Reading releases, one by one…
Finding the profile. The first time takes a while — after that it opens instantly.
Person · US
| Year | Releases |
|---|---|
| 1969 | 1 |
| 1970 | 0 |
| 1971 | 0 |
| 1972 | 0 |
| 1973 | 0 |
| 1974 | 0 |
| 1975 | 0 |
| 1976 | 1 |
| 1977 | 0 |
| 1978 | 2 |
| 1979 | 0 |
| 1980 | 1 |
| 1981 | 0 |
| 1982 | 1 |
| 1983 | 0 |
| 1984 | 0 |
| 1985 | 0 |
| 1986 | 0 |
| 1987 | 3 |
| 1988 | 0 |
| 1989 | 2 |
| 1990 | 0 |
| 1991 | 1 |
| 1992 | 0 |
| 1993 | 0 |
| 1994 | 0 |
| 1995 | 1 |
| 1996 | 0 |
| 1997 | 0 |
| 1998 | 0 |
| 1999 | 0 |
| 2000 | 1 |
| 2001 | 2 |
| 2002 | 0 |
| 2003 | 1 |
Potentially at risk · per year
Sizing what may be missing…
Reading releases, one by one…
Reading credits from public databases. The first time takes a while — after that it opens instantly.
Potentially at risk · per year
37 songs flagged. Every discrepancy, where it is and how to fix it, is below. Want every song checked at every society? Get the full report.
Plays are estimated from ListenBrainz listening data, scaled to all streaming services.
Publishing: estimated plays × writer-side rate × the chance the song is really unregistered.
Neighbouring rights: a radio and public-performance proxy for tracks where you perform or produce.
An indicative estimate, not a statement of money owed. Full method →
Publishing · the songs
Paid by authors' societies (SIAE, SACEM, PRS…) to writers and publishers. We read open music databases; your society's own register is the final word.
Recording · the masters
Paid by performers' and producers' societies (NUOVOIMAIE, PPL, GVL…) for radio and public play.
Composition, writers, ISWC and ISRC are all in public data for these — the basics that let societies match plays to you.
We become the publisher (admin only, you keep your rights): we register every song, fix the splits and claim what is owed, back to the oldest period still open. No upfront fee — a commission on what comes back.
Life'll Kill Ya · 2000 · 2 recordings
Composition has no ISWC in public databases
My Ride’s Here · 2001 · 2 recordings
Composition has no ISWC in public databases
My Ride’s Here · 2001
Composition has no ISWC in public databases
Hit Somebody (The Hockey Song) · 2001
Composition exists but is not linked to this recording
Hit Somebody (The Hockey Song) · 2001
Recording has no ISRC in public databases
Hit Somebody (The Hockey Song) · 2001
Composition exists but is not linked to this recording
Hit Somebody (The Hockey Song) · 2001
Recording has no ISRC in public databases
84 as instrument · 79 as producer · 60 as vocal · 30 as arranger · 10 as mix · 10 as recording · 2 as performer · 1 as instrument arranger
Producers and session players are often missing from platform credits and from neighbouring-rights registrations.
Signals come from public databases and can be wrong or incomplete; a missing code here does not prove a song is unregistered.
Neighbouring rights in the US can also be checked directly on SoundExchange's ISRC search ↗.
For the parts we can't estimate from public data, your own files are exact: add your distributor report and society statements.
Two lines from the map above: the songwriting slice of your streams, and an estimate of neighbouring rights for the recordings you play on. The recording money your distributor pays for streams is not here — it is already in your distributor statements.
Calculated automatically from 445,795 listens on ListenBrainz, an open listening panel that is much stronger in the UK and US than in most other countries — so elsewhere it is often an underestimate.
Plays are scaled to all services, then multiplied by a per-play rate and by your share of the songwriting.
Drop it in and the figures come from your real streams, country by country — it never leaves your browser.
My Shit’s Fucked Up · I Was in the House When the House Burned Down · Numb as a Statue · Dirty Life and Times · She’s Too Good for Me · Disorder in the House · Life’ll Kill Ya · For My Next Trick I’ll Need a Volunteer · Please Stay · Mutineer · Genius · El Amor de Mi Vida · Prison Grove · Porcelain Monkey · The Rest of the Night · Rub Me Raw · I’ll Slow You Down · Hostage-O · Fistful of Rain · Dirty Little Religion · +18 more
Assumed 300–2,000 paid tickets per show (from how much your music is listened to) at a typical local price (e.g. €15–40), × each society's published concert tariff, × the share of the set that is your own songs, × your share of the writing (70%).
By currency: CA$102 – CA$1,630 · £346 – £5,378. Added up in euros at the European Central Bank reference rates of 2026-10-02.
Put your real ticket numbers on the shows page for a precise figure. Countries without a published tariff (e.g. the US) aren't counted.