’s participation for a major US tour, demonstrating the premium placed on proven songwriting talent over mere session musicianship.
As institutional investors increasingly target music catalogues as stable alternative assets, Ballard’s trajectory offers a clear case study. The true wealth in the classic rock era was rarely generated on stage, but in the publishing agreements that retained the rights to the songs.
