Longtime British hit writer John Carter has signed a deal with independent publisher peermusic to represent his entire catalog.
Birmingham-born Carter, who lives in London, co-wrote a wide selection of enduring British hits, notably in the 1960s and 1970s, including “Can’t You Hear My Heartbeat,” Herman’s Hermits’ No. 2 hit on the Billboard Hot 100 in 1965; “Funny How Love Can Be” by the Ivy League the same year; and the 1974 transatlantic hit “Beach Baby” by First Class.
Carter was a member of both the Ivy League and First Class.
John Carter Music and Sunny, his label with songwriting partner Ken Lewis, will now be represented worldwide by peermusic, whose MD Nigel Elderton tells billboard.biz: “John’s been a writer and an associate of the company for many years, and we already manage a company called Carter-Lewis.
“The repertoire fills a hole in our catalog, and the fact we’ve got many of the corresponding recordings to these copyrights attracted us. So this is continuing a long-term relationship with John.”
Elderton adds that peermusic plans to explore new promotional possibilities for the international licensing deals for the Sunny label that were established by Carter and his wife Gill.
Carter and Lewis first recorded in 1961 under the name Carter-Lewis and the Southerners. As the Ivy League, they reached the U.K. top 10 in 1965 with their compositions “Funny How Love Can Be” and “Tossing and Turning,” while the Herman’s Hermits single, not a U.K. hit, was prevented from topping the U.S. chart only by the Supremes’ “Stop! In The Name of Love.”
Says Carter: “When we made our minds up that it was the right time to sell our companies, peermusic seemed to be the obvious choice, as I’ve had a very happy relationship with them since the formation of the Carter-Lewis Company in the 1960s. Nigel is a great guy to deal with.”
Carter and Lewis’ catalog also includes Brenda Lee’s 1964 U.K. top 20 entry “Is It True”; the Flowerpot Men’s “Summer of Love”-inspired 1967 U.K. top five hit “Let’s Go To San Francisco,” which like the later “Beach Baby” was heavily Beach Boys-influenced; and Welsh singer Mary Hopkin’s British entry in the 1970 Eurovision Song Contest, “Knock Knock Who’s There.”