ISRC

USQY51173157

CANT GET IT BACK (MIS-TEEQ KARAOKE TRIBUTE) - KARAOKE MIX

Song: CAN'T GET IT BACK (MIS-TEEQ VERSION)

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USQY51173157 is the International Standard Recording Code (ISRC) for the recording “CANT GET IT BACK (MIS-TEEQ KARAOKE TRIBUTE) - KARAOKE MIX. ISRCs are 12-character ISO 3901 identifiers that uniquely tag a specific sound recording — different masters, remixes, and live versions each receive a distinct ISRC. Written by SALAAM REMI, MARLON LU'REE WILLIAMS, ALESHA ANJANETTE DIXON, and others.

Format

USCountry
QY5Registrant
11Year (2011)
73157Designation
Country:
ISO 3166-1 alpha-2 country code (US).
Registrant:
3-character code identifying the label or distributor that assigned this ISRC.
Year (2011):
Last two digits of the reference year (2011). Years < 50 are 21st century.
Designation:
Unique 5-digit code assigned by the registrant for this specific recording.

Credit Chain

ISRCCANT GET IT BACK (MIS-TEEQ KARAOKE TRIBUTE) - KARAOKE MIX

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People also ask

What is the ISRC for "CANT GET IT BACK (MIS-TEEQ KARAOKE TRIBUTE) - KARAOKE MIX"?
The ISRC for "CANT GET IT BACK (MIS-TEEQ KARAOKE TRIBUTE) - KARAOKE MIX" is USQY51173157.
Who wrote "CANT GET IT BACK (MIS-TEEQ KARAOKE TRIBUTE) - KARAOKE MIX"?
"CANT GET IT BACK (MIS-TEEQ KARAOKE TRIBUTE) - KARAOKE MIX" was written by SALAAM REMI, MARLON LU'REE WILLIAMS, ALESHA ANJANETTE DIXON, JOSEPH FREEMAN, AUBREY GRAVATT, THEODORE LIFE, HERNST BELLEVUE.
What is an ISRC and what does it tell you?
An ISRC (International Standard Recording Code) is a 12-character ISO 3901 identifier that uniquely tags a specific sound recording. The first two characters are the country code, the next three are the registrant (label or distributor), the next two are the year, and the last five are a unique recording number.

What is ISRC USQY51173157?

USQY51173157 is an International Standard Recording Code (ISRC) that uniquely identifies the recording “CANT GET IT BACK (MIS-TEEQ KARAOKE TRIBUTE) - KARAOKE MIX. ISRCs are 12-character alphanumeric codes defined by ISO 3901, used globally by streaming platforms, record labels, and rights organizations to track plays and distribute royalties.

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