ISA Contributing Editor Larry Wayne Clark Dies

Transcription

OUR 46th YEAR SERVING SONGWRITERS THROUGHOUT THE WORLD
®
JULY 2013
ISBN 0332-4990
FOUNDED 1967
ISA Contributing Editor
Larry Wayne Clark Dies
Larry Wayne Clark, ISA Contributing
Editor, has died a his home in Canada, at the
age of 63. He had been suffering from cancer.
Larry was born in Montreal, Canada,
moving to Nashville in the 1970’s, becoming
the ISA’s first Nashville correspondent, and
later its Contributing Editor. He interviewed
dozens of songwriters for the ISA, including
Gordon Lightfoot, Hank Cochran, Bobby
Braddock, Merle Kilgore, Mel Tillis, Roger
Cook and many others.
As a songwriter, Larry co-penned Chris
Young’s breakout Nashville Star single,
“Drinkin’ Me Lonely,” Lee Greenwood’s
“Between A Rock And A Heartache,” The
Statler Brothers’ “To Make A Long Story
Short” and Buddy Jewell’s “Addicted To The
Rain.”
Larry was inducted into the British
Columbia Country Music Hall of Fame in
April 2011. He will be also honoured this
summer in Nashville with a Celebration Of
Life ceremony.
Obituary
Larry Wayne Clark
Music Industry News
ASCAP’s Paul Williams Addresses
The CICAC Summit In Washington
On Wednesday, June 5th, ASCAP President and Chairman Paul Williams delivered a powerful
keynote to attendees of the CISAC World Creators Summit in DC. He spoke passionately and
pointedly about what it means to be a creator in today’s challenging digital environment.
Hello everyone. I'm Paul Williams and I'm a songwriter. I know what it means to be a creator.
I know what it means to be engaged in a profession that is fraught with uncertainty. Uncertainty
is part of everyone's life, but it is a profound part of the creative life.
I face a blank page. Where will the next idea come from, the next song, the next line? Will I
be able to make something out of the messiness of life that did not exist before – a song, a piece
of music, art? All creators – writers, composers, painters, poets – daily face the uncertainty of a
blank page. We dive deep, and come back up to the light of day with a form of expression that,
hopefully, will bring meaning or knowledge or joy to those who experience it.
It is life-affirming work. Completing something new brings satisfaction to most creators.
Then, reality sets in. More uncertainty. Will it get recorded, published, performed? Today,
creators can find easy platforms for self-publishing and distribution. But that takes more work
and more hustle and more investment in selfmarketing.
Whatever way our work gets before the public,
we're still faced with more uncertainty. Will the
days, or months or years of work that led to this
piece of art – whatever form it takes – bring success?
Will it help me pay the rent? It takes a form of
emotional courage to stake one's livelihood on such
profound uncertainty. But that's what true creators
do. We face uncertainty and we say "yes."
We say "yes" I can do this, I will take this chance,
because if – and that's a very big "if" – if my work
connects with an audience, then I will benefit from
the fruits of my creative labor. I will be able to buy
shoes for the kids and pay for health insurance. And
that's because I live in a democracy that recognizes
and protects the value of intellectual property.
ISSUE 316
Obituaries
Larry Wayne Clark (63), songwriter and
ISA International Songwriters Association
contributing editor, amongst whose hundreds
of published songs were singles recorded by
such country stars as The Statler Brothers and
Lee Greenwood. Member of the International
Songwriters Association Hall Of Fame, and
the British Columbia Country Music Hall of
Fame. In British Columbia, Canada, from
cancer....Lorene Mann (76), singer and
songwriter whose own hits include "Hide My
Sin" and "You Love Me Too Little", who
worked with Archie Campbell ("Dark End Of
The Street" and "Tell It like It Is") and Justin
Tubb ("Hurry Mr. Peters" and "We've Gone
Too Far Again"), and whose songs have been
recorded by Kitty Wells ("Left To Right"),
Norma Jean, Rex Allen ("Don't Go Near The
Indians"), The Wilburn Brothers, Skeeter
Davis ("Something Precious"), Vernon
Oxford, Rex Allen, Marvin Rainwater, Walter
Brennan, Ben Colder and Jerry Wallace ("My
Wife's House"), In Huntland, Tennessee,
USA, of heart failure....George Jackson (68),
singer and songwriter who wrote, "One Bad
Apple" for The Osmonds and "Old Time
Rock & Roll" for Bob Seger, and whose
songs have been recorded by Otis Clay,
Clarence Carter, Wilson Pickett , Z.Z. Hill,
Johnnie Taylor, Little Milton and Denise
LaSalle. In Ridgeland, Mississippi, USA, of
cancer....David Rea (65), guitarist and
songwriter who wrote "Ninety Degrees By
Ninety Degrees" and "Pilgrimage to Paradise"
and co-wrote Mountain's, "Mississippi
Queen", and who worked with Gordon
Lightfoot, Ramblin' Jack Elliott, Roosevelt
Sykes, Tom Rush, Reverend Gary Davis,
Richie Havens, Mississippi John Hurt, Ian
And Sylvia and Joni Mitchell. In Ontario,
Canada, of cancer....Ray Whitley (69), singer
and songwriter who recorded "Deeper In
Love"and whose songs have been recorded
by The Tams ("Be Young, Be Foolish, Be
Happy" and "What Kind Of Fool"), Joe
South, Billy Joe Royal ("Everything Turned
Blue") and Tommy Roe. International
Songwriters Association Hall Of Fame
Member. In Altlanta, Georgia, USA, of
cancer....Alan O'Day (72), singer and
songwriter,and a member of The Shoves, The
Renes, The Archers and Alan & Bob &
Denny. His songs have been recorded by
Helen Reddy ("Angie Baby"), Cher ("Train
Of Thought"), Bobby Sherman ("The Drum")
and The Righteous Brothers ("Rock And Roll
Heaven"). In Westwood, Los Angeles,
California, USA, of brain cancer....George
Jones (81), singer and songwriter, and
regarded widely as the greatest country singer
of the 20th century. International Songwriters
Association Hall Of Fame Member, Country
Music Hall Of Fame Inductee and Texas
Country Music Hall Of Fame Inductee. In
Nashville, Tennessee, USA, of hypoxic
respiratory failure.
The Songwriter® is published by International Songwriters Association Ltd
PO Box 46, Limerick City, Ireland. Tel 00 353 61- 228 837: E-mail [email protected]
Managing Editor: Jim Liddane
Magazine
Contributing Editors: Larry Wayne Clark, Patricia Knapton, Jim Birmingham Songwriter
and Harvey
RachlinPage 1
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Songwriter Magazine Page 2
SONGWRITING NEWS
ole Makes Contribution To
Songwriters Hall of Fame
ole presents a $50K contribution to The Nashville Songwriters Hall of Fame. Pictured (L-R) Mike Dye,
NASHOF Finance Chair; ole CEO Robert Ott; Ken Paulson, NASHOF Board Vice Chair; Pat Alger,
NASHOF Board Chair; ole COO Lou Ragagnin; ole CCO Gilles Godard. (Photo: Steve Lowry)
ole, the ndependent music publisher, has contributed $50,000 to the Nashville Songwriters Hall of
Fame (NASHOF), which opened in May as part of the new Music City Center in downtown Nashville.
Visitors will be able to see, hear and learn about the contributions and work of Nashville's best
songwriters. ole CEO Robert Ott, COO Lou Ragagnin and CCO Gilles Godard were recently on hand to
present the check to board members from the Nashville Songwriters Hall of Fame Foundation.
"ole, the Majorly Indie, came through in a major way for the Nashville Songwriters Hall of Fame
capital campaign with a $50,000 contribution," stated NASHOF Chair Pat Alger. "Robert Ott, Lou
Ragagnin and Gilles Godard believe that being a part of the Nashville community means supporting
worthy ideas that celebrate the unique contributions of our artists and songwriters. We are proud to
have them as the only independent publisher on our wall of benefactors."
ole began operations on 16th Avenue in Nashville eight years ago and, since that time, has worked
to be a supporter of the Nashville music community, investing in current songwriter development
and catalogs with the goal of adding value to both. Since inception, ole has amassed some 20,000
Country songs via acquisitions, such as those of Jody Williams Music, Blacktop Music Group, Balmur,
Encore, Frank Myers and Richie McDonald. Throughout, the company has committed to developing
up-and-coming songwriters like Ryan Tyndell and Charlie Worsham as well as working with
established writers like Monty Powell, Marty Dodson, Bruce Wallace, Brett Jones and Dave Turnbull.
ole's on-going commitment to the Nashville songwriting community includes the company's
involvement with the Nashville Screenwriter's Conference, which brings world-class music
supervisors from Hollywood to Music Row. ole is also a multi-year sponsor of the annual Tin Pan
South Songwriters Festival which benefits the Nashville Songwriters Association International
(NSAI).
About ole:
ole is the world's fastest growing independent music publishers. Founded in 2004, and with offices in
Toronto, Nashville, New York and Los Angeles, ole boasts a team of 45 experienced industry
professionals focused on acquisitions, creative development and worldwide copyright administration.
ole has recently entered the Production Music space with the acquisition of MusicBox and Auracle,
which have operations in NY, Toronto and LA.
ole has been named Canadian Country Music Association's Music Publishing Company of the Year for
the past six years and earned its first Grammy Award in 2009 for Best Country Song, "White Horse".
Other recent notable ole awards include: Academy of Country Music (ACM) 2012 Song of the Year
Award for "Crazy Girl" (Liz Rose/Lee Brice); SESAC 2011 Country Performance Activity Award for "Til
Summer Comes Around" (Monty Powell/Keith Urban); three BMI 2011 Most Performed Songs Awards
for "Fearless" (Liz Rose, Taylor Swift); "Why Wait" (Jimmy Yeary, Tom Shapiro) and "Let Me Down
Easy" (Marty Dodson, Jennifer Hanson, Mark Nesler); 2011 SOCAN Country Music Award for "Make
Hay While The Sun Shines" (Steven Lee Olsen, Bruce Wallace); 2011 SOCAN Domestic Television
Series Music Award Busytown Mysteries (Peter Coulman, Carl Lenox, David Tedesco); and 2011
SOCAN Award for 100,000 Radio Performances of Lighthouse's "Sunny Days" and "Pretty Lady" (Skip
Prokop).
The ole catalog includes over 45,000 songs and 40,000 hours of TV music across all genres. ole has
completed over $150MM USD in acquisitions, including purchases of music catalogs such as:
Timbaland, Blacktop, Jody Williams Music, Rami Yacoub, Chris Wallin, Richie MacDonald, Balmur,
Keith Follese, Brett Jones, Lighthouse, Frank Myers, Dream Warriors, Encore, David Tyson, and
Marsfilm Music. ole has also purchased the worldwide music rights for TV catalogs such as WGBH,
Cookie Jar, Cineflix, CCI and recently, The Cat In The Hat Knows A Lot About That.
ole is committed to the creative development of its 60+ staff songwriters, legacy writers and
composers and the cultivation of our catalogs and client catalogs. ole has ongoing co-ventures with
Last Gang Publishing (Alt Rock), Roots Three Music (Country) and tanjola (Pop/Rock/Urban).
ole is an expert in administrating and sub-publishing music copyrights and has concluded worldwide
publishing administration agreements with some of the world's leading songwriters, publishers and
film and television producers. adminow, ole's online client account transparency portal, was
launched recently and demonstrates ole's commitment to modernizing its client services and to
leading-edge IT.
Notable copyrights for ole include: the Justin Timberlake international hit "Suit & Tie" (Timbaland),
2013 multi song of the year nominee "Springsteen" (Ryan Tyndell),Taylor Swift singles "Fearless,"
"White Horse," "Tim McGraw," "Picture To Burn," "Teardrops On My Guitar"; Rascal Flatts' "Why
Wait"; Kelly Clarkson's "Miss Independent"; and "I'm Not a Girl, Not Yet a Woman" by Britney
Spears; Pink's "U + Ur Hand"; "Sexyback," "My Love," and "What Goes Around" by Justin
Timberlake; "Say it Right" and "Promiscuous" by Nelly Furtado; "Start a Band" by Brad Paisley with
Keith Urban; "That's How Country Boys Roll" by Billy Currington; "If Heaven Wasn't So Far Away" by
Justin Moore; "It's Gonna Be Me" from *N Sync; "Shape of My Heart" by Backstreet Boys; iconic
Canadian Olympic theme "I Believe"; "Legendary Child" by Aerosmith; "Black Velvet" by Alannah
Myles; Tim McGraw's "Something Like That".
ole owns or represents up to 150,000 production music tracks within its MusicBox libraries. With 10
staff in North America, ole's Production Music division delivers excellent customer service and quality
Creative on a leading edge IT platform. Our production music division leverages ole's established
Administration, Finance and IT services.
ole is committed to being the best and most innovative global destination for world-class
songwriters, composers, and management talent, and the first choice music source for creators in all
media.
John Mottram Appointed PRS
For Music Public Affairs
Manager
PRS For Music, the organisation that represents some 95,000
songwriters, composers and publishers, has confirmed the
appointment of its new Public Affairs Manager, John Mottram.
John Mottram was previously Head of International Broadcasting
and Radio at the Department of Culture, Media and Sport
(DCMS) leading the Government's media objectives and closely
working with senior officials across Whitehall and in Europe on
policy for media industries.
Mottram played a fundamental role in the development and
implementation of economic policies, through the Digital Britain Review and Digital Economy Act
2010, to support the UK communications and content industries.
Robert Ashcroft, PRS for Music Chief Executive said: "John has long experience and expertise in
government and policymaking and will be bringing to the role valuable insight and lobbying
capability which is crucial right now. His understanding of the regulatory environment and the
businesses that PRS for Music license is an immense asset. We are delighted to welcome John to the
PRS for Music team."
John Mottram responded: "PRS for Music is a leading and influential voice for the creative industries
both in the UK and around the world. I look forward to using my experience of political and
regulatory environments in the communications markets to secure a strong and sustainable
copyright framework which supports growth and innovation for our members."
Emmelie De Forest Wins
Eurovision 2013
Europe has voted. Emmelie de Forest from
Denmark is the winner of the 2013 Eurovision Song
Contest in Malmö, Sweden.
The 20 year old scored 281 points for 'Only
Teardrops', which was performed before exuberant
fans who packed the Malmö Arena.
She was closely followed by Azerbaijan with 234
points and Ukraine with 214 points.
More than 100 million television viewers tuned in
the two Semi and Grand Finals of the Contest,
which was transmitted live over the Eurovision and
EuroRadio networks via EBU Member SVT.
The result bestows hosting rights to next year's
event to EBU Member TV2, Denmark. EBU Executive Supervisor, Jon Ola Sand, said the production
had exceeded expectations.
"The EBU would like to thank everyone at SVT for their extraordinary effort in staging this year’s
Song Contest. All three shows set new standards for TV entertainment worldwide. Our
congratulations go to Denmark and to all the delegations that participated in the 58th edition of
Europe’s favourite TV show."
BMG Concludes Acquisition Of
Virgin Music And Famous UK
Music Publishing Copyrights
Music rights management company BMG has announced it has concluded the acquisition from Sony/
ATV Music Publishing and EMI Music Publishing of a series of prestigious music publishing catalogs,
including worldwide rights in the Virgin Music publishing companies, Famous UK Music Publishing
and selected current songwriters.
The copyrights concerned include iconic songs by the likes of Kurt Cobain, Tears for Fears, Iggy Pop,
Duffy, Mark Ronson, The Human League, Terence Trent D'Arby and The Kooks.
The acquisition ? first announced 21 December 2012 has now been fully approved by the European
Commission.
Earlier this month, BMG announced the closure of its acquisition of the Mute and Sanctuary
catalogues of recordings.
Usher to Receive ASCAP Golden
Note Award
The American Society of Composers, Authors and
Publishers (ASCAP) will honor eight-time
Grammy Award-winner Usher with the
prestigious ASCAP Golden Note Award during its
26th annual Rhythm & Soul Music Awards. The
invitation-only event will take place on Thursday,
June 27th, 2013 at the Beverly Hilton Hotel in
Los Angeles, California.
ASCAP's Golden Note Award is presented to
songwriters, composers and artists who have
achieved extraordinary career milestones.
Previous honorees include Sean "Diddy" Combs,
Jermaine Dupri, Jimmy Jam & Terry Lewis, JayZ, Quincy Jones, Alicia Keys, LL Cool J, Lionel
Richie, Pharrell Williams and Stevie Wonder.
"I take the art of songwriting and music-making
very seriously, so to be given the ASCAP Golden
Note Award from an organization of my fellow
music creators is a huge honor," said Usher.
"I've been blessed to have such a wonderful
career, working with some of the most talented people in the business, and I am just getting
started!"
ASCAP President and Chairman Paul Williams commented: "Usher's musical evolution over the years
clearly proves his versatility and longevity as an artist, performer and songwriter. The world has
moved to his music for nearly two decades. Happily for the rest of us, from the sound of his latest
work, it's clear that the beat will go on and on. Usher is the perfect candidate to receive one of our
top honors -- the ASCAP Golden Note Award."
"We at ASCAP have been a fan and advocate for Usher since day one. He's a tried and true music
trailblazer who's constantly pushing boundaries and redefining genres," commented ASCAP VP of
Rhythm & Soul Membership Nicole George-Middleton.
Usher (full name Usher Raymond IV) first rose to fame in the late 1990s with the release of his
second album My Way, which spawned his first Billboard Hot 100 #1 hit, "Nice & Slow." The album,
which has since been certified 6-times platinum by the RIAA, displayed Usher's talent for
songwriting by co-writing six of the nine songs. His third studio album, 8701 (2001), quickly reached
multi-platinum status and went on to sell over four million copies, bringing Usher his first Grammy
win in 2001 for Best Male R&B Vocal Performance; a category in which he repeated a win in 2002 for
"U Don't Have to Call." His next album Confessions (2004) took the music world by storm and is
Usher's most successful album to date, making him the first artist to top the charts with four
consecutive number one songs ("Yeah," "Confessions, Pt. 2," "Burn," and "My Boo"). His most recent
albums -- Here I Stand, Raymond v. Raymond and Looking 4 Myself -- introduced the world to
several massive hits, including "Love In This Club," "DJ Got Us Fallin' In Love" and "Scream." The
RIAA ranks Usher as one of the best-selling artists in American music history, having sold over 23
million copies in the United States alone. To date, he has sold over 50 million records worldwide,
making him one of the best selling music artists of all time.
The 26th annual ASCAP Rhythm & Soul Music Awards will also honor the songwriters and publishers
of the most performed ASCAP songs on the 2012 R&B/hip-hop, rap and gospel charts. Top awards
will be given to the Songwriter of the Year, Publisher of the Year, Top R&B/Hip-Hop Song, Top Rap
Song and Top Gospel Song. The evening will also feature performances by several award-winning
songwriters/performers
Songdoor 2013 Open For
Submissions
The SongDoor 2013 International Songwriting Competition is now
open to entries. Awards total: $40,000+. All entrants receive $120
in free songwriting tools. The website has been completely
redesigned and all entries are now being screened for potential film
and TV placement.
"This year, we're screening all songs for potential placement in film
and TV," said SongDoor president, Tony Zotta. "For songwriters,
label cuts are few and far between. For artists, labels deals are
rare. Film and TV is where it's at in terms of making a living from
your music, so we're opening that door for people. The only
requirement is that the entry be fully-produced and ready to go.
Music supervisors are not interested in re-doing demos."
In addition, all entrants, win or lose, receive a free all-access 45day to SongU.com and free sight-reading software for either Mac or Windows, valued at $120 USD.
The only requirement is the entry of one song in the competition. The entry fee is $10.
"Our entry fee is about a third of most other competitions," says Dessa Rossten, SongDoor's
marketing director. "We are the only competition that gives so much back just for entering. Our staff
is also easy to contact for advice, questions and guidance. SongDoor employees are all songwriters
themselves, so we know what it's like."
"Another new thing for 2013 is our entry age, which by popular demand has been lowered to 16.
There are a lot of talented teens out there who are writing amazing stuff. They wanted a shot, so we
gave it to them."
Entrants are eligible to win the Grand Award, valued at approximately USD $7,951 in music
merchandise and services, including a single-song publishing contract with Hard Twist Music-BMI
(owned by mega-hit songwriter Bill Shore), a full-band private session demo at Sixteen Ton Studio,
a one-year full-access membership to SongU.com, a copy of MasterWriter 2.0 songwriting software,
a Primo membership to Broadjam, a #1 Membership to songsinc.com and an autographed copy of
Amazon.com's best-selling songwriting book, "Shortcuts to Songwriting for Film and TV," by Robin
Frederick. Six Category Winners each receive a valuable package of prizes valued at almost $5,468,
including a top-shelf guitar/vocal or piano/vocal studio demo produced at Herringbone Recording
Studio and memberships to SongU.com, songsinc.com and Broadjam.
SongDoor has helped to launch a number of careers: 2012 Country winner Jamie Nattier just had "If
Trucks Drank Beer" licensed for a popular video game. 2010 Grand Award winner, Ryan Martinez,
recently wrapped up a CD produced by Mike Rizzo's Funk Generation label. Previous winner Anthony
Snape has toured with guitar virtuouso Tommy Emmanuel and is currently touring Australia in
support of his new CD. More than 70 former SongDoor winners have gone on to get label and/or
publishing deals, tours and opening gigs for major artists.
Industry heavyweights Joe Beck, Jason Blume, Dennis Winters, Bill Shore, Nancy Moran and Steve
Avedis are with SongDoor to serve as judges this year. For complete details, see http://
songdoor.com.
About SongDoor
The SongDoor International Songwriting Competition is an annual event, open to amateur and
professional songwriters worldwide. Entries are accepted online from April 15 through November 15.
The entry fee is $10. Songs may be entered in six different categories: Christian, Country, Pop, Hard
Rock, Soft Rock and Instrumental. Judges include seasoned music industry producers, artists and
engineers who have worked with such artists as Britney Spears, Neil Young, Keith Urban, Cheap
Trick, Justin Timberlake, Jimmy Buffett, Garth Brooks, The Fray, Train, Vince Gill and a host of
others. For complete information, visit: http://www.songdoor.com.
Go Compare Advert Helps Net
£10m For UK Songwriters
Advertising revenue is a vital source of income for many songwriters and composers. In 2012 radio
advertising accounted for £1.9m in broadcast royalties with television commercials netting £8m for
PRS for Music members. Of all music played on UK commercial television stations, approximately
one minute of every ten is used solely in adverts.
Dan Neale, Head of Music at advertising agency, Rainey Kelly Campbell Roalfe/Y&R explains,
"Music's role in TV adverts has always been significant, and under-rated, but it's never been more
beneficial for songwriters to land that deal. The exposure and reach they can gain by getting a song
in a commercial is a huge benefit to the artist, as it allows them to cut through the many thousands
of acts that the modern audience has access to. The licence fee and royalties that are generated by
the campaign can change a songwriter's career."
The infamous 'Go Compare' advert was played most throughout 2012, followed swiftly by its
competitor 'Confused.com' using the Village People's iconic Y.M.C.A. song - which was a UK Number
1 chart hit when first released in 1978.
Mercury Prize winner, Speech
Debelle co-wrote the music used
in the Sky commercial, the
fourth most performed ad in
2012. Spinnin' was written by
Speech Debelle (aka Corynne
Elliot) along with luminary
songwriting team, Pat Marks,
Dwayne Richards and Michael
Lindsay. Lindsay, who pioneered
the massive folktronica scene
with his band Tunng is an
accomplished composer for
television and film, working on
the ITV re-brand and
soundtracking commercials for
O2, T-mobile, Littlewoods,
Samsung and Honda.
Speech Debelle commented, "Writing with Mike was a great experience. I love working with people
that are from a different musical genre to me so we can bend and wave the sound we're creating.
I'm going to Iceland this spring to work with Mike again. It couldn't happen without a supportive and
active sync team; Dean, Adrian, Claire and everyone at Ninja\Big Dada\JIM have been excellent.
Sync is an essential source of income for me so I can keep writing and producing music that makes
people listen, and PRS for Music helps make that happen."
Universal Music Acquires
Criterion Music
Universal Music Publishing Group (UMPG) has acquired Criterion Music Corporation and its affiliated
entities, the family-owned and run music publishing company that, over the last seventy years, has
built one of the most extraordinary collections of pop, country and jazz hits and standards, it was
announced today by Zach Horowitz, Chairman & CEO, UMPG, and Bo Goldsen, President of Criterion.
The catalog features songs written by jazz great Charlie "Bird" Parker("Ornithology"), Lee Hazlewood
("These Boots are Made for Walkin'"), Lyle Lovett ("If I Had a Boat"), Rodney Crowell ("Shame on
the Moon"), Rosanne Cash ("Seven Year Ache"), Jackson Browne ("Doctor My Eyes"), and many
others. It includes 13 No. 1 country hits, one of the largest collections of Hawaiian and Polynesian
music, which is consistently licensed for film and TV uses, and interests in such standards as "Dream
(When You're Feeling Blue)," "Moonlight in Vermont," "It's a Good Day," "Mañana," "Papa Ooh Mow
Mow," "Let The Good Times Roll," "Gee Baby, Ain't I Good To You," and "Have I Stayed Too Long at
the Fair," to name a few.
The company will relocate to UMPG's global headquarters in Santa Monica, CA, where Bo Goldsen
will continue to serve as President of Criterion.
"Over seven decades, the Goldsen family has built one of the finest collections of songs in
contemporary music publishing. We are privileged that they have entrusted their legacy to UMPG.
We are delighted that Bo Goldsen will continue to run Criterion as its President and work with us to
write the next chapter in the company's history," said Zach Horowitz.
"I am excited to take Criterion into the future, under the wing of UMPG, and the great enthusiasm
for the catalog shown to me by Zach Horowitz, Lance Freed, and Evan Lamberg" said Bo Goldsen.
The company's history dates back to 1943 when music publishing veteran Mickey Goldsen joined the
newly founded Capitol Records to create its publishing division, then called "Capitol Songs." Many of
the earliest publishing copyrights were recorded by Capitol's recording artists, including Nat King
Cole ("Gee Baby, Ain't I Good To You"), Peggy Lee ("It's a Good Day," "Mañana"), The Pied Pipers
("Dream (When You're Feeling Blue)"), and Stan Kenton ("I Told You I Love You (Now Get Out)"), to
name a few. In 1950, Goldsen purchased the publishing assets from Capitol and started Criterion
Music Corporation.
In the 1950s, the newly independent company purchased the Charlie Parker catalog, which includes
54 original songs written by the legendary jazz saxophonist and composer, including such jazz
standards as "Ornithology," "Koko," "Scrapple from the Apple," "Confirmation," and "Yardbird Suite."
During this period, Criterion also acquired classics like "Let The Good Times Roll" (originally a hit for
Shirley & Lee and later recorded by Roy Orbison, Harry Nilsson, Barbra Streisand and Joe Strummer,
among others), "Moonlight in Vermont" (often considered the unofficial song of the state of Vermont,
and recorded by everyone from Frank Sinatra, Ray Charles, Nat King Cole, Tony Bennett, Billie
Holiday, Linda Ronstadt, to Willie Nelson), and "The End" (a No. 7 pop hit for Earl Grant).
In the 1960s, Criterion secured the publishing rights of the catalog of the iconic songwriter,
producer, and singer Lee Hazlewood. His catalog includes Nancy Sinatra's hit version of Hazlewood's
song "These Boots Are Made for Walkin'," which rose to No. 1 in both the US and the UK, selling over
6 million singles worldwide and two million albums. The song has been covered by artists as diverse
as Jessica Simpson and Megadeth. Other Hazlewood originals published by Criterion include "Sugar
Town" (a Top 5 pop hit for Nancy Sinatra), "Houston" (a Top 11 pop hit for Dean Martin) and
"Summer Wine" (the first of a series of hit duets by Nancy & Lee). A German version of "Summer
Wine" by Ville Valo and Natalia Avelon was the fourth best-selling single in that country in 2007, and
Lana Del Rey has also recorded a new version of the song, which was recently released
commercially.
The 60s also saw Criterion acquire interests in two of the most memorable novelty tunes from the
era: The Trashmen's "Surfin' Bird" and The Rivingtons' "Papa Ooh Mow Mow." Both songs remain
perennial favorites for film and TV uses.
In the 1970s, 80s, and 90s, Criterion found further success when Mickey's son, Bo Goldsen, began
working with the company and added new generations of talented writers to its roster. Bo was
responsible for signing Jackson Browne, and the Criterion catalog features well-known Browne
favorites like "Doctor My Eyes," "Song For Adam," and "Jamaica Say You Will."
Bo also signed Rosanne Cash and Rodney Crowell, two of the most respected country writers of their
era. The Criterion catalog features Cash's landmark classics "Seven Year Ache" and "Blue Moon with
Heartache," both No. 1 country hits, as well as the Grammy Award-winning No. 1 country hit "I
Don't Know Why You Don't Want Me." Crowell's "Shame on the Moon" was a No. 2 pop hit for Bob
Seger, and his album Diamonds & Dirt became the first country album to feature five No. 1 country
singles, including "She's Crazy for Leavin'" and the Grammy Award-winning "After All This Time."
Other chart- topping country songs in the Criterion catalog include hit singles such as Eddie Raven's
"I Got Mexico," Dan Seal's "Bop," The Dirt Band's "Long Hard Road," Highway 101's "Somewhere
Tonight," Garth Brooks' "Standing Outside the Fire" and Pam Tillis' "Maybe It Was Memphis," to
name a few. In 1996, "I Can Love You Like That," which was co-written by Criterion writer Maribeth
Derry, became a No. 1 country hit for John Michael Montgomery and a No. 3 Billboard Hot 100 hit for
All 4 One.
During this time, Criterion also signed groundbreaking singer-songwriter Lyle Lovett, who went on to
pen multiple gold and platinum-certified albums.
Criterion's diverse catalog also contains some of the most popular and recognizable Hawaiian and
Polynesian songs of the 20th century. Criterion's impressive collection of Hawaiian and Polynesian
standards includes the catalogs of seven members of the Hawaiian Songwriters Hall of Fame. Among
these is perhaps the most well-known Hawaiian song of all time, "Tiny Bubbles," which crossed over
to pop success when released as a single by Don Ho. Criterion's Hawaiian and Polynesian music is
regularly licensed for film and TV uses, and has been featured in classic films like Mutiny on the
Bounty starring Marlon Brando as well as more recent films like The Descendants starring George
Clooney, among others.
Criterion also owns the theme music of many classic TV shows, including the ever-popular "The
Rocky and Bullwinkle Show." A new animated movie based on characters from the Rocky and
Bullwinkle series is planned for 2014 and will feature music from the Criterion catalog.
Rhapsody To List Songwriters'
Names From 2013 On
As the music business gathered at the annual NARM and Digitalmusic.org's Music Biz 2013
Conference today, The Recording Academy® — a membership organization internationally known for
the GRAMMY Awards® and for advancing creators' rights — and Rhapsody International, the original
on-demand music service, announced today that Rhapsody will be the first digital music service to
support The Academy’s "Give Fans The Credit" initiative.
"Give Fans The Credit" advocates for the inclusion of credits for songwriters, nonfeatured performers
such as session musicians and backing vocalists, producers and engineers in digital music, as they
are listed in liner notes that come with physical media. Currently, the only credits consumers are
able to see in most digital services are the song title, album, and featured artist.
"Rhapsody listeners are avid music fans who value the craft of musicianship and recording, and they
want to know who was involved in bringing a song to life," said Jon Irwin, president, Rhapsody. "We
have a responsibility to our listeners to back this initiative, and further, view the inclusion of more
complete credits as a truly useful feature that will only deepen our listeners' connection to their
favorite artists and songs."
"Since we launched the 'Give Fans The Credit' campaign, we've seen an outpouring of support from
music makers and music lovers alike," said Neil Portnow, President/CEO of The Recording Academy.
"Fans want more information about the tracks they like, and we applaud Rhapsody for taking a
leadership role on this initiative. Putting credits in the hands of fans is the next step forward in
guiding fans to music discovery, as they find new songs and artists based on songwriters, producers
or band personnel. It is our hope that other digital music services will follow Rhapsody's lead."
As the original subscription music service, Rhapsody has led the industry in its focus on music
curation, with more than 10 years of original editorial content, features and playlists designed to
guide listeners through its massive catalog. The added information about key players behind the
songs will provide an additional lens on music discovery for Rhapsody listeners.
While the full implementation of the credits will occur over the following months, Rhapsody has
already begun to curate music collections based on producers, songwriters and sidemen within the
Rhapsody service including GRAMMY® winners Dave Grohl, Pharrell Williams and Timbaland.
"We are eager to integrate this feature into our products," said Irwin. "At Rhapsody we are always
striving to connect fans and artists, and 'Give Fans The Credit' is one more way we can create a
great music experience that helps us deliver on that promise."
About Rhapsody
The Rhapsody® digital music service (www.rhapsody.com) gives subscribers unlimited on-demand
access to more than 16 million songs, whether they're listening on a PC, laptop, Internet connected
home stereo or TV, MP3 player or mobile phone. Rhapsody allows subscribers to access their music
through mobile phones from Verizon Wireless, AT&T and MetroPCS, through Rhapsody applications
on the Apple iPhone, iPod Touch and iPad, RIM BlackBerry, Windows Phone 7 and Android mobile
platforms as well as through devices from Vizio, SanDisk, HP, Sonos and Philips. Rhapsody is
headquartered in Seattle, with offices in Frankfurt, London, Luxemburg, New York and San
Francisco. Rhapsody, and the Rhapsody logo are registered trademarks of Rhapsody International
Inc. Follow @Rhapsody on Twitter and keep up with the latest on the Rhapsody Facebook page.
About The Recording Academy
Established in 1957, The Recording Academy is an organization of musicians, songwriters,
producers, engineers and recording professionals that is dedicated to improving the cultural
condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards
— the preeminent peer-recognized award for musical excellence and the most credible brand in
music — The Recording Academy is responsible for groundbreaking professional development,
cultural enrichment, advocacy, education and human services programs. The Academy continues to
focus on its mission of recognizing musical excellence, advocating for the well-being of music makers
and ensuring music remains an indelible part of our culture. For more information about The
Academy, please visit www.grammy.com. For breaking news and exclusive content, follow
@TheGRAMMYs on Twitter, like "The GRAMMYs" on Facebook, and join The GRAMMYs' social
communities on Foursquare, GetGlue, Google +, Instagram, Pinterest, Tumblr, and YouTube.
Distributor Pays $1.5 Million To
Indies
Xeinge Group, the parent company of Venzo
Digital, the state-of-the-art distribution
technology platform has reported substantial
growth in music sales to date. Venzo Artists
has generated over $1.5 Million in gross
music sales since its official launch in
January 2012. More than 3.5 million units
generated from digital content.
Venzo Digital is an online music platform
that helps people sell their music online to
stores like iTunes, Amazon, Spotify, and
eMusic for free. Artists using the service are
able to sell unlimited music while earning
80% royalties on their music sold.
"Venzo Digital has shown great promises for us as a barrier to entry into the new music business. To
be able to generate over $1.5 million and 3.5 million units in one year since its launch without any
venture capital funding is truly unprecedented. More than 90% of our gross sales milestone came
from iTunes, 5% coming from Spotify, and the other 5% coming from the rest of our digital
partners. We look forward to reproduce these kind of results from this business with our app
business by the end of 2015." Says Kevin Rivers, Founder/CEO of Xeinge Group.
Venzo Digital was recently awarded the "Top 25 Companies to Watch in 2012" from AlwaysOn. Apart
from its digital music business, Xeinge Group wholly owns NZOD, Rivers Bank, and its upcoming
business AvertizeMe. Each businesses focus on iOS apps, investments, and marketing respectively.
About Venzo Digital
Venzo Digital is a web platform that enables users to sell music online to stores like iTunes, Amazon,
Spotify, and eMusic for FREE! Users are able to deliver unlimited music, music videos, and ringtones
while earning 80% royalties from their music.
BMI President And CEO Del
Bryant To Retire June 2014
Broadcast Music, Inc. (BMI) President and Chief
Executive Officer Del Bryant announced today
his decision to retire in June 2014, starting an
orderly leadership transition over the next 14
months. Following the executive transition, he
will continue to be engaged as a consultant for
the company. Bryant's decision to retire will
bring to a close a remarkable career of over 40
years of continuous service to the company, its
songwriters and publishers.
Bryant is widely recognized and respected as
one of the most influential leaders of the music
industry. He is the son of Nashville's first
professional songwriters, the late Boudleaux and
Felice Bryant, who penned internationals standards such as "Bye Bye Love", "All I Have To Do Is
Dream", "Wake Up Little Susie", "Love Hurts" and the state song of Tennessee "Rocky Top". Bryant
himself penned a Top 5 country hit in 1978. Bryant and the BMI team represent over 7.5 million
musical works across all genres of music and 600,000 affiliates including Maroon 5, Taylor Swift,
Lady Gaga, will.i.am, Adele, Rihanna, Carrie Underwood, A$AP Rocky, Jack White, Pitbull, Shakira,
Mariah Carey, Carlos Santana, Keith Urban, Blake Shelton, The Band Perry, Miranda Lambert, Jason
Aldean, Willie Nelson, Vince Gill, Dolly Parton, Michael Bolton, Barry Manilow, John Williams, Paul
Simon, Gloria Estefan and more.
"I've been privileged to lead this company I love, one of the world's greatest music companies,"
Bryant said. "I began my career with BMI in 1972 and after four decades with the company and 10
years as CEO, I'm excited to be moving back to my hometown of Nashville where my family and I
will build a farm on beautiful land purchased by my folks with money earned from their BMI catalog.
I look forward to working with the board during the transition period, and to supporting the company
as a consultant after retiring as CEO."
Susan Davenport Austin, BMI Chairman of the Board stated, "Del is a tremendous team builder and
leader. His stewardship has helped build BMI into a global brand and the premier music rights
organization. His passion for this industry and for the songwriting community we serve has been
evident throughout his substantial tenure, both in the services and support BMI offers its
constituents and in the relationships he has built around the world. Del's expertise is invaluable and
we are thrilled that he will continue to be a part of the BMI family."
The board of directors has formed a committee to choose Bryant's successor.
ATC Management Sponsor Music
Business Scholarship
London’s Institute of Contemporary Music Performance has announced a partnership with artist
management firm ATC Management to provide the ATC Music Business Scholarship. ATC’s forward
thinking approach to artist management and development makes them the ideal partner for the
Institute’s innovative music business curriculum. ATC’s artist roster includes Faithless, Eliza
Doolittle, Hadouken, Fink, Laura Mvula, and Kwes.
The ATC Scholarship will provide one deserving student with a fully funded place on the one year
Certificate of Higher Education in Music
Business course (equivalent to the value
of £5,650) to be taught at the Institute,
London. The Music Business courses at
the Institute are designed and delivered
by leading music industry professionals
and offer a unique opportunity to learn
and apply management principles and
business skills through working
alongside talented artists and
composers. The ATC Scholarship and
wider collaboration brings the reality of
the commercial music industry into the
classroom from day one.
As part of the partnership, ATC will
provide a panel of experts to judge and
decide on the winner of the scholarship.
The winning student will also get the
opportunity to spend time working at
the ATC London offices gaining
experience and learning directly from
the professionals.
In addition to the Scholarship, ATC will
also be providing guest speakers
throughout the year to teach on the Music Business course. Students will get the opportunity to
learn first-hand about the processes specifically involved in the artist management side of the music
industry.
Music Business Programme Leader Ken Foreman added: “ATC is one of the leading artist
management companies at the forefront of the new music industry. They are driving huge changes
in the methods by which young talent is scouted and how careers are driven forward from a business
perspective. We are extremely pleased to welcome them as part of the fabric of the new business
school.”
Hopeful applicants wishing to apply for the Scholarship will need to submit a 1000 word business
case for a new music business idea or concept. Proposals will be judged on their creativity and
viability. For more information about the ATC Music Business Scholarship or the Higher Diploma in
Music Business course, should contact the Institute directly:
- www.icmp.co.uk/scholarships
- 0207 328 0222
- [email protected]
UK/Irish Songwriters Honoured
By ISC
The International Songwriting Competition (ISC), has announced its 2012 winners. Over 20,000
entries were submitted from 119 countries worldwide, and for the first time ever, more than half of
the competition's 68 winners are from outside the USA. This year, UK songwriters earned their place
in the competition's history by walking away with three of the 68 awards given this year, in addition
to 20 Honorable Mentions. Leonie Casanova has earned a First Place win in the Lyrics Only category;
Stephen Hughes, Ed Carlile, Andy McConkey, and Leon Rossiter of the band MoRo received Second
Place in the Pop/Top 40 category; and Tommy Ashby received Third Place in the Unsigned Only
category. These wins, along with 20 Honorable Mentions, attest
to the UK's musical depth and diversity.
"ISC's mission is to inspire and promote greatness in the field of
songwriting," says Candace Avery, Founder and Director. "It is
humbling to hear so many talented songwriters, and it is
gratifying to play a part in the growth of the winners' careers."
Established in 2002, ISC awards more than $150,000 in cash
and prizes to amateur and professional songwriters around the
world. Past ISC winners include Gotye, The Band Perry, Kasey
Chambers, Amanda Palmer, Gin Wigmore, King Charles, Kimbra,
Passenger, Andrew Bird, and many more.
Winning First Place in the Lyrics Only category is the song "I Wanted New York" by Londoner Leonie
Casanova. Born and raised in Zambia to an Italian father and Zambian mother, Leonie's colourful
and almost nomadic background has deeply informed her approach to songwriting and to the
intrinsic storytelling element of the process. Leonie has written and recorded tracks for awardwinning independent feature films The World Unseen (in which she also has a cameo), I Cant Think
Straight and also for the documentary The House of Tomorrow. She has performed internationally
from Toronto to London, Jerusalem and Mumbai. Leonie will be releasing her debut album this year.
Taking home Second Place in the Pop/Top 40 category for the song "Lay Down Your Ghosts" are
Stephen Hughes, Ed Carlile, Andy McConkey, and Leon Rossiter of the four-piece London band MoRo.
Recorded at their London studio in-between sold out live shows, "Lay Down Your Ghosts" features
hypnotic beats, gritty guitars and soaring vocals. The Guardian Music Blog cited this song as "the
best new song at the moment." Their latest EP (bearing the same title as the winning song) follows
their debut album, Slow River.
Third Place in the popular Unsigned Only category is awarded to Scotland artist Tommy Ashby for his
song, "Broken Bones." Tommy Ashby combines the folk and blues stylings he gleaned while growing
up in a quiet Scottish town with a modern songwriting sensibility to create a unique brand of
acoustic pop. His single "Broken Bones," released in late 2012, was recently aired on BBC Radio 1.
He is finishing off an EP entitled Spare Parts for release in Spring of 2013.
In addition to the above winners, the following UK songwriters received Honorable Mentions in their
respective categories:
The Madness Found You" - Tarq Bowen - London, England - Adult Album Alternative (AAA)
"Beautiful" - Alan Earls - Wicklow, Ireland - Adult Contemporary (AC)
"The Devil Drives" - Stuart Earl (My Name Is Earl) - Gloucester, England - Americana
"Devil In Me" - Oli Brown - Bridlington, England - Blues
"Aftermath" - (Reuben) John Blaylock, Mike Freeman (Franco & The Dreadnought) - Manchester,
England - Dance/Electronica
"No Hopah" - Stephen Parker, Barbora Patkova (Punkture Sluts) - London, England - Dance/
Electronica
"Electric Love" - Daisy Hicks, John Rammelt, Fredrik Soderstrom - London, England - Dance/
Electronica
"Dreams And Country Lanes" - Russell Joslin - London, England - Folk/Singer-Songwriter
"Burning Daylight " - Sam Eliot - London, England - Folk/Singer-Songwriter
"Jesus Was A Rollin' Stone" - Tony Villiers - Armagh, Ireland - Folk/Singer-Songwriter
"Malahide" - Ruth Angell, Sid Peacock (Peacock Angel) - Birmingham, England - Instrumental
"Perfect Moment" - Dexter Britain - Hemel Hempstead, England - Instrumental
"To Be Decided" - Joe Stilgoe - London, England - Jazz
"Who Are You?" - Tommy Smith - Edinburgh, Scotland - Jazz
"When I Dream" - Johnny Gray, DWB - Leeds, England - Performance
"Kriminal" - Laura Steel, Jens Gad, Konstantin Scherer, Vincent Stein - London, England - Pop/Top
40
"Love Sounds" - John Broe, John Rigney, Dave Prendergast (Miracle Bell) - Naas, Ireland
"Alone" - Liam Redmond (The Scenes) - Enniscorthy, Ireland - Rock
"Paris " - John Broe, John Rigney (Miracle Bell) - Naas, Ireland
"Scread Ceann Sualtaim " - Lorcan Mac Mathuna, Sean Mac Erlaine, Martin Tourish, Eoghan Neff,
Flaithri Neff (Lorcan Mac Mathuna) - Dublin, Ireland - World Music
Winning ISC's highest honor, the Grand Prize, is California native Joshua Hanson for his song
"Monsters With Misdemeanors." The lead singer and songwriter of the award-winning indie folk/rock
trio Yellow Red Sparks, Hanson is the son of a lounge-singing mother and a theatrically trained
father. From a young age he was always fascinated with words and how the stories would unfold
through the liner notes of some of his favorite songwriters. His ability of expression is eloquent and
effortless, crafting and delivering candid and poetic lyrics that elicit the slightest hint of bittersweet
heartache. Candace Avery, Founder and Director of ISC, says, "The judges loved the song for its
sparse honesty and achingly tender lyrics. ISC is very excited to honor such a talented songwriter,
and we anticipate a brilliant future for this promising artist." Yellow Red Sparks released their debut
full-length CD in early 2013, and it has already garnered glowing reviews and the attention of music
tastemakers.
For a complete list of 2012 ISC winners, and to hear the winning songs, go to
http://www.songwritingcompetition.com/winners
Applauded for its high caliber of judges, ISC compiled a stellar panel of judges for the 2012
competition. In addition to celebrity artists, judges also included seven record label presidents as
well as other industry leaders, offering songwriters the unprecedented opportunity to have their
music heard by influential decision-makers. See below for the complete list of judges.
Recording Artists: Jeff Beck; Nas; Tom Waits; Bernie Taupin; Martina McBride; Duran Duran; Janelle
Monae; Susan Tedeschi & Derek Trucks; Robert Smith (The Cure); Bruce Hornsby; Suzanne Vega;
Michael W. Smith; Darryl McDaniels (Run DMC); Mark Foster (Foster The People); Alejandro Sanz;
Gerald Casale (Devo); Bill Evans; Anthony Hamilton; Brian Setzer; Avicci; Wynonna; Keane; Jeremy
Camp; Tegan & Sara; McCoy Tyner; Ketch Secor (Old Crow Medicine Show); Francesca Batistelli;
Craig Morgan; James Cotton; Robert Earl Keen; Black Francis (The Pixies); John Mayall; Anoushka
Shankar; Chris Hillman (The Byrds, The Flying Burrito Brothers); Toots Hibbert (Toots & The
Maytals); Los Temerarios; Billy Currington; Sandra Bernhard; Basement Jaxx; and Matt Thiessen
(Relient K)
Industry Executives: Dan McCarroll (President, Capitol/Virgin Label Group); Monte Lipman
(President, Universal Republic Records); Alison Donald (Co-President, Columbia Records UK); Ed
Vetri (President, Wind-Up Records); Richard Stumpf (President, Imagem Music US); Bruce Iglauer
(Founder/President, Alligator Records); Albert Schilcher (VP Music & Music Mktg, MTV International);
Angel Carrasco (Sr. VP A&R, Latin America, Sony/BMG); Dan Storper (President, Putamayo World
Music Records and Putumayo Kids); Steve Smith (VP of A&R, Aware Records); Cory Robbins
(Founder/President, Robbins Entertainment); Lori Tieg (VP of Talent, VEVO); Dr. Demento (Radio
Host, The Dr. Demento Show); Steve Lillywhite (Producer); Kim Buie (Head of A&R, Thirty Tigers);
Douglas C. Cohn (Sr. VP, Music Marketing & Talent, Nickelodeon); Allison B. Jones (VP of A&R, Big
Machine Label Group); Jack Vaughn (VP, Comedy Central Records); Leib Ostrow (Founder/CEO,
Music For Little People); and Jamie Masada (Owner, Laugh Factory)
Sponsors include: Presonus, Lowden, Marshall Amplification, Grooveshark, Solid State Logic, Berklee
College Of Music, Mrs. Fields Cookies, Airplay Direct, DiscMakers, Thayers, SongU.com, The Music
Business Registry, Independent Mastering, Indie Venue Bible, George Stein, Esq., Sonicbids,
Songtrust, and Taxi.
ISC is now accepting entries for 2013. Go to
http://www.songwritingcompetition.com
for more information and an entry form.
PRS For Music Announces MCPS
Changes
The joint boards of PRS and MCPS have
agreed a plan to restructure their
partnership company known as PRS for
Music. The move will enable significant
cost saving within MCPS, the society that
represents mechanical rights, while
continuing licensing administration,
royalty processing and account
management for members.
As announced in 2012, MCPS faced
significant market pressures as the
consumer market moved from CDs and
DVDs to downloads and streaming. The
plan will allow the business to operate
more efficiently and maintains its ability
to license and administer mechanical
rights, still a vital source of members'
income.
The key components of the plan agreed include:
* A change in the ownership of the operating company known as PRS for Music. MCPS has agreed to
sell its shares to PRS
* PRS, as owner of PRS for Music, will deliver royalty processing services to MCPS members under a
service agreement
* A commitment by both societies to further reduce costs, enabling more efficient operations
Guy Fletcher Chair of PRS commented: "With this deal we will continue to act in the interests of all
of our members, ensuring the business manages its costs appropriately and delivers stability of
royalty income in an ever changing world."
Peter Cornish Chair of MCPS commented: "Despite collecting royalties of almost ?176m for MCPS in
2012, we have been unable to reduce costs as quickly as we'd like with our current structure.
Contracting with PRS will allow us to become more efficient and continue to serve the needs of
members."
All PRS for Music members were notified in 2012 of changes to administration and commission rates
in order to allow the business time to agree a restructuring and recovery plan. The change to
administration rates will remain in place until December 2013. Members will be notified of changes
following the new deal in the coming weeks.
Mobile Streamed Music
Revenues To Rise More Than
40% This Year To $1.7bn
Global revenues from mobile streamed music services are expected to rise by more than 40% to
$1.7bn, according to a new report from Juniper Research. For the first time, these revenues will
thereby overtake those generated by full-track downloads to mobile devices.
Mobile Operator Music Bundles Boost Growth
The report observed that growth in premium service adoption was increasingly being driven by
operator partnerships with service providers. In Europe, several operators have seen an uplift in
spend amongst the mobile users, notably TeliaSonera in Sweden, which bundles Spotify with TV,
mobile and fixed line services. Furthermore, such services are also gaining traction in Germany,
where O2 offers simfy and T-Mobile has recently introduced Spotify.
However, the most significant growth has come in the US, which is poised to overtake South Korea
this year as the leading market for mobile streamed music services.
iRadio set to challenge Pandora
Meanwhile, the report - Mobile Music: Market
Prospects 2013-2017 - found that leading OTT (Over
The Top) players were poised to challenge players
such as Pandora and Spotify for supremacy in the
streamed music space.
According to report author Dr Windsor Holden,
"Historically, companies such as Apple, Google and
Amazon have primarily focused on cloud music from
a storage perspective; as a remote locker for
downloaded tracks. Apple's forthcoming iRadio
service is likely to bring significant pressure to bear
on the existing players -- and prompt competing
offerings from the other major OTT companies."
However, the report cautioned that monetisation of
streamed music services was still being severely
impacted by digital piracy: even in markets which
have imposed blocking orders on leading torrent
sites, the overall rate of torrent traffic has continued
to increase.
The 'Mobile Music - Full Stream Ahead' whitepaper is
available to download from the Juniper website
together with further details of the full report and the
attendant Interactive Forecast Excel, which enables
clients to interrogate the assumptions behind
Juniper's forecasts and create alternative future
outputs.
Juniper Research provides research and analytical services to the global hi-tech communications
sector, providing consultancy, analyst reports and industry commentary.
SACEM, Universal And YouTube
Reach Licensing Agreement To
Benefit Songwriters
The Society of Authors, Composers and Publishers of Music (SACEM), Universal Music Publishing
(UMP), and YouTube announced a new agreement which establishes terms of use for the music of
SACEM's repertoire and UMP's Anglo-American repertoire in videos distributed by YouTube
throughout 127 countries in Europe, the Middle East, Africa, and Asia. The deal facilitates greater
transparency, coordination, and data-sharing between the organizations while ensuring equitable
compensation for rights holders who are entitled to a share of the platform's revenues.
The deal encompasses all types of YouTube videos that feature music, including user-generated
content.
The agreement is entered into via SACEM and UMP's Direct European Administration and Licensing
(DEAL) initiative, which works to create a unique and comprehensive platform of joint technical and
operational resources for multi-territorial music licensing across all forms of media, which includes
this deal with YouTube.
The music of UMP's songwriters and composers who are affiliated with other European collecting
societies will remain subject to licensing arrangements made by those societies.
Jean-Noël Tronc, CEO of SACEM: "SACEM is proud to be the first authors' society in the world to
have signed an agreement of this scale with YouTube, the world's leading digital platform of music
videos. This contract bears witness to our commitment to increasing both the visibility of works and
the remuneration of our members, and of those of our partner UMP, with a major internet service,
YouTube, the number one vector for discovering works on the internet."
Zach Horowitz, Chairman & CEO of Universal Music Publishing Group said: "Universal Music
Publishing is pleased to have concluded this agreement with Youtube through DEAL for the proper
remuneration of the composers we are privileged to represent. The digital market can only flourish if
creators receive fair remuneration delivered through efficient and innovative licensing solutions. We
are proud to be at the forefront of that effort with our partners at SACEM."
Robert Kyncl, VP, Global Head of Content Partnerships said: "Thanks to partnerships such as this,
YouTube is proving to be a launchpad for both established artists and the next generation of music
talent around the world. We¹re delighted to have reached an agreement with SACEM and UMPI,
which, alongside our existing collection society deals covering over 40 countries, is great news for
songwriters, composers, artists and the music industry as a whole."
UK Album Sales Record Positive
Growth In First Quarter Of 2013
Combined quarterly sales volumes of CD and digital downloads have increased for the first time
since Q4 2009, with Emeli Sand?'s Our Version of Events, the motion picture cast recording from the
hit film Les Misérables and the latest volume in the popular compilation series Now 84 boosting
year-on-year sales by 1.4% in Q1 2013.
New Official Charts Company market data released by the BPI showed quarterly growth in the
albums market from 23.0 million in Q1 2012 to 23.3 million in Q1 2013.
Rising volumes of digital downloads accounted for 38.5% of all albums sold, climbing 17.8% from
7.6 million in 2012 to 9.0 million in the first quarter of 2013, with CD unit sales dropping by 7.2% to
14.2 million. Vinyl sales rose for a third consecutive quarter, increasing by 78.1%.
Emeli Sand?'s multi-platinum selling Our Version of Events tops the chart of the biggest-selling artist
albums of the year so far, with releases from English singer-songwriter Jake Bugg, DJ and producer
Calvin Harris, American star Bruno Mars, and Grammy award-winning Mumford & Sons featuring in
the year-to-date Top 20 best-sellers.
David Bowie's The Next Day gave the iconic artist his first UK number one album since 1993 while
winners and performers from the BRIT Awards 2013 - including One Direction, Taylor Swift and
Justin Timberlake ? proved popular with British music fans. Timberlake's 20/20 Experience gave the
Mirrors singer his highest ever week one sales.
There were impressive sales performances from Biffy Clyro's Opposites and newcomer Bastille's Bad
Blood, with March also proving to be a bumper month for releases from independent record labels.
Stereophonics, Michael Ball, Nick Cave & the Bad Seeds and Atoms for Peace flew the flag for new
releases from the indie community, whose overall repertoire accounted for more than one tenth
(11%) of the best-selling albums in the Official Top 100 Albums Chart in the quarter.
Commenting on the sales achievements,
BPI Chief Executive Geoff Taylor said,
"The Q1 sales figures illustrate that as
digital grows its share, albums can follow
the singles market back to growth.
"The strength in depth of British music is
highlighted by newcomers such as Jake
Bugg and Bastille sitting alongside iconic figures like David Bowie in the Top 20 best-sellers. The
strong performance of independent labels in March bolstered by releases this quarter from
Stereophonics, Atoms for Peace, and many others is very encouraging.
"The second quarter of 2013 looks promising for music fans, with big releases anticipated from
Michael Bubl?, Rod Stewart, Laura Marling, Daft Punk, and Noah & The Whale."
The singles market continued to perform strongly with Q1 unit sales totalling 48.5 million, up 3.9%
year-on-year compared with 46.7 million in Q1 2012.
The UK's biggest-selling single of 2013 to date is Thrift Shop by American duo Macklemore and Ryan
Lewis having sold more than 510,000 copies, followed by Taylor Swift's I Knew You Were Trouble
and Mirrors by Justin Timberlake.
CISAC Welcomes The European
Court's Judgment
CISAC, the International Confederation of Societies of Authors and Composers, has welcomed the
decision of the General Court of the European Union to uphold their appeal against the 2008 EU
Commission decision (COMP/C2/38.698). In doing so, the allegation that CISAC and their member
societies had engaged in a concerted practice in order to restrict competition has been finally
rejected.
"This is a very important decision for authors and their collective management organizations
throughout the European Union," said Olivier Hinnewinkel, director general of CISAC. "It allows us to
get back to the job of ensuring the 3 million creators and rights holders that we represent obtain a
fair income from the use of their creative work, and to continue developing licensing models that
meet the market's needs."
The so called "CISAC Case" began with two complaints in the early 2000s against the model contract
for reciprocal representation developed by CISAC many years ago (hence the name) and the
agreements signed based on this contract between CISAC members in Europe. The European
Commission considered these complaints for a number of years. When the decision eventually came
in 2008 to uphold these complaints, only one issue remained - the assertion that the 24 European
CISAC societies had violated EU competition rules by coordinating the territorial scope of their
reciprocal representation agreements. Other issues ? relating to membership conditions and
exclusivity ? have been addressed by CISAC and its members through amendments to the model
contract and changes to individual contracts between European societies.
CISAC had always firmly maintained that no coordination had taken place in this manner to restrict
competition; rather that the contract clauses in question existed purely because it was best practice
for representing the interests of authors and avoided a "race to the bottom" on royalties that would
have undermined authors' interests and creative activity.
The accusation was also fundamentally unacceptable to CISAC whose entire premise is built upon
fairness and on upholding the interests of creators for the betterment of culture and the arts.
Naturally an appeal was lodged and was successfully upheld today.
"There are important implications for the general public as well as for authors," continued
Hinnewinkel. "The great majority of our members' livelihoods rely on receiving a fair income for their
work. However, it's also vital that licensing allows the maximum number of people can see, hear and
enjoy their creative output. Today's decision allows us to continue our work in championing
sustainable licensing solutions that share the benefits of this art whilst ensuring the next generation
of creators can continue to produce work to enrich all of our lives."
Universal Music Publishing
Closes Deal With Sugar Hill
Universal Music Publishing Group (UMPG) has closed a deal with Sugar Hill Music to exclusively
administer the music publishing interests of Sugar Hill's legendary catalog of rap, hip-hop, pop and
R&B music in the US, as announced by Zach Horowitz, Chairman and CEO, UMPG and Joey
Robinson, Founder/CEO of Sugar Hill Music. The catalog includes such seminal rap songs as
Grandmaster Flash and the Furious Five's "The Message" and Grandmaster Melle Mel's "White Lines
(Don't Do It)." Rolling Stone magazine recently voted "The Message" as the greatest hip-hop song of
all time. Other classics in the catalog include Mickey & Sylvia's "Love is Strange" (recently sampled
by Pitbull on his "Back in Time" theme song for the film Men in Black 3), the Moments' "Love on a
Two Way Street," Shirley & Company's "Shame, Shame, Shame," and Sylvia Robinson's "Pillow
Talk." Songs from the catalog were also sampled in "Empire State of Mind" by Jay-Z and Alicia Keys,
"Gettin' Jiggy Wit It" by Will Smith, and "Bawitdaba" by Kid Rock, among others.
"Sugar Hill's publishing catalog is a testament to the vision of Sylvia Robinson, one of the true
pioneers of the music business. As a performer, writer, producer, talent finder, and record company
owner she played a critical role in creating some of the most memorable and culturally significant
songs of the modern music era. We couldn't be more excited to be working with her sons to build on
her legacy," said Zach Horowitz, Chairman & CEO, Universal Music Publishing Group.
"My brothers and I are really excited about the opportunity of working with Zach, Evan Lamberg,
and the entire UMG family. I've known Zach since the MCA Record days, and to now have the
opportunity to work close with him with our catalog, as well as with new songwriters and publishers
we are signing to our roster, will only help take Sugar Hill Music legacy to the next generation," said
Joey Robinson.
Sugar Hill Music's publishing catalog is comprised of songs associated with the extraordinary career
of Sylvia Robinson. Beginning as a singer and songwriter in the1950s as part of Mickey and Sylvia,
she recorded "Love is Strange." The song, part of Sugar Hill Music's publishing catalog, topped the
R&B charts and reached number 11 on the pop charts in 1957. In the 1960s, Sylvia and her
husband, Joe Robinson, founded All Platinum Records, signing and recording The Moments, among
many others. Most of The Moments' hits are part of Sugar Hill Music's publishing catalog, including
their biggest, "Love on a Two Way Street." Produced and co-written by Sylvia Robinson, in 1970 the
song spent 5 weeks at No. 1 on Billboard's Soul Singles chart and hit #3 on Billboard's Hot 100
chart. The song has been covered by everyone from Stacy Lattisaw (whose version was a No. 2 R&B
hit in 1981) and Gloria Estefan (who included the song on her 1994 album Hold Me, Kiss Me, Thrill
Me), and was sampled by Jay Z and Alicia Keys for their 2009 hit "Empire State of Mind." As a solo
artist, Sylvia had her own massive hit in 1973 with "Pillow Talk," a song she wrote herself, which is
part of Sugar Hill Music's catalog. It reached No. 1 on the R&B charts and top 3 on the pop charts.
Other hits for the All Platinum label included Shirley and Company's "Shame, Shame, Shame," also
written by Sylvia and part of the Sugar Hill Music catalog. The song achieved No. 1 positions on both
the Soul singles and disco/dance charts in 1974.
In 1979, the Robinsons founded Sugar Hill Records, and were among the first to recognize rap and
hip-hop's popular appeal and commercial potential. Sylvia revolutionized the genre, producing the
first top 40 rap hit in 1979 and releasing in 1982 Grandmaster Flash and the Furious Five's classic
"The Message," the first prominent hip-hop single with lyrics featuring social commentary that
detailed the struggles of urban life in America. In doing so, she effectively laid a foundation for the
genre that remains essential to hip-hop today.
Other classics that UMPG now administers through the Sugar Hill deal include "Special Lady" by Ray,
Goodman & Brown, a No. 1 R&B and No. 6 pop hit, as well as Candy Staton's "Young Hearts Run
Free," a No. 1 Soul single and No. 20 pop hit. The Black Keys covered the song "Dearest" from the
catalog, and received a Grammy nomination in 2012 for the performance. Robinson's timeless music
has continued to endure through sampling by contemporary artists; she is credited as a writer on
hits like Puff Daddy's "Can't Nobody Hold Me Down" and Master P's "Make 'Em Say Uhh!," to name a
few. Other landmark songs that UMPG now administers through the Sugar Hill Music deal include
The Sugarhill Gang's "Apache" and "8th Wonder," The Sequence's "Funk You Up," Treacherous
Three's "Whip It," and many more.
Sugar Hill Music is the latest addition to the extraordinary rap and hip-hop catalogs owned or
controlled by Universal Music Publishing Group, which includes songs that pioneered and defined the
genre. UMPG publishes 23 of Rolling Stone's 50 Greatest Hip-Hop Songs of All Time including
interests in classic songs like LL Cool J's "Rock the Bell" and "Mama Said Knock You Out," Public
Enemy's "Fight the Power" and "Rebel Without A Pause," and the Beastie Boys' "(You Gotta) Fight
For Your Right (To Party!)." Other seminal songs from UMPG's catalog include hits by Run DMC
("Sucker M.C.'s," "Peter Piper") via UMPG's arrangement with Protunes, Eric B. and Rakim ("Paid in
Full," "I Know You Got Soul"), Wu Tang Clan ("C.R.E.A.M."), the Tupac Shakur catalog ("Dear
Mama"), Mobb Deep ("Shook Ones Pt. II"), Boogie Down Productions ("South Bronx"), and Rob Base
and DJ E-Z Rock ("It Takes Two"). UMPG's extensive hip-hop catalog also includes some of the most
important music from hip-hop legends like Whodini, Kool Moe Dee, EPMD, Slick Rick, KRS-One, Too
Short, DJ Jazzy Jeff and the Fresh Prince, and many more.
Commercial Radio And PRS For
Music Agree New Licensing Deal
Commercial radio companies have agreed a new licensing deal with PRS for Music, the body that
represents songwriters, composers and music publishers.
The deal was agreed with RadioCentre, the industry body for commercial radio, and will apply to
more than 300 licensed commercial radio stations in the UK. It will run for a minimum of 5 years
and replaces the previous agreement, which has been in place since 1993.
In summary, under the new licence:
* Stations will continue to pay a percentage of net revenue and an annual lump sum payment.
* Rights will be granted for radio broadcast; simulcast and catch-up listening.
RadioCentre Chief Executive, Andrew Harrison, said: "I am delighted that we have reached this new
agreement together. This deal provides freedom for radio stations to use and promote music, while
making sure artists and rights holders are rewarded appropriately. We look forward to continuing our
mutually beneficial partnership with artists and songwriters for many years to come."
PRS for Music, Chief Executive, Robert Ashcroft, said: "Radio is a core part of our licensing operation.
The changing listener environment, digital music delivery and the growth of radio's music services
mean it's very important that we continue to have appropriate licensing arrangements for our radio
partners . Therefore we are very pleased to have concluded a modernised contract with commercial
radio, on behalf of all our members."x
UK Music's Dipple Praises
£150,000 Funding To Kick-Start
Copyright Hub
Professor Hargreaves, in his review of IP and Growth in May 2011, recommended that the UK should
establish an industry-led solution to improve copyright licensing. He estimated that it could add up
to £2.2 billion a year to the UK economy by 2020, with a particular benefit to the creative industries.
The Hub, which will be designed and built by industry, will act as a source of information about
rights ownership to support open and competitive markets for copyright licences. This will cut costs
for businesses by creating a more efficient online market place where those looking to use copyright
works in new creations or services, for example a company providing a multimedia service for a
wedding, will have access to a greater range of licensing options, through the Hub, in a
straightforward online transaction.
Minister for Intellectual Property, Lord Younger said: "The Copyright
Hub will simplify copyright licensing for consumers and I am
delighted to announce this funding to enable industry to begin their
work."
"Databases of copyright works such as those held by collecting
societies and publishers, and designs such as the Register of Designs
at the IPO already exist. However, Government has listened to
concerns that consumers are unsure who they should go to if they
are looking for information about obtaining a licence, particularly if
multiple rights are involved."
"The funding announced today will help industry to start building the Hub website sooner and
engage with schools and Further Education colleges to help streamline educational licensing. Above
all, it chimes with Government's aim to provide a further portal to assist businesses to grow faster
and to boost our creative industries."
Richard Hooper, Director of Copyright Hub Ltd said: "The Copyright Hub, linking to a wide array of
databases and digital copyright exchanges, has the clear aim of helping consumers, rights users and
small businesses find their way through the complexity of copyright and thus allow them to license
copyrighted works much more easily and at a lower transaction cost. The Copyright Hub until today
has been just an idea. Today it begins to become an exciting reality. We are especially grateful for
the speed with which the Department of Business/IPO provided some start-up funding thus giving a
real boost to this whole idea that emanated from the Hargreaves Review."
Jo Dipple, UK Music Chief Executive Officer said: "The copyright hub is very welcome and it is
something the music industry has enthusiastically embraced as we try to push for further growth in
the global digital marketplace. I've recently been at SXSW in Texas and witnessed first hand the
hunger and appetite for the music made by British artists and bands and the potential for its growth,
which the hub can only help to serve.
"With this new funding the project has been given a real kickstart and it also demonstrates a further,
very welcome commitment from the Government, whose continued support - in partnership with our
industry - is needed to underpin the hub's success."
The Copyright Hub will be a website bringing together existing databases and services to make a
new marketplace. This should lower the administration cost of many licensing transactions, and
provide new opportunities for creators and users of works.
ASCAP Elects Board Of Directors
The results of the biennial election for the Board of Directors of the American Society of Composers,
Authors and Publishers (ASCAP) were announced today by ASCAP President and Chairman of the
Board Paul Williams. Twelve writer and twelve publisher members have been elected to serve on the
Board for a two-year term commencing April 1st, 2013.
Newly elected writer member in the at-large field is composer Alf Clausen. In addition to Paul
Williams, the writer members who were re-elected in the at-large field are: songwriter Marilyn
Bergman; composer Richard Bellis; composer Bruce Broughton; composer George Duke; composer
Dan Foliart; songwriter Wayland Holyfield; songwriter Valerie Simpson; songwriter Jimmy Webb;
and composer Doug Wood. Re-elected in the Symphonic and Concert field is composer Stephen
Paulus.
The publisher directors re-elected in the at-large field are: Martin Bandier, Sony/ATV; Caroline
Bienstock, Bienstock Publishing; Barry Coburn, Ten Ten Music; John L. Eastman, Edwin H. Morris &
Co.; Zach Horowitz, Universal Music; Laurent Hubert, BMG Gold Songs; Dean Kay, Lichelle Music;
Leeds Levy, Leeds Music; Matt Pincus, Songs Music Publishing; Irwin Z. Robinson, Cromwell Music;
and Cameron Strang, Warner Brothers Music. Re-elected in the Symphonic and Concert field is
publisher James Kendrick, Schott Music Corporation/European American Music Corporation.
Warner/Chappell Named Music
Publisher Of The Year
Warner/Chappell Music (WCM)-Warner Music Group's global music publishing company-has been
named Music Publisher of the Year at the 32nd Canadian Music & Broadcast Industry Awards in
Toronto. Voted on by music industry experts, the award underscores the strength of WCM's showing
on the Canadian charts as well as the company's ongoing worldwide success.
"Over the last two years, we've focused on providing unparalleled support and service to Warner/
Chappell's songwriters, artists and publishing partners. I am delighted that this renewed dynamism
and determination is being acknowledged across the globe, and particularly honored that the
Canadian music community has recognized our team and our writers with this prestigious award,"
said Cameron Strang, Chairman & CEO, Warner/Chappell Music. "It is through our continued
dedication to today's outstanding talent and the songwriting stars of tomorrow that we are building a
reputation as the world's most creative and committed music publisher."
Following Warner/Chappell's many successes in 2012, including being named Publisher of the Year
at the ASCAP Pop Music Awards, the company has continued to build momentum during the first
three months of 2013. At other events during Canadian Music Week, Warner/Chappell songwriter
Nate Ruess and his band fun. continued their winning streak, taking home International Group Of
The Year at the Canadian Radio Music Awards and International Single Of The Year at the 13th
Annual Independent Music Awards. Also this year, WCM songwriters won a host of awards at this
year's Grammys, including 'Song of the Year', 'Record of the Year' and 'Best New Artist'; superstars
such as Beyonc? and JAY Z have signed agreements with WCM; writers including Kendrick Lamar,
Kacey Musgraves, Ben Howard, Pablo Alborán and others have reached new heights of success; the
Les Misérables soundtrack topped charts on both sides of the Atlantic; and WCM has signed a host of
new talent around the world. Further, the company has continued to evolve the services it offers
songwriters, including by combining its music publishing synchronization team with the recorded
music licensing department of Rhino Entertainment.
Songwriter Bob Beland Makes
Back Catalogue Available To
The Public Through Soundcloud
In a bold move by any music artist, prolific LA songwriter/
musician Bob Beland, who has been active in the music industry
since the early 1970's, has decided to make available free for
public listening his entire back catalog on Soundcloud. This also
includes his recent critically acclaimed album release 'Mar Vista';
a collection of songs written by Bob between 2010 and 2012 and
it's instrumental companion EP, 'Forward & Backworks,' both
recorded at his home studio in Los Angeles, Wrong Way Works.
Says Bob, “'Mar Vista' for me is kind of a throwback to the old
Buffalo Springfield records and their eclectic unpredictable
nature. 'Forward & Backworks' is a concept for orchestra that
includes two pieces also found on 'Mar Vista.'”
And why make his music available to listen to for free? Bob
explains, “Soundcloud affords for the first time in my career an
opportunity to give the public open access to my collected works
as opposed to just a few songs or edited samples. Like most
songwriters and composers I've always wanted as many people
as possible to hear the music I've written over the years and
hopefully enjoy the experience. Soundcloud makes that wish possible. It's a little bit like owning
your own personal radio station for people to hear your music. Soundcloud also brings to the artist
considerable online traffic to tap into. Since I don't perform live or tour I feel that it's more
important for people to have the opportunity to hear my music for free as opposed to trying to make
that happen through the traditional retail sales and touring oriented approach. I'm much more
concerned about acquiring listeners and followers than consumers right now. My music will only gain
value through people hearing it and eventually wanting it for their own. Once that demand develops
I can consider facilitating the consumer's requests. Soundcloud also helps me in referring recording
artists, producers, film and media music supervisors a reliable, accessible place to go to for
consideration without all of the old mailing or physical content hassles. Soundcloud gives the world
instant access to my music and that's fantastic in my book. I sincerely hope that it's an enjoyable
experience for everyone who stops by.”
Bob Beland's diverse career spans over four decades. Originally hailing from Hometown, IL, a small
suburb outside of Chicago, his first exposure to music came from local AM radio and his older
brother Jack “John” Beland's first band The Mods. His brother John was to go on to an illustrious
music career of his own highlighted by his tenure in the legendary Flying Burrito Bros. By 1964 the
British invasion was in full swing and the influence was strongly felt by Bob who was an avid listener
of band's like The Beatles, Dave Clark 5 and US acts like the Bobby Fuller Four. In 1965, his family
migrated to Los Angeles, where Bob began taking formal drum training in high school. By graduation
he took interest in guitar and began learning to play on his brother John's guitar. Bob relates, “One
problem though, my brother is right handed and I am left handed. Being left handed and not being
able to reverse the strings posed quite a problem that I'd have to figure out for myself. So I did. I
taught myself with the help of Mel Bay's Big Book of Chords and some dyslexic reading. That's how I
ended up playing guitar upside down and backwards all these years (as Elizabeth Cotton and Albert
King played).” In 1967 Bob, playing a '65 powder blue Fender Jaguar with a built in fuzz switch,
formed his first band Carlisle Wheeling; the band performed many of Bob's originals and covers such
as Love's “7 & 7 Is”.
In 1969, the Beland family relocated to Napa, California in the San Francisco Bay area. Bob's formal
music training paid off as he quickly formed a 7-piece band called Mason, named after their
incredible lead singer Deki Mason. Bob fondly recalls, “It was a flat out hippie experience on the tail
end of the summer of love.” He soon began writing songs with Mason and another outfit called
Bootleg while doing shows with the likes of Big Brother & The Holding Co., Cold Blood, Sons of
Champlin, Grootna, Little John, Country Joe & The Fish, and Tower of Power at places like The
Keystone in Berkeley, Pepperland in San Rafael, The Inn of the Beginning in Cotati, the Napa
Fairgrounds and The Napa State Sanitarium. At the time, Bob's musical influences grew by leaps and
bounds, which included many West Coast acts like the Buffalo Springfield, Linda Ronstadt, the Beach
Boys, the Byrds and the Turtles, along with many of the solo singer/songwriters popular at the time.
By 1973, he moved back to Los Angeles and formed a band called Southpaw with Jules Shear and
Deki Mason Farwell. The band's name was derived from the fact that Bob and Jules were both lefthanded, upside down guitar players.
During this time Bob frequented famed LA nightclub the Troubadour where he met a then unknown
Tom Waits. Bob recalls, “Back at the club I remember seeing Tom Waits audition for the first time at
the Monday night 'Hoots' (open mic). He had just taken the bus up from San Diego. The club wasn't
opened yet but a few of the employees were working inside. The waitresses and staff all stopped
setting up the club while he auditioned. He really got everyone's attention. After his audition I met
him in the dressing room upstairs and asked if he was looking for a guitar player (ah, poor
misguided youth!), from which he said, 'Well, as you can see I already play guitar so I kind of got
that covered Bob.' We shook hands, talked and ended up sharing a meatball sandwich from Dan
Tanas next door to the club. It was fun knowing Tom back then.”
After the demise of Southpaw, Bob did session work for various west coast artists including Peter
Allen, Fantasy Records recording artist Byron Keith Daugherty, songwriter Steve Gillette and
renowned Hall Of Fame musician Graham Nash of the Hollies/CSN&Y fame. He also formed the band
Bates Motel with Southpaw bassist Les Bohem and the band played many of the clubs on the LA
strip including the Whiskey Au Go-Go, The Starwood, The Club Lingerie, The Central and Madame
Wong's, working with groups like The Motels, The Runaways, The Plimsouls, The Pop, The Zippers
and The Knack. In 1980, after passing on becoming lead guitarist for the legendary Rick Nelson, Bob
signed an exclusive songwriters deal with the help of Randy Pitch from MCA Publishing and released
an EP on Chris Ashford's What Records produced by Stephen Hague (Pet Shop Boys, Blur, Robbie
Robertson, the Pretenders, Jules & The Polar Bears). The EP included the song and title track
“Stealing Cars”, which was released earlier as a single on Mike Lembo's Deli Platter records. The EP
featured Jules Shear, Stephen Hague, Ian Hoffman (the drummer with Southpaw), Gary Richwine
and David Beebe (both from Jules & the Polar Bears) and guitarist Kevin Dwyer. A review of the EP
in New York's Slash magazine called Beland “the worst influence on western civilization” - quite a
compliment coming from such a dignified music rag such as them! Bob recalls, “I remember hearing
'Stealing Cars' for the first time on Jed the Fish's show at KROQ-FM, the big station in LA at that
time. It was the first time I had ever heard one of my recordings on the air and there I was hearing
it on the crappy car stereo – I loved it! I almost crashed the car!”
After Bob's deal with MCA expired he joined The Furys, one of LA's original punk bands led by Jeff
Wolfe and Greg Embrey. Along with playing clubs throughout Los Angeles, the group recorded an EP,
'Indoor/Outdoor' on their own King Coitus Records label. The record was pressed at EMI's
manufacturing facility in Christchurch, New Zealand and the album artwork was designed by Bob
and his future wife Mary Roth. After The Furys, Bob went on to play with Skin Trade, an eclectic,
somewhat progressive unit fronted by Dickies guitarist Glen Laughlin. In 1993, Bob returned to his
solo career and recorded the critically acclaimed CD 'Amnesia Lane,' released independently on his
own label Seeing i Records. In 2008 Bob released two albums on his newly enacted Wrong Way
Works label: 'The Evening Shade' featuring mostly original instrumental pieces, and 'Life Begins...', a
new collection of songs. Says Bob, “I had Jules, Deki, Severin Browne, Stew & Heidi from the LA
band The Negro Problem and Broadway hit 'Passing Strange,' John Beland, Mark Lennon (from the
LA band Venice) and Doug Powell sing on the album 'Life Begins...', along with Ian Hoffman on
percussion, chromatic harmonica legend Tommy Morgan (“Good Vibrations”, “Pet Sounds”, “Rainy
Days & Mondays”, “Theme From Green Acres”), classical violinist Paula Kuhr from The MESTO
Orchestra and Furys/Motels/Gary Valentine & the Know bassist Richard d'Andrea.” Once again, the
CD showcased Bob's unique songwriting, arranging and musical prowess.
Which brings us to the year 2013 and the latest CD release by Bob Beland the wonderful 'Mar Vista'.
Bob expounds, “This time around I wrote, produced, recorded and sang all the songs along with
playing all of the instruments on all the tracks except one song, 'Speed Of Life', that features world
percussionist T.J. Troy, from the multi-ethnic classical orchestra MESTO. There's both songs and
instrumental work on 'Mar Vista.' Two of the instrumental tracks, 'Overnight (in retrograde)' and
'Beautiful Embrace no.2 pastoral (in retrograde)', are part of another concept I have for the
orchestra called 'Forward & Backworks' that I am releasing to coincide with 'Mar Vista.' The concept
behind 'Forward & Backworks' is the discovery of what happens when an entire piece of music is
performed both forward and backwards. It can be both breathtaking and astounding. I sometimes
think of music in retrograde as 'music from the 4th dimension.'"
Now, much to the excitement of music fans and listeners across the globe, Bob Beland's 'Mar Vista'
and 'Forward & Backworks' are both available to listen to for free on Soundcloud at:
https://soundcloud.com/bobbeland
Bob Beland's Facebook page:
https://www.facebook.com/bbeland?fref=ts
Bob's albums 'Amnesia Lane' and 'Life Begins...' are both available as downloads at iTunes and
Amazon mp3.com
UK Songwriter Online Royalties
Top £51M
PRS for Music reported a record £641.8m collected in royalties for songwriters, composers and music
publishers in the 2012 fiscal year, a 1.7% increase on 2011.
Expansion in the online market, especially streaming services, netted £51.7m in music royalties.
This is the highest figure to date and up 32.2% on 2011's £38.5m. Over the last five years average
annual growth for online has been 27%. New licensing deals with Google Play, Vevo and Microsoft
Xbox and the renewal of existing agreements means UK creators now receive 8% of their royalty
income from online music services.
The organisation collects royalties for over 95,000 members and licenses in excess of 350,000 UK
businesses including 300 radio stations and 450 television channels. Royalties from broadcasters in
2012 rose by 3.1% to £153m representing almost 24% of overall income for music creators.
International revenues suffered a decline of 4.1% due to significant exchange rate losses, specifically
because of the Euro and a challenging economic climate in many countries. Despite these
challenges, international royalty revenue provided UK music creators with their single largest source
of income at £180.1m. 2012 was a year when UK songwriters continued to dominate internationally
with Mumford and Sons, Ed Sheeran and Calvin Harris enjoying global chart success and other
prominent writers seeing their music accompany television and film content worldwide.
Robert Ashcroft, Chief Executive commented: "Copyright remains fundamental to the continued
success of our members both at home and abroad, while the ever-increasing importance of licensed
online services such as iTunes and Spotify underlines the value of music to the internet economy".
Universal Music UK Launches
Virgin EMI Records
Universal Music UK chairman & CEO David Joseph has announced the launch of Virgin EMI Records –
a creative powerhouse bringing together the newly reinvigorated Virgin Records and its Universal
Music sister company Mercury Records.
Virgin EMI Records will be an immediate contender for the UK's number one label, launching with a
roster which extends from Emeli Sandé, the biggest-selling artist of last year, to Jake Bugg, the
biggest breakthrough artist of 2013 so far, alongside international superstars Sir Elton John,
Rihanna, Kanye West, Taylor Swift and Justin Bieber.
Reaffirming its place as one of the most illustrious and diverse
labels in the history of British music, Virgin has already been
building on the phenomenal success of Emeli Sandé – last week it
celebrated a number one debut album with south Londoners
Bastille. The label's A&R team has releases lined up this year from
widely-tipped Scottish trio Chvrches as well as established names
Laura Marling and Empire Of The Sun from a roster which also
includes Professor Green and Swedish House Mafia.
The addition of the executives and artists currently working under
the Mercury banner means Virgin EMI Records will be home to
international repertoire from the world-beating Island Def Jam
label as well as Virgin US, next to an extensive and varied
domestic roster featuring the UK-signed Arcade Fire alongside
Chase & Status. The new set-up also means Virgin, which became
part of Universal Music following UMG's acquisition of EMI last year,
will return to being a full-service record company for the first time
since its heyday.
Virgin EMI Records will operate two distinct A&R and marketing
streams – Virgin and EMI, a move which secures the future of the historic EMI name in the UK.
Universal Music UK Chairman & CEO David Joseph says: "Virgin EMI will be a creative powerhouse
for the UK music industry. It has an exceptionally strong A&R line-up, with sensational domestic and
international artists, combined with the ethos which has served the company so well over the past
40 years."
Virgin EMI Records will be led by Ted Cockle, who joined Virgin as President in January from sister
label Island. He says: "Having filled the top two positions in the albums chart this month for the first
time since the Spice Girls and The Verve did it in 1998, Virgin is already feeling ready to compete at
the very highest level. In the label's 40th year, to have this incredible line-up of British artists and
US repertoire of such pedigree it feels like Virgin EMI will have everything in place to help the very
best talent flourish fully."
After seven years running Mercury, Jason Iley is setting up an international marketing and
management venture and will continue to work closely with Universal Music on some projects. He
says: "I've had an incredible journey at Universal, having worked at Polydor, Island and Mercury,
and been privileged to work with some inspiring artists and executives over the past 15 years. I look
forward to continuing these relationships in a new capacity and wish Ted all the very best with Virgin
EMI."
Virgin EMI Records will sit alongside Island, Polydor and Decca as one of Universal Music UK's
frontline labels. A fifth company will join the line-up when the Capitol label opens its doors in the UK
for the first time – details of this significant label launch are expected by the end of April.
The Mercury label will continue as an imprint within Universal Music.
CCIA Celebrates Supreme Court
Copyright, Owners' Rights
Ruling
The Computer & Communications Industry Association had filed an amicus brief in the case arguing
that the appeals court ruling should be reversed. The brief stated: "Regardless of the place of
manufacturing, once a copyright owner has sold his property, he has exhausted his exclusive
statutory right to control its distribution. The Second Circuit's holding is to the contrary, does not
comply with the Copyright Act and will precipitate a host of adverse policy results."
The following can be attributed to CCIA President & CEO Ed Black: "The court's ruling upholds a key
balance in U.S. law known as the first sale doctrine, which covers copyrighted material like books,
movies, music and other physical media. This means once you buy it, you own it.
"This is an important victory for consumers and the nonprofits and companies involved in the resale
market. The Court has agreed that once the object is lawfully sold – or even given away – the new
owners are entitled do whatever they want with the property they now own -- including reselling,
lending or gifting that item.
The following can be attributed to CCIA Vice President Matt Schruers: "This Supreme Court decision
upholds a key component of copyright law – the first sale doctrine -- which is an exception that
balances the rights of copyright owners and consumers.
"This was a case in which personal property rights had come into conflict with intellectual property
rights. Until now lower courts had been applying the 'first sale' rule only to copyrighted goods
manufactured inside the United States. The consequence of this interpretation was that the domestic
resale, lending, or even gifting or donating of any copyrighted good made abroad would put owners
in danger of legal consequences. This posed a substantial threat to a substantial amount of lawful ecommerce."
Songwriters Unite To Form The
"Fair Trade Music" Initiative
For the first time in music industry history, over 25,000 songwriters and composers from nearly fifty
countries throughout Europe, North America, South America, and Africa have joined together to form
a new, wholly independent advocacy Network for music creators. Its immediate goal will be the
championing of a set of Fair Trade Music Principles designed to ensure transparency, fair
compensation, and autonomy for music creators in an increasingly complex and non-transparent
music business landscape.
The new group, characterized by its founders as a "Network of independent alliances," will serve not
only to support advocacy for music creator rights throughout the world, but as a source for the
gathering, analysis and distribution of international legal and business information crucial to
songwriters and composers. The founding members of the Network include the European Composer
and Songwriter Alliance (ECSA), Music Creators North America (MCNA), the International Council of
Creators of Music (CIAM), the Pan African Composers and Songwriters Alliance (PACSA) and the
Alliance of Latin American Creators of Music (ALCAM).
As its first united action, the new Network has announced the international launching of its Fair
Trade Music initiative. According to the group, "more than any other sector of the music community,
the songwriter and composer community has been hit the hardest by the catastrophic losses that
have financially decimated the music industry since the beginning of the 21st Century. Our Network
recognizes the drastic need for music creators to independently analyze the reasons for these
devastating setbacks, devise solutions that benefit creators as the bedrock of the music industry,
and advocate for the implementation of those solutions with our own voices. The initial result of this
process has been the formulation of the Fair Trade Music Principles, which provide a framework for
ensuring that music creators can survive and flourish in the future, to the benefit of individual
songwriters and composers, consumers, and culture in general. It is those principles that we have
come together to champion."
The Fair Trade Music Principles are as follows:
1. FAIR COMPENSATION -- Music business models must be built on principles of fair and
sustainable compensation for music creators.
2. TRANSPARENCY--International standards must be developed and adopted that ensure efficient
and transparent management of rights and revenues derived from the use of our works. These
standards must apply to all entities that license such rights, and which collect and/or distribute such
revenues.
3. RECAPTURE OF OUR RIGHTS--Music Creators must have the ability to recapture the rights to
their works in a time frame no greater than 35 years, as is currently available to songwriters,
composers and artists in the United States. The effect of recapture of rights must apply globally.
4. INDEPENDENT MUSIC CREATOR ORGANIZATIONS--Music Creators must have their own
independent entities that advocate for, educate and provide knowledgeable support for members of
their community, including aspiring songwriters, composers and artists. Music Creators speak for
themselves, not through those with interests in conflict with them.
5. FREEDOM OF SPEECH--Music Creators must be free to speak, write and communicate without
fear of censorship, retaliation or repression in a manner consistent with basic human rights and
constitutional principles.
While the Fair Trade Music Principles are general in scope, the Network has already begun to engage
in specific activities designed to address current and developing problems for music creators. These
include advocacy in favor of the system of "exclusive assignment" of performing rights in musical
works to performing rights organizations outside of the United States, opposition to non-transparent,
direct performing rights licensing agreements currently being undertaken in the United States, and
support for more robust and creative approaches to addressing the continuing, drastic problem of
music theft.
Speaking on behalf of the Network, spokespersons and music creators Alfons Karabuda of ECSA,
Rick Carnes of the Songwriters Guild of America and MCNA, Eddie Schwartz of the Songwriters
Association of Canada and MCNA, and Lorenzo Ferrero of CIAM, all noted the historical significance
of the Network's formation. "Only a unified global music creator community can meet the challenges
of survival in a fully internationalized music industry. It took many decades to accomplish the
enormous task of organizing such a diverse geographic Network, but now having done so, we have
embarked on a new course designed to ensure that the voice of the music creator is heard on every
issue, loud and clear, throughout the world. We think for ourselves. We act for ourselves. And we
speak for ourselves. We have many partners and allies, but ultimately, we take responsibility for our
own futures. That is the new narrative, and it will be pursued in our own voice."
Chris Braide Signs Publishing
Deal With BMG Chrysalis US
Chris Braide, British singer and Ivor Novello award-winning songwriter and producer has signed an
exclusive, worldwide co-publishing deal with BMG
Chrysalis US.
During his career, Braide has worked with some of
the most respected and influential artists in the
world. Currently based in LA, Braide has composed
songs for chart-topping artists such as David Guetta,
Sia, Lana Del Rey, Christina Aguilera, Paloma Faith
and Yuna.
Braide's 'Kill and Run', co-written with and
performed by Sia, will be included on the much
buzzed-about soundtrack for the upcoming film from
Baz Luhrmann, The Great Gatsby. The soundtrack
was supervised by Jay-Z and features a diverse
roster of top musical talent.
Most recently, Braide co-wrote and co-produced the
Pan European chart topping hit song for David
Guetta 'She Wolf (Falling to Pieces)' featuring Sia
and the standout song, 'Blank Page' for Christina
Aguilera. Currently he is contributing to upcoming albums from Beyonc?, Jennifer Hudson and Sia.
This May, rock legend Bonnie Tyler will perform Braide's song 'Believe In Me' at this year's
Eurovision Song Contest, Europe's biggest music competition held in Sweden. The show will be
broadcasted live, with an average of 120 million viewers.
Andrew Gould, Vice President of Creative at BMG Chrysalis US commented: "Chris' passion for music
is pure and unparalleled, and his compositions exude this in their timelessness. We are fortunate to
be working closely with him and are excited for his continued success."
"Laurent and Richard have assembled a dream team of creativity, energy and passion with Zach,
Andrew and David," added Braide. "As a songwriter, their commitment and support means a lot to
me. I'm looking forward to a long term relationship with BMG."
Eurovision Song Contest 2013
United Viewers Worldwide
More than 170 million viewers in 36 countries tuned into the 58th Eurovision Song Contest in Malm?,
Sweden (14,16 & 18 May), which was won by Danish 20 year old Emmelie de Forest, with the song
'Only Teardrops'.
In 24 of the 36 countries, more than a third of the population viewed the two Semi-Finals and the
Final of the Contest; in eight of those countries, more than half the population tuned in, with interest
peaking for Saturday night's Final. An average audience of 54.6 million watched the Final.
In the Nordic countries, the Final was watched by two-thirds of the available audience. The market
share for Denmark, whose public service broadcaster DR will host next year's Contest, leapt by more
than 50 per cent to almost 80 per cent - 1.7 million viewers in total. The market share for host
broadcaster SVT was 84.9 per cent, its best result since 2003.
The biggest increase was registered in the Netherlands, which reached the Final for the first time
since 2004. More than 4.8 million viewers in the Netherlands saw singer-songwriter Anouk, who
finished ninth - 3.7 million more than in 2012.
Overall, the Eurovision Song Contest final achieved an average market share of 38.3 per cent, 160
per cent more than the average peak time market share of around 15 per cent. The average market
share among ESC finalist countries was 47.4 per cent - a massive 187 per cent more than the
average peak time market share in those countries.
The show proved slightly more popular among women (57 percent) than men (43 per cent).
Thirty-nine public broadcasters participated in the 2013 contest, which was transmitted live over the
EUROVISION and EURORADIO networks via Swedish EBU Member SVT.
www.eurovision.com
Burt Bacharach's Best Debuts
On Television
For over half a century, the immensely popular and immediately identifiable melodies of composer
Burt Bacharach have touched millions of music lovers around the world. Bacharach established
himself in the 1960s as a topical successor to his Tin Pan Alley predecessors, creating some of the
most beloved and successful pop music ever to grace radio, television and film. Hosted by Robert
Wagner, this first-time ever archival PBS special includes all the original artists performing
Bacharach's hits with rare footage and clips from the 1960s -1980s.
Bacharach teamed with lyricist Hal David for a stunning run of classic songs, many in tandem with
Dionne Warwick (Walk On By, I Say A Little Prayer, Alfie). British songbird Dusty Springfield
introduced the seductive standard The Look Of Love while Tom Jones popularized the playful What's
New Pussycat?, Herb Alpert romanticized with This Guy's In Love With You and Jackie DeShannon
touched hearts with the iconic What The World Needs Now Is Love. The smashes continued in the
seventies when The Carpenters reached #1 with (They Long To Be) Close To You, following another
number one evergreen, Raindrops Keep Fallin' On My Head, the Oscar-winning tune sung by B.J.
Thomas in the film Butch Cassidy & The Sundance Kid. Soul-pop ensemble The Fifth Dimension
presents the sultry ballad One Less Bell To Answer.
The 1980s witnessed more Bacharach chart-toppers such as Arthur's Theme by Christopher Cross
and That's What Friends Are For by Dionne Warwick, Stevie Wonder, Gladys Knight & Elton John.
Burt Bacharach continues to perform concerts across the globe and his autobiography, Anyone Who
Had A Heart, has just been published by HarperCollins.
Copyright Clearance Center
Teams Up With HFA For Music
Licensing On Copyright.com
Copyright Clearance Center, Inc. (CCC), a not-for-profit organization and leading provider of
licensing and content solutions, is working with HFA, the nation's leading provider of rights
management, licensing and royalty services for the music industry, to provide access to HFA's music
licensing services through copyright.com.
HFA is the largest provider of licenses for physical and digital reproduction of music in the U.S.,
covering uses such as CDs, permanent digital downloads, interactive streaming and ringtones. CCC's
existing offerings include millions of rights for in- and out-of-print books, journals, newspapers,
magazines, movies, television shows, images, blogs and ebooks.
"It is increasingly important to make rights licensing for all types of content more easily accessible,"
said Roy Kaufman, Managing Director, New Ventures, CCC. "Our relationship with HFA further
ensures our customers effortless access to the rights they need without interruption to their
workflow."
"HFA is committed to enabling the licensing of copyrighted content, and working with CCC is a great
opportunity to offer our streamlined music licensing solutions to a broad user base," said Lauren
Apolito, Vice President of Strategy & Business Development at HFA.
GENERAL notices
Ruben Baudry Seeking New
Songs For Recording
Ruben Baudry
Male r&b/pop singer Arnaud requires urgently
five songs in the style of Beyoncé Knowles,
Rihanna, Frank Ocean, Chris Brown, Jessie J,
Adele, Rita Ora, Ne Yo and/or Mariah Carey, for
a demo and a possible record release.
Words must suit male vocalist.
I live in France, so I would rather an mp3
emailed than mailed materiel for obvious
reasons.
http://www.youtube.com/watch?v=q1Ni292M8hA
has over 5,300 alone, so I am very pleased!
David Batley
We have donated all proceeds from the download
single 'Kissed By An Angel' by Anthony David
Jensen to help raise money for the 3 year old
Leeds toddler 'Kendal' who is successfully fighting
neuroblastoma (the cancer that attacks young
children) and I am asking a favour from ISA
members - would you download it too please?
[email protected]
Can you imagine what it must be like for little
Kendal’s parents and family to endure such a
heartbreak and worry?
Jade Blundell
But this cancer is treatable and she is winning the
fight!
I am urgently looking for a song written in the
r&b (commercial) style of Rihanna, Beyonce,
Rita Ora and Jessie J.
The song is now available on most download
portals but these links will take you to the two
most popular sites ..
I would like to record suitable material in the
studio but anything unused will be returned as
soon as possible.
Amazon
Words must suit a female artist!
iTunes
Please send demos to
http://tinyurl.com/mob3xpb
Jade Blundell
4 Downfield Drive
Sedgley
West Midlands DY3 1SQ
UK
The track will only cost you 99p maximum and
will certainly make a difference to the little girl's
treatment and so to her chances of survival.
I will notify quickly if unsuitable material.
Mobile number: 07975527986
[email protected]
http://tinyurl.com/lerwo9y
Perhaps you could buy several if you’d like to
make a bigger donation!
Bob Mullis
The plays for my songs recorded by My Celtic
Blood, are doing really well now on YouTube.
I'm with the band Boston's Erin Og. We are an
Irish folk/ballad band looking for some original
music. We are well known on the East Coast and
beyond where we play festivals, pubs, special
events, etc.
Between four of the songs, they now have
amassed over 7,000 plays!
We are looking to grow and will need some
original music in order to do so.
Martin Sheridan
"I Dream Of Celtic" at
We are influenced by The Dubliners, Luke
Kelly, The Wolfetones, Clancy Brothers, Saw
Doctors, Waterboys, Pogues and may others.
Our audience seems to like upbeat music like
“Galway Girl by Steve Earle, Saw Doctor
renditions, and ballards such as Green Fields of
France and Caladonia.
We would like to connect with a songwriter
interested in this genre.
Our band can be heard at
http://www.bostonserinog.com
arious talent shows on television.
The opening night party is a bust because the VIP
invitations were burnt in the fire, so investors in
the show are invited on stage to take a little wine
and sing the last song from the menu.
What I need now is a selection of songwriters to
create three-minute songs once they have received
the five-page synopsis which has themes and
content as a guide.
Any submissions must be registered for the
songwriters protection. If used, fees and royalties
will be negotiated.
There you can find our MySpace and
Reverbnation links with more music. Our bios
are listed there as well.
http://Facebook.com/bellasclubphoenix
[email protected]
[email protected]
Peter Shillingford
Moda Music Group
My stage musical, Bella’s Club Phoenix is now
written except for the 12-15 songs needed.
We are a dance music label. Send us your demo!
The songs required cover all genres and will
reflect the action within the show and example
the various attitudes of the cast.
A brief synopsis for the 2 hour show:
Bella, a lady who takes no prisoners but has a
heart of gold is about to create a restaurant
club in an abandoned warehouse. Her problem
is a dozen teenagers are squatting there and
refuse to move out. They are musicians and
street performers and consider the warehouse
their home.
Bella convinces them to become her work force
if they want to stay. The street kids, now our
chorus, clear the debris and build the club on
stage from found materials in the warehouse.
Just prior to the interval, the evil maître'd
burns it down.
The second act is of the recreation of the club
using spray paint graffiti illustrating a homage
to famous painters and celebrities.
Gangsters and their molls get involved as do
gay interior decorators. The local cops check it
out and the chef cooks up the finger food.
Bella’s lost child is found and the street kids
get to perform their acts.
has a selection of video clips that explain more.
MP3s only please - no links to Bandcamp,
SoundCloud etc.
Send only one MP3 per e-mail.
We do not press physical product (vinyl or CD) at
the start. We release in digital to see what
happens, then, if it's worth it, we can discuss a
physical distribution.
We are publishers so, except for very rare cases or
if your work is a cover, we will want the publishing
rights of your production, so please specify in the
e-mail if the publishing is available.
It is to your advantage to make the publishing
available.
We will also need a picture or a logo of you/your
project and an English biography.
Moda Music Group
via Val Cismon 2
20900 Monza (MB)
Italy
PH: +39-039-2245719 FX: +39-178-2221941
[email protected]
http://www.modamusicgroup.com
Guests come in on a weekly gig and do their
thing, performers can be culled from the
Steve Colin
I'm looking for a co-writer (composer/lyricist)
and a producer to work on tracks to pitch to
artists.
Genre is pop, with 60's/70's influence, but the
tracks need today's current production
standards.
Just uploaded a track, you'll find on the link
below.
Any producers who feel they can make it sound
more current/radio friendly, please email me
for a chat.
Any advice/comments are welcome.
https://soundcloud.com/steve-147/desert-highway
esigned for independent artists like you
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Go to
http://tinyurl.com/nvay97f
And much more
email: [email protected]
Songwriters Workshop
Ainsley Stones
Emeraz.com and Z1 Music will be hosting a
songwriters workshop at Ministry Studios in
Guilford, UK, on the 29th and 30th of June. The
workshop will be run by noted songwriters/
producers Tim Hawes and Obi Mhondera. The two
have worked with acts such as The Spice Girls,
Blue, Five and Sugababes in the past.
Velvet Goldmine, a highly-commercially viable
acoustic duo from Sheffield, England, require
competent management to increase levels of
exposure.
Interested?
Contact us through our website at
http://velvetgoldmineband.co.uk
HostBaby
HostBaby was built alongside CD Baby to
provide you with the most powerful music
marketing tools available. Not only do these
two work great together, but using both can
save you some real money on submissions!
And best of all, you can try HostBaby FREE for
30 days.
Participants in the workshop will be divided into
groups of no more than three and will receive a
project to complete. Each team will have its own
recording space and engineer with which to work.
In addition to this each person at the workshop will
receive one to one mentoring from either Tim or
Obi.
The aim of the weekend is to expose budding
songwriters to a professional set-up and if a team
is successful in their endeavours Z1 Music will look
to have their song placed.
The cost of a place in the workshop is £299. As this
is a non-profit event, this fee is merely to cover the
use of the top class Ministry Studios.
As a CD Baby artist, when you add a site from
HostBaby you get:
For more information please contact:
— 5 free CD Baby submissions every year
Stephen Brett
— Easy importing of your CD Baby tracks to
your HostBaby audio player
Emeraz
Dublin, Ireland
— A CD Baby MusicStore on your site to sell
your music directly to your fans
— A highly customisable, easy-to-create
website, from a name you trust, specifically
+353 1 6831539
+353 85 7328668
http://www.emeraz.com
Tarryn Richardson
We will provide a copy of any demo made and will
return unsuitable material if a stamped addressed
envelope is enclosed.
I am Tarryn Richardson
[email protected]
and I would need a songwriter to enable me
put some original stuff on YouTube.
My website is
http://www.tarryn.me.uk/Tarryn/Home.html
I am more classical and opera so anything very
soprano and light would be brilliant.
I am happy to do all business over email, in
regards to Mp3's etc.
Failing this, we will notify you either way by email
of any decision reached in relation to the material
sent
Write to;
Andrew Smiles
9 Arbour Court
Lumbertubs
Northampton NN3 8HB
UK
Tel 01604 390168
or e-mail
I am also likely to perform some of the pieces
depending on the function.
[email protected]
If you are able to help, that's amazing. I look
forward to seeing what can be done!
Maria Carr
NNiamh
I am a composer and singer songwriter. Many
people in the music industry have told me my
music would suit TV, Film and other media. I
have recently released my EP and below is a
link!
https://soundcloud.com/iamniamh/sets/i-amniamh-ep
I think my EP could suit music for film and
television. Let me know your thoughts and
thank you so much for your time!
W: www.iamniamh.com
https://soundcloud.com/iamniamh/sets/i-amniamh-ep
www.facebook.com/iamniamh
E: [email protected]
Drew
Singer Drew urgently requires a song in the
tempo of Elvis Presley style or similar for a
demo and a possible record release.
He is looking to release a song to raise money
towards The Dementia Charity.
Singer Maria Carr urgently requires an Adele/
Evanescance style ballad for her upcoming album.
She is currently associated with a producer and has
contacts with several labels, and so is trying to get
songs immediately so she can record them in the
studio.
Words must suit female vocalist.
Please only reply if you have a song in mind, or can
write one within a short time.
Only contact Maria via email and not by phone or
post.
See Maria's pages for ideas on her vocals.
http://www.facebook.com/mariaxcarr
or
http://www.starnow.co.uk/mariacarr1
[email protected]
Paul Reisler
While I'm spending most of my time during the
year writing songs with children through Kid Pan
Alley, I like to teach songwriting to adult (16 and
up) students during the summer. Like Kid Pan
Alley, my mission is to inspire people to be creators
of their own culture. I like to pick some of the
most beautiful places in the world where we
can spend time listening to each other and to
nature. Beautiful places make for beautiful
music.
This summer I'll be leading small, intimate,
and intensive workshops at Hollyhock on
Cortes Island, BC and another in the town of
Auvillar in Southern France. These workshops
are designed for students at any level and, as
they are small, there is a great deal of
individual attention. These intensive
workshops are also the prerequisite for training
to be a Kid Pan Alley teacher. Please note that
the Rocky Mountain Songschool workshop
where I've been teaching for 20 years has been
sold out since Christmas.
Come join me at:
http://paulreisler.com/
Madelein Snelson
I am 23, my name is Madeleine. I live in
Lancashire, England.
I am a professional singer, with an agent,
about to take the next step in my career as a
singer.
My vocals are similar to that of Adele and Alicia
Keyes.
I need some songs that I can sing, and then
release.
[email protected]
Vinny Ribas
This past February we hosted the IC Virtual
Music Conference and Expo. It was the world’s
first global music conference to be held
exclusively online in a virtual environment! It
featured 40 speaker/panel presentations, a
trade show with 65 business and artist
exhibitors, live showcases and a whole lot of
networking. 500 artists and industry
professionals from over 25 countries
participated. The response to the event has
been tremendous!
Based on the success of this groundbreaking
event, we are planning to host the IC Virtual
Songwriter Showcase (www.ICVSong.com) on
September 21-22, 2013. It will be similar in
structure to the previous event, but will also
include numerous opportunities to pitch songs
o reputable publishers, music supervisors,
producers and artists. The event will also include
pro song evaluations. This time we are expecting
1000+ participants.
Vinny Ribas
Indie Connect, Inc.
615-568-4736 - c
Skype - vinnyr4ibi
[email protected]
http://www.indieconnect.com
http://www.ICVSong.com
Jake Hunter
We urgently require two songs, one in the slow
ballad Daniel Merriweather style and one song in
the up tempo Olly Murs style , for a demo, audition
and then a possible record release.
Words must suit male vocalist for both.
I will provide a copy of any demo made and will
Failing this, I will notify you either way by email of
any decision reached in relation to the material
sent
Write to;
Jake Hunter
Entertainment Manager & Co-Ordinator
4 Townfield Road
Rochford
Essex SS4 1DL
UK
Tel 07515159580
or email
[email protected]
Jake Hunter
Entertainment Manager & Co-Ordinator
[email protected]
07515159580
Graham White
Dee is still collecting handbags and shoes after
all these years. A song just had to be written.
Artist: Peter O'Sullivan
Song: The Songs My Mother Sang
There is a light-hearted video on YouTube and I
hope you will take a look.
Somebody might just like the song enough to
record it.
I can dream!
Please search for 'Handbags and Shoes Blues'
or click on the link.
"Peter displays his gift for storytelling through lyrics
and music, transporting audiences back to the
carefree, magical place of his childhood."
I do hope if you have the time to visit my web page
at
http://www.reverbnation.com/peterosullivan
http://www.youtube.com/watch?v=-dEM7HTLx90
CD Baby
Rob Kara
Having second thoughts about your current music
distribution arrangement?
Singer Anita Bodsworth urgently requires a
song in a slow tempo Pink style for a demo and
a possible record release.
It’s understandable. Annual fees don’t seem like a
big deal at first, but when that bill comes due it can
sour things in a hurry.
http://www.youtube.com/watch?v=1UnZJewqZTc
So here’s what we’re gonna do.
Words must suit female vocalist.
• When you transfer your music from your current
distributor to CD Baby, you’ll get:
return unsuitable material if a stamped
addressed envelope is enclosed.
Failing this, I will notify you either way by email
of any decision reached in relation to the
material sent.
Write to:
Rob Kara
58C Hampshire Street
Christchurch
New Zealand
Tel 64.3.9426306
or email
[email protected]
Peter O'Sullivan
Just to say thank you and all at The
International Songwriters Association for your
great support.
I have just won The Best Song in the Folk/
Country category for the month of April at the
"The Akademia Music Awards" Beverly Hills
• 50% off the price of our standard submission
• No more annual fees
• The highest payout on the web for digital sales
through CDBaby.com
• Worldwide physical and digital distribution
• Sync licensing so you can make money from the
usage of your music in TV, film, games, and on
YouTube
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and your site
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you make the most of their music
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Want to learn more or get started making the
switch?
We hope so, because we’re waiting patiently to
welcome you with open arms.
http://tinyurl.com/n7ovwhq
This is what they wrote:Winner: Best Song
Chris Keys
I'm a singer/songwriter currently based in
Belfast Northern Ireland.
Please find below download & stream links to
my latest EP ‘View From A Satellite’ which is
scheduled for release June 26th.
behalf
Pay the money you’re owed directly to you
CD Baby Pro is now available as an upgrade for any
music you’re already selling with CD Baby, and for
all new album and single-song submissions!
You make the music. We’ll sell it everywhere.
Mid-June, I will be releasing a new music video
for 'Under The Street Light' - the first track on
the EP.
And now, we’ll also collect the money you might
not even know you’re owed and make sure it ends
up in the right hands.
I will be launching the EP with a full band show
at the Belfast Empire May 30th with support
from the fantastic Microlip + Sara Crockett.
Want to learn more about CD Baby Pro or sign up a
new title?
June 1st I, will be performing at the world
famous ‘Bluebird Cafe’ in Nashville Tennessee
with Lee Roy Parnell as part of the 9th Belfast
Nashville Songwriters showcase.
June 3rd I will be performing for the 2nd time
with Grammy award winning Nanci Griffith at
Dan Magness’s Irish Pub also part of the 9th
BelNash showcase.
Stream Ep via Soundcloud
https://soundcloud.com/chriskeys-1
Download Ep
http://tinyurl.com/d5bdtmzx
Gregg
Gregg urgently requires a song in the uptempo
style of Lil Wayne for a demo and possible record
release.
Failing this I will notify you either way in relation to
the material sent.
http://www.chriskeys.com/id1.html
hhttp://www.chriskeys.com/
http://www.facebook.com/chriskeysofficial
CD Baby Pro
Every time your music is played on the radio,
streamed on the Internet, purchased in a
foreign country or played in a venue, you’re
owed additional publishing royalties. As an
independent artist, it can be nearly impossible
to collect this revenue on your own.
That’s why we created CD Baby Pro.
With CD Baby Pro, you get all the distribution
services included with our standard CD Baby
submission, and we’ll also:
Gregory Kharob
PO Box 62633
Katatura
Namibia
[email protected]
Martin Sheridan
I have just finished my second album.!
To re-cap, I did the album a while back but
because of unforeseen circumstances and also
having to find good
recording artistes, it took a little longer than I
expected.
The album is called 'Is It Too Much To Ask',
You can hear snippets at 13 Music Productions, via
Affiliate the songwriter(s) with ASCAP or BMI
http://tinyurl.com/c69n922
Register your songs with collection agencies
around the globe
Collect all available publishing royalties on your
The people that I put together to record my work
are the ISA musicians, Ken Lintern and Brian Hall.
I put them all together and named the band
My Celtic Blood.
My first album by was called "I'm Still
Standing" and that can also be found at 13
Music Productions.
And of course, they can both still be purchased
at CD Baby.
http://www.cdbaby.com/Artist/MyCelticBlood1
Beter Entertainment
BYentl urgently requires song(s) in an up &
mid tempo and ballad soul style (Aretha
Franklin), for a record release.
www.ghostlysongs.com
Beth Jobber
23 year old female pop/soul singer urgently
requires a songwriter who is not only able to show
off vocal ability, but also to create beautiful soul
music with a modern twist.
I am in contact with a label who are keen on
hearing new original songs for possible record
release.
I will let you know if I choose your song, (or if I
don't).
Please email songs and your details to
Words must suit a female vocalist.
[email protected]
I will provide a copy of any demo made and
will return unsuitable material if a stamped
addressed envelope is enclosed.
I look forward to potentially making sweet, sweet
music with you.
Failing this, I will notify you either way by
email of any decision reached in relation to the
material sent
Look for information about BYentl on
http://www.byentl.com
We are up against a deadline!
[email protected]
BeterEntertainment
Keizersgracht 23-b
5611 GC Eindhoven
The Netherlands
Tel: 040-2370464
Fax:040-2197097
http://www.beterentertainment.com
GhostlySongs
We manage the rights surrounding the songs
our artists write, and help find great usages for
those songs with companies who are in need of
well crafted and engaging independent music.
GhostlySongs.com
PO Box 7120
Ann Arbor
MI 48107-7120
USA
John Boyle
I'm a singer/songwriter guitarist from Northern
Ireland, UK.
Influenced by all the greats, I'd like to think my
work is in the tradition of classic songwriting. My
songs are upbeat, euphoric guitar pop with a
psychedelic twist.
Here's link to some of my stuff - this track entitled
"You Little Beauty" has had quite a bit of label
interest already:
http://tinyurl.com/bq46lte
More songs can be heard here:
http://tinyurl.com/czde8th
I've gigged in some of Belfast's top live music
venues and had local and national airplay in
Ireland as well as some great word of mouth
reaction.
Nothing beats writing a song that you are proud of
and hearing other's enjoy it too makes it even
better. I aim to write songs that you think you've
heard before, then realise you haven't. Songs that
can stand beside all the well loved classics. A lofty
ambition but one I'll never stop striving to achieve.
Recently my songwriting has taken a bluesy, folkier
route. I'm very excited with this new material and
look forward to seeing what response it gets.
FX: 734-623-7906
Estella Delglillo
Marie Atallah
Christian artist Estella Delglillo is looking for
material in the style of Crystal Lewis.
I like to keep an eye out for upcoming singers
whose style might suit my songwriting style so I
can pitch to them before it gets too difficult!
Send songs on CD with lyrics to;
Rendall Caviness A&R
Listen Loud Publishing BMI
4761 CR 305
Grandview
Texas 76050
USA
Latala writes and produces her own material at the
moment, but you never know, once a new artist
makes it, they might be open to collaboration now
and again.
As a struggling student, Latala sang the female
track on my Olympic Anthem demo last year and
fully deserves the break she appears to be getting.
(817) 641-0735
[email protected]
Sean T MacLeod
I am a singer/songwriter from Dublin. My
musical background stretches back to the mid90s when I was a member of the Dublin Based
group Cisco whose four track EP "Sugarcoat"
and debut Album, "Cisco" received favourable
critical appraise both in Ireland and the UK.
Cisco disbanded in 2003 and in 2004 a new
project Faceless was embarked on. While the
press were favourable to the Bowie like
elements of the project, the group only lasted a
little over a year due to musical difference
amongst group members fuelled largely by the
financial pressures of keeping an unsigned
band on the road.
For the next five years Sean worked as a major
figure in the production company Sonic Eye
Media, producing and playing with many Irish
acts including Steve Walker (winner of the RTE
songwriter competition The Hit) Saccade
(Reekus Records), Keith Moss (Reekus
Records) and Barry Hawk (Moonlight Records).
In 2008 I moved to Limerick to begin lecturing
in Music and Film Studies at The Limerick
College of Further Education. Since that time I
have been working on a whole set of new
songs.
The first of these new pieces Don’t Let Them
Get You (B/W Spirit Free) was released on
March 14th 2013. The song combines the low-fi
elements groove and vocal delivery of early Ian
Brown tracks with a Beatle like harmonies and
uplifting sing a long outro.
The single is available for download on
Reverbnation, Tunecore, Bandcamp and other
selected download sites.
Anyway, see what you think of her track "Broken
Bird".
She is currently managed by 141A Management,
and is in artist development. so it looks like she is
one to watch.
http://tinyurl.com/cq4cn5t
Songdoor 2013
The SongDoor 2013 International Songwriting
Competition is now open to entries. Awards total:
$40,000+. All entrants receive $120 in free
songwriting tools.
"This year, we're screening all songs for potential
placement in film and TV," said SongDoor
president, Tony Zotta. "For songwriters, label cuts
are few and far between. For artists, labels deals
are rare. Film and TV is where it's at in terms of
making a living from your music, so we're opening
that door for people. The only requirement is that
the entry be fully-produced and ready to go. Music
supervisors are not interested in re-doing demos."
In addition, all entrants, win or lose, receive a free
all-access 45-day to SongU.com and free sightreading software for either Mac or Windows. The
only requirement is the entry of one song in the
competition. The entry fee is $10.
"Our entry fee is about a third of most other
competitions," says Dessa Rossten, SongDoor's
marketing director. "We are the only competition
that gives so much back just for entering. Our staff
is also easy to contact for advice, questions and
guidance. SongDoor employees are all songwriters
themselves, so we know what it's like."
Entrants are eligible to win the Grand Award,
valued at approximately USD $7,951 in music
merchandise and services, including a single-song
publishing contract with Hard Twist Music-BMI
(owned by mega-hit songwriter Bill Shore), a
full-band private session demo at Sixteen Ton
Studio, a one-year full-access membership to
SongU.com, a copy of MasterWriter 2.0
songwriting software, a Primo membership to
Broadjam, a #1 Membership to songsinc.com
and an autographed copy of Amazon.com's
best-selling songwriting book, "Shortcuts to
Songwriting for Film and TV," by Robin
Frederick. Six Category Winners each receive a
valuable package of prizes valued at almost
$5,468, including a top-shelf guitar/vocal or
piano/vocal studio demo produced at
Herringbone Recording Studio and
memberships to SongU.com, songsinc.com and
Broadjam.
SongDoor has helped to launch a number of
careers: 2012 Country winner Jamie Nattier
just had "If Trucks Drank Beer" licensed for a
popular video game. 2010 Grand Award
winner, Ryan Martinez, recently wrapped up a
CD produced by Mike Rizzo's Funk Generation
label. Previous winner Anthony Snape has
toured with guitar virtuoso Tommy Emmanuel
and is currently touring Australia in support of
his new CD. More than 70 former SongDoor
winners have gone on to get label and/or
publishing deals, tours and opening gigs for
major artists.
Industry heavyweights Joe Beck, Jason Blume,
Dennis Winters, Bill Shore, Nancy Moran and
Steve Avedis are with SongDoor to serve as
judges this year. For complete details, see
http://tinyurl.com/c48hayr
Georgina Hilton
If, like me, you thought that some of the songs
gathering dust on your shelf might be well past
their sell-by date, don't chuck them out! Just
like fashion, trends in popular music tend to
run in cycles - or as they say, 'what goes
around, comes around'.
In 2000, I co-wrote two songs modelled on the
happy boy/girl style of 'Reach' (S Club 7's hit
which had sold 500,000 copies in the UK).
After years in storage, I came across a lead in
January for a project in Canada (Cooper
Studios/Pump Records) which sounded ideal:
'Making an album featuring boy and girl
groups, targeted at kids aged 9-13. Style:
catchy K-pop with suitable lyrics for kids.'
Off the demos went to Vancouver! A month
later they called for the backing tracks,
ollowed by confirmation that they want to use both
songs. So, fingers crossed ......
There is no doubt that the K-Pop phenomenon has
rekindled this genre and theprophetblog.net
predicted in 2011 that boy bands and girl groups
would make a comeback, saying "Pop fads always
come in waves, and there’s no doubt that boy
bands and girl groups will return to the top of the
charts one day, but just when that day will actually
arrive remains to be seen for now. The launch of X
Factor, the K-Pop invasion, and more group-based
reality shows could definitely re-ignite America’s
hunger for pop bands as early as next year, but the
public need to be ready for it".
And a contributor to Seoulbeats.com observed in
January 2012: "As life has taught me, people are
not always over things. They just like to take a
break from it every now and then. Life is often
cyclical, so something that was “in” 10, 20, or even
30 years ago can and usually does come back into
style every now and again. In this case, it applies
to both music and fashion. Maybe I’m crazy, but I
feel that groups will make a comeback in the
coming years. And not just rock groups (which
never really went out of style), but girl/guy groups
of the pop genre which that reigned during the
90’s".
Well, from my recent experience, it looks as if
happy sounds with inoffensive lyrics could well be
making a comeback, perhaps it's a global need to
cheer up after all the doom and gloom of the
recession?
Elysia Norris
I am singer/songwriter, looking to get a head start
with some professionally written songs by ISA
members. Here is my YouTube link so you can hear
my range:
http://tinyurl.com/ble9rar
Lyrics must suit a female vocalist. Incidentally, I
have a few writing concepts I am looking for in a
couple of the songs, if you these might help.
The purpose of requesting material is that I am
working on an LP.
If you are familiar with ZZ Ward, Paloma Faith
Grace Potter and Amy Winehouse, I think those are
good representations of the style that fits me, and
where I feel I have an opportunity to grow in the
market. I will send you a few links to take a listen
to if you wish.
I would love to produce a few beautiful soulful
piano pieces and I need to find the right mix of
a good rocking kind of tune. I am looking for a
mix between the Grace Potter/ZZ Ward sexy
Rocker and the Paloma Faith piano pieces.
Here are a couple examples of songs that
represent my style:
ZZ Ward:
http://youtu.be/fXtNS1shJFk
Paloma Faith:
eturning to the music business last October after a
long break, I was dismayed to realise, with
hindsight, how terribly naive I'd been back in the
1990's, thinking that all music publishing contracts
were the road to riches. I'd signed away some of
my best songs in return for .... sweet nothing!
So I formed Hilton Music Publishing (MCPS
registered) to ensure a fairer deal for myself and
my co-writers on any future placings. Even if
shared publishing becomes advantageous for a
particular project, I'm determined that Hilton Music
will keep a foothold, to ensure proper distribution
of royalties and preserve future exploitation rights.
http://youtu.be/kvHiflzabHg\
Amy Whinehouse:
http://tinyurl.com/cy9jn7g
The business machinery is all set up and running
now and I'm heavily involved in pitching (Hard
work!! 64 well-researched pitches from January to
March and still more pending) but I do need a
much wider range of material to work with.
Kelcey Montanez:
http://tinyurl.com/cco2ty7
Grace Potter:
If active representation of your songs is of interest,
please get in touch. All styles/genres considered,
but songs must be well constructed, with
memorable hooks, and all material must be
copyrighted.
http://tinyurl.com/bt3b5ry
and also
Demos need to be of sufficient quality to present to
professional singers, managers and A & R, with the
backing tracks available.
http://tinyurl.com/cfdrl2t
I also have some lyrics I am looking for the
melody lines and instrumental piece to go to. I
will provide a copy of any demo made and will
return unsuitable material if a stamped
addressed envelope is enclosed. Failing this, I
will notify you either way by email of any
decision reached in relation to the material
sent.
Elysia Norris
600 W Chicago Avenue
Suite 725
Chicago
IL 60654
USA
517-706-1725
[email protected]
or
[email protected]
http://www.elysianorris.com
Hilton Music Publishing
Urban, club & dance tracks (male or female demos)
are of particular interest, plus male-orientated
songs generally, as these are areas I'm missing out
on at the moment.
Please send only ONE track initially (MP3 or
weblink) with the lyrics, and I'll get back to you.
I'm looking for quality rather than quantity and I
will only take on board songs that I feel stand a
realistic chance of being placed, in a fiercely
competitive market, but (unlike so many in this
business) I will reply to every submission!
[email protected]
http://www.hiltonmusic.co.uk
Paul Ryan
I’m of Irish descent but born and raised in England
and now living in Scotland. I have a BA Hons
degree (specialising in Sound Production) and I’m a
multi-instrumentalist singer/songwriter working
out of my own home studio.
I grew up on a diet of The Beatles, The Stones, TRex, Simon & Garfunkel, Cat Stevens and Bob
Dylan finding The Smiths & The Stones Roses for
myself as a young man growing up in a small town
halfway between Manchester & Liverpool.
Now at the age of 44, although I still enjoy
singing on songs that I write and produce
(such as the one included here), I am also
interested in the prospect of providing and
working on songs for both established and up
and coming acts, who perhaps don’t write for
themselves and are looking for new material.
Two samples of my work, one a new song and
one a cover, can be found on YouTube.
"We Can Do This"
http://tinyurl.com/d86skqz
"All Flowers In Time Bend Towards The Sun"
(my humble interpretation of this great Jeff
Buckley song)
http://tinyurl.com/cdobnco
Steven Winston
I am a songwriter/lyricist/top-line writer and
ghostwriter who has been writing for a long
time now but have just started getting some
recorded.
I write in a variety of styles including pop/soul/
r&b/hip-hop and rap.
I have only been recording for four months, so
have a listen to my SoundCloud link below. All
tracks were done in four hours apart from "Last
Breath", which took more.
I began my musical career in a band called
Arbitrary Funk. Together we released a 5 track EP
and played several successful shows, but we went
our separate ways when the drummer moved to
London.
I have performed as a solo artist for the past year
and have been working on my own material,
refining my style and honing my live skills. I have
played several well-received gigs in Edinburgh,
Glasgow and Aberdeen and a some overseas in
Portugal.
Onstage I use a laptop/Launchpad to create drum
sounds and additional musical parts, whilst playing
guitar and keyboard (often simultaneously) and
singing as well, which always produces a great
crowd reaction. My music is atmospheric, diverse,
experimental and has quite a primal/jungle feel to
it. That's what I've been trying to work on recently,
incorporating big sounds and vibes in the music
both live and in recordings.
Last year I contributed an acoustic piece for a
YouTube channel who commissioned me to write
and perform a song for them – the video reached
more than 38,000 views in just one week.
My musical taste and influences have been quite
eclectic - from instrumental bands like Foals,
Battles, Holy Fuck (who have all influenced my
playing and writing style) to classic artists like
Miles Davis, Van Morrison, Neil Young and BB King
who have been a constant inspiration, even if they
haven’t had such a big impact on my particular
sound.
My music can be found at :
http://tinyurl.com/d9yvy7p
http://tinyurl.com/d9ghfop
The singer I work with is Joel Fender. Very few
people have the voice of an angel but he's got
the voice of two!
Scott Pugh
The producer I work with is Max at Maxima
Recording, He has an amazing talent and bags
of experience, plus he's quick and his creative
input takes the track to another level.
I am looking for a collaborator willing to set my
words to music. The song has very poignant lyrics
about the First World War, the centenary of which
is next year. Contact me by email at
[email protected]
Scott Tulloch
with "Song Collaborator" in the subject line.
My name is Scott Tulloch and for those who
haven't heard my tracks before, this is an
introduction to my music.
I am a singer-songwriter based Edinburgh,
Scotland. I believe I already have an
impressive catalogue of material and I would
like to ask for a few moments of your time to
read my biography and listen to my music.
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ARTICLES
What To Look For In A
Digital Multitrack Recorder
By Daniel Wrightman
Digital Multitrack Recorders can easily be classified using the following five criteria, and they are
usually enough to make sure that any particular model fits your need or not.
Number of Channels
Bitrate
Preamps
Data Compression
Storage and Backup
1. Number of Channels
Are you a standalone musician, or are you part of a band? The number of inputs in a Digital
Multitrack Recorder decides how many instruments can be plugged in at once. The number of inputs
is usually set in stone, so consider wisely.
2. Recording Bitrate
Bear in mind that although 24 bit quality is superior to 16 bit audio, a huge gap in prices tends to
bridge 2 Digital Multitrack Recorders of different bitrates. For most beginners, 16 bit is often enough
for great sounding mixes, but if you don't want to compromise on recording quality, then go all the
way.
3. Preamps
It is vital that the preamps on your chosen MTR should support phantom power is you are using
condenser microphones. Always check the compatibility of your microphones with your new MTR
before you buy!
4. Data Compression
This one is pretty straightforward - the more the compression, the worse the quality. Is your Digital
Multitrack Recorder storing your audio in WAV, or MP3? The latter means more space, but more
compression. At the very least, you should be given a choice.
5. Storage and Backup
This is an important issue for MTRs. You don't want to be erasing old music to make way for your
new tracks. Some multitrack recorders offer hard drives, while some offer removable media - this is
very important to consider for you. Will you be shuttling the audio to your computer as soon as it is
done recording? In this case, removable media is okay. But if you wish to transfer all the audio at
the very end of recording, you may want to go with a hard disk feature. Nowadays, MTRs with CD/
DVD burners are very common.
Aside from these factors, it is noteworthy to look at how the MTR connects to the computer, and the
number of auxiliary outputs on the Digital MTR. The readability of the screen also matters, menus
must be navigable - a helpful idea here is to check out an operation video of the MTR on YouTube.
You are now equipped with the knowledge you need to know to make an informed decision about
Digital Multitrack Recorders - be sure to read reviews on the popular MTRs on the market and keep
in mind the cons as well before you decide to buy. Best of luck on your musical journey!
To have a look at the absolutely best Digital Multitrack Recorders on the market, their reviews and
their pros and cons, head over to our website at
http://best-multitrack-recorder-reviews.com/
We also reveal where to get Digital Multitrack Recorders for up to 60% off.
Starting Out In Music The Pros And The "Con Man"
By Kevin D Kline
When I was 21 years old I released my first solo independent album and began the rocky road of
promoting myself into what I thought would be music history. A few weeks after listing my music on
every internet music site I could think of, I was contacted by a "music producer" located in Denver,
CO. (For this article we will call him Joe.)
Joe's A&R people had discovered my music on a site called GarageBand.com and told me how
incredible, unique and amazing my voice, songwriting and music were. Of course he wasn't telling
me anything that I didn't already know at the time. I was a cocky 21-year-old kid and I was sure I
was the greatest thing the music business had ever seen. In fact, this guy "Joe" was lucky to be the
first to find me.
After numerous emails and phone calls with this "producer", I was offered a recording contract and
asked to fly out to Denver as soon as possible to meet with him, his staff and to finalize the deal.
Being cautious and not really having much money, I made sure to ask several times to ensure that I
would not incur any recording or upfront costs. Joe assured me that I would not and I was being
signed to his production and management company.
So, after telling all my friends and family the great news, I purchased an airline ticket and reserved
a hotel for the following weekend. A friend of mine came along with me for company and to witness
the moment in soon to be music history. (Yes, I was that naive.) Denver was surely an odd place for
me to start my music career, as I had dreams of taking over New York or Nashville at the time, but
this producer had credentials. Most notably at the time was his work with Sara Superstar. (Not her
real name but I'll get to that a little bit later.)
So there I was in the "Mile High City" and naturally high as I walked into the downtown office to
finally meet Joe the Producer. Several flashy, framed records covered the walls and unrecognizable,
yet admittedly convincing awards of some type were perched up behind the clutter of his desk. I was
impressed so far. I didn't have any of those shiny awards yet, but I knew I would soon. After a quick
hello, Producer Joe took me and my friend on a whirlwind tour to show off his studios and facilities.
We toured an amazing studio and Joe was sure to always point out the occasional awards or even a
real Grammy Award that decorated the halls of the studio. A studio, I eventually found out, he did
not own, but just apparently had access to walk around in and show potential clients.
My young impressionable mind was needless to say, quite impressed. So impressed that I was ready
to get back to sign this deal and get to work in the studio. So after a short drive back to the office,
Producer Joe took out the recording contract which included, if I remember correctly, a 10 song deal.
But then I did something that everyone should do when in this position. No matter how excited you
are, no matter how ready, confident and sure of yourself you are, I did something that was the
smartest thing I ever did up to that point in my life. I read the fine print. Had I signed this contract
with Producer Joe, I would have owed him an upfront deposit of over $3000 and then an additional
balance of $7000 when the project was over just for the recording costs alone. That didn't include
promotion, going to press or anything. It was a hook scam and I was sitting there about to take the
bait. With probably a look of great disappointment on my face, I excused myself to use the
bathroom and when I got outside his office I continued to walk out the front door and straight back
to my hotel with a defeated ego and my tail between my legs.
Every day, studios and so called "successful producers" sucker young and naive artists and
musicians into signing deals to drum up business for themselves, which are sugarcoated with stories
of how successful the artists are going to be, instead of explaining the business and money situation
upfront and making that the key factor in working together, I was surrounded by smoke and mirrors
of so called "credentials and experience" that I never really checked out. I was constantly reminded
of how amazing my talent was and how many Grammy Awards I was going to win. That was all
meant to distract me from their bottom line.
I didn't do my homework before I got myself into that situation. I let the excitement take over and
got caught up in the moment. It could have cost me, but luckily, I avoided a nightmare deal that I
should have never been interested in in the first place. Local recording studios and local producers
do need to drum up business and income for themselves. And there are a lot of legitimate people out
there offering their services to needy musicians and songwriters, but offering a contract or
production deal sounds much more interesting or enticing than just saying, "Hey, would you like to
pay for my services?" or how about, "I have been producing music locally for years and have also
done some really cool things. I think you are talented and I would love the opportunity to work with
you."
Instead, some producers like Joe make it a point to emphasize that you, the artist, are talented and
privileged enough to work with me, the producer. But in reality, the artists should always reverse
the situation and make sure the producer is talented and qualified enough to work with you, the
artist. After all, music and the creation of music is supposed to be a lot of fun. Make sure you like
the people you are working with and trust them.
My first real lesson in the music industry can be yours; if something seems too good to be true it
usually is. That night, my best friend treated me to a steak dinner and a few hours at the Boobie Bar
to drink my sorrows away and look at the best topless girls downtown Denver had to offer. It wasn't
that bad of a weekend in Denver after all.
Oh, and as far as those credentials I mentioned earlier that Producer Joe had with Sara Superstar?
Being the board engineer at a local radio station while Sara is being interviewed by someone else in
the other room does not necessarily mean you worked with Sara McLaughlin. If so, I can only
imagine what the person that cleans the bathrooms at that same radio station has on his/her
resume.
Songwriter Demos: Three
Devastating Mistakes To Avoid
By Stephen Solvei
When it comes to the business of selling music, a songwriter's demo is their bread and butter-their
calling card. The quality of your demos can be the difference between catching a publisher's ear and
not getting the time of day.
With that in mind, here are 3 devastating songwriter demo mistakes; avoid these to maximize your
chances of being taken seriously by the publishing industry.
Mistake number 1: Demoing half-finished songs
The majority of demos sent to publishers contain songs that aren't really finished. Maybe they've got
a decent hook, or clever opening line, nice melody, etc. But the songwriter hasn't thoroughly vetted
and refined the tune, weeding out unnecessary words and phrases, and perfecting the melody and
arrangement.
The reason why is simple: finishing a song takes time. Sure, you may sit down and write the song in
2 or 3 hours. But chiseling down your rough work of art into a masterpiece takes time. You have to
live with it for a while.
It's also a VERY good idea to do a rough demo of the song first. For example, a simple guitar/vocal
or piano/vocal demo. Recording a rough can show you where the weak spots are (and don't kid
yourself-there are always weak spots).
The bottom line is, hold off on creating a demo of your song until you've had a chance to live with it
for a while and create a rough demo to highlight any potential problems with the words, melody or
arrangement.
Mistake number 2: Trying to be a "one-man band"
You're already the writer and arranger of the song. Now you also get to be the producer of the demo.
So why on earth would you also want to be the engineer, drummer, keyboardist, guitarist, vocalist,
bassist, etc.?
Trying to do everything yourself makes for a very insular recording experience and seldom produces
a high-quality songwriter demo. Now, before anyone even says it, I'm well aware there are artists
who have recorded albums by playing every instrument, and self engineering and producing.
That is true. It is also extremely rare. Just because Prince got away with it, doesn't mean you're
going to get away with it on your songwriter demo. See what I mean?
More than anything else, you need an outside perspective to create a great demo. This means you
can't just sit alone in a room and try to do everything yourself. This is something far too many
struggling songwriters try to do; but there really is no substitute for getting other talented
individuals to work with you: musicians, engineers, co-producers, and even DJs that have a good
understanding of the structure and flow of music. It can only help.
Bottom line: don't try to go it alone.
Mistake number 3: Making your songwriter demos too long
Publishers and music business executives tend to be busy people. No one has got time to listen to
that 24 bar extended intro on your new tune. Seriously.
On average, an industry insider will listen to about 20 seconds of your demo. If it hasn't grabbed
him or her in that time, they'll move on to the next.
Obviously, you've got to lead with your strongest material and jump straight into it. Keep your intros
short and get to the meat of the song (the hook) as soon as possible.
Keep your demos 4 minutes or under if possible; and always lead with your most commercial song,
even if it's not your favorite. You won't get a second chance to make a first impression.
Bonus tip: if you're working alone or in a small project studio, considering working with online
studios that provide royalty free backing tracks.
This makes it easy to gain access to talented musicians and producers that can make your
songwriting demos shine. You simply add your vocals/instrument to the finished backing track and
your songwriting demo is ready to go. You can even purchase exclusive rights to instrumentals, to
ensure your songs are always 100% original.
Here's a great resource for exclusive songwriter demos online for singer-songwriters and producers.
http://www.justaddvocals.com/instrumental-backing-tracks.html
I Love Today's
Songwriting Tools
By Durwood L Walker
Tools available today make the process even more enjoyable. Not only do new technologies help to
bring greater joy in completing songs, but stimulate creativity in ways not possible before. If you're
ready, check out these tools.
This is not a tutorial but to show you some available items.
To compose and make your music available to others, you'll want to use a computer. You can record
with an electronic keyboard called a workstation. Some allow you to burn CDs, but don't let you to
do some other important functions, so I recommend using a computer. The keyboard is very
expensive. And you can't surf the internet or print spreadsheets with it.
If you own an Apple MacIntosh, you likely have Garageband, as it comes bundled with new Macs,
and allows you to compose, record, edit and mix music.
The basic components in Garageband:
• Loops (snippets of recorded drum or other instrument)
• Virtual instruments
• Music notation module
• MIDI (Musical Instrument Digital Interface) capabilities
• Effects processing (Reverb, delay, equalization)
You'll find a detailed explanation of these terms and others in Garageband Help. Once you're familiar
with the application's functions, you can apply them to similar software. Explanations can be found
on many websites, with free tutorials.
You can create music in Garageband using the computer's audio recording and playback system
(sound card). I recommend purchasing an external sound card, which is necessary for achieving a
professional quality sound. These boxes are connected to the computer using USB or Firewire cables.
The external sound card will allow you to use a better quality microphone for vocal and instrument
recording. Some are housed within boxes called sound modules, which contain sampled instrument
sounds and an audio/MIDI interface, a function for allowing the computer to communicate with your
microphone and MIDI.
Garageband is available for these mobile devices:
• iPod
• iPad
• iPhone Touch
Check the Apple Apps store for pricing and availability as these change periodically.
I focused on Garageband because Apple is the platform I'm most familiar with.
There are several Windows music software packages that can be downloaded on a free trial basis.
Usually, these packages won't allow you to save your work until you purchase them. Mixcraft is an
affordable one. When buying gear like the sound module mentioned above, often a free software
DAW is included. Roland's SD-50 Mobile Studio Canvas Sound Module contains a full-functioning
version of Sonar LE.
I hope you're ready to start your own songwriting venture, and that you'll find it as rewarding as I
have over the years. I won't say how many!
Durwood L. Walker is a songwriter and member of the music duo, TopazThyme, which features
vocalist/lyricist Bunny Relerford. His speciality is Motivational Songs, Positive Message Songs, with
focus on the baby boomer generation. Presently, they are a home recording group, with no live
appearances planned. Their 6-song EP album "Live & Love" was released in December 2012, with
Bunny's grandson, Kenneth "Kenny Boy" Berger added as background singer, rapper/spoken word
artist.
Hear them at
http://www.topazthyme.com
Check for free mp3 downloads
What Makes A Song Good?
By Jonah Brockman
Let me start by saying that I don't believe there is a single approach to writing a good song.
Obviously there are many different reasons for a song to be called "good". It can be good because
it's catchy or good because it's subtle. It can be good because the musicianship is amazing or it can
be good because the musicians can barely play. It can be good because it's meaningful or it can be
good because it's meaningless. It can be good because it's popular or good because it's obscure. It
can be good because it relaxes you or good because it makes you want to fight.
In fact, I think attempting to define what makes a song good often leads only to formulaic and
contrived writing that tries to please everyone - but actually appeals to no one. Don't let anyone
(including me) tell you what makes your song good or bad.
Craftsmanship
If we can't define what makes a good song (or a song good), we can at least establish that there are
well-crafted and poorly-crafted songs. Let's use furniture as an analogy:
Two chairs. One was handcrafted from solid quarter sawn oak by a master furniture maker and
topped off with a hand-rubbed finish. The other was bought at a discount furniture store for $30 and
made from a clever mixture of "real wood" sawdust and glue. Even if you're a cynical contrarian you can not seriously believe there isn't a difference in quality. You might not like the style of the
handcrafted chair but you can't deny it is a vastly better chair. It's solid and beautiful and will likely
remain so for decades - even centuries. The discount chair, on the other hand, will never be
comfortable or beautiful and you'll be lucky to have it 3 years before it falls apart beneath you.
So what's the difference? Simple: the better chair was made with better materials, with more care,
by a better builder with the goal of making something good and lasting. The cheap chair was made
with junk materials with the goal of a quick sale and little thought to longevity.
So "good" in this sense is definable. We're talking about craftsmanship here. About something that is
good regardless of likes, tastes, or trends.
Popular Does Not Equal Good
Popular and good are not mutually exclusive terms. If you're an artist, you should write for you first
(and arguably only). Usually, when you try to write for an audience, your songs will end up being
mediocre. Why? Because you can't please everyone. If you try to, you'll end up watering down the
song, it won't truly come from you, and you and your listeners will end up disappointed. When
you're writing (and especially when you're in the first stages of writing the song) pretend that no
one will ever hear this song. Write purely for the joy of writing. Tell your inner editor to take the day
off before you begin working on your song. There's always time later to change things - but don't let
self-doubt and self-criticism get you stuck before you get started.
The irony is that you will usually write your best songs when you're not trying. I've talked to
countless songwriters whose biggest hit was an afterthought - something they recorded just for fun
thinking no one else would like it. Instead of trying to figure out what people will like, make
something you love. Chances are a lot of other people will love it too.
As both a recording artist and in my role as a producer at TuneGopher, I've learned not just from the
good results but, more importantly, from the mistakes I've made that end up in with uninspiring and
bland songs. I assume because you're reading this that the quality of your art is important to you. I
think there's a real lack of well-crafted songs out there and I encourage you to be the exception!
Jonah Brockman is a producer and project manager at TuneGopher. TuneGopher is dedicated to
empowering songwriters with full service music production from the comfort of their own home. Visit
http://www.TuneGopher.com for more info.
Stop Being Safe In Your
Songwriting
By Jonah Brockman
"Why not go out on a limb? That's where the fruit is". (Mark Twain)
I recently had a conversation with a singer/songwriter friend of mine who has been doing a lot of
work recently on defining himself as an artist... on figuring out what his voice is and what his
contribution to the music world will be. He's written and recorded some really good songs... very
radio friendly / commercially viable songs. He could easily have a solid career as a pop/rock star
with the material he's already recorded.
But he's come to the realization that his music is too "safe".
Now, there are many ways to be "safe". His songs are intelligently written, sincere, and unique. They
aren't safe in the usual watered-down, lowest common denominator sense. What he means is he
wants to be bold - to shut out the inner critic that holds so many of us back from making something
great.
This isn't easy. As artists, we're people-pleasers. We like to say we're not - even fool ourselves into
thinking we don't care what anyone thinks - but the fact is, very few of us would continue to write
and perform our music if we only heard "I hate it!" when we present it to people. Even the most
rebellious of us what someone to connect with what we're doing. So it's tempting to edit ourselves
and, at least to some extent, gear our music towards something that will be liked by a lot of people.
But I've seen this pattern over and over again (with my own songs and with other artists): the songs
we write purely for our own enjoyment are the songs other people end up appreciating the most. On
the other hand, almost every song I've worked on with the intention of making a "hit", ends up
getting a lukewarm reception if it doesn't get tossed out first. Furthermore, I've seen many artists go
into a record deal with an amazing vision and great demos only to have the label spend tons of
money to re-shape (and dumb down) their music in order to have the broadest appeal.
It reminds me of a story I heard about a famous artist who did a series of paintings of a nude
woman tastefully covered by a blanket. When his wife saw the paintings, her comment was "lose the
blanket". He did and they became some of his best known paintings.
The point is: lose the inner editor. Stop wondering what other people will think about your art and
write purely for your own enjoyment. You're an artist because you see the world differently than
other people. People connect to art because it expresses something about them that they can't
express themselves. When you are most YOU, you're at your best. If you're going to just re-create
what's already been done because it's "safe", why bother? If nothing else, YOU will get enjoyment
from your art. And trust me, when you approach your music this way, it stops being work - it
becomes fun again.
So be brave. Be bold. Write out of fun not out of fear! Make something great to share with the world!
Jonah Brockman is a producer/project manager at TuneGopher. TuneGopher is dedicated to
empowering songwriters with the resources they need to make great music.
Visit http://www.TuneGopher.com for more information, rates, and work examples.
Exercises To Improve Your
Songwriting
By John Pape
Writing songs is a creative act. As with most creative activities it does require a certain level of skill.
In order to write better songs there are certain thing you can do to improve your skill. To improve
your skill, you can try some of these exercises.
It Starts With An Idea
Every song starts with an imaginative spark. Humans are creative beings. Therefore it is natural to
express our thoughts and ideas. As a songwriter your creative outlet is through songs. Your song
communicates ideas to others.
Getting inspiration can happen at any time or any place. If you are in tune with your surroundings
you will find an abundance of ideas. If you are aware and have the right mind set, you will never run
out of song ideas. Ideas are the raw material of your songs.
Grow Your Idea
A key component that will improve your songwriting is the ability to take your ideas and grow them
into songs. Hopefully you catalog your ideas either by writing them in a journal, or dictate them into
a recording device. Ideas for lyric are as volatile as smoke. Therefore you need a system to capture
your ideas.
The best way to grow your ideas is through brainstorming. Brainstorming will allow you to think and
expand on your idea, building upon the original thought. This could give birth to new thoughts. But
eventually you will have a well develop concept on which to write lyrics.
Give Your Song A Title
Once you have a clear concept for your song, you need to give it a title. The title is the key to any
lyric. It is the main topic of the songs. Getting the song title right can make the rest of the lyric
writing process easier. Your song's title should summarize the story behind the song.
The title will usually end up being the main hook found in the chorus. Highlight the songs title by
repeating it several times during the song. There are several positions where a song title is place.
Once spot is at the end of the chorus. Another spot is at the beginning of the chorus. Another
popular spot is at then end of the verses.
Turn The Title Into A Story
At this point you should have a very clear idea of what the song is going to be. To improve your
songwriting you need to turn the title into a story. There are certain things a story needs to have.
The story needs a plot. The plot will contain a picture of the characters, there will be some sort of
tension or conflict, a solution will be found, and the tension is resolved.
The story needs a point of reference. The song can be first person, second person or third person.
Once you decide on the point of reference keep it consistent, avoid switching the reference point.
Every story progresses through time. There will be a starting point, a middle point and an end point.
You can change to emphasis of a song by playing around with the order of the time periods.
As you develop the song's story line make sure that every line supports the title of the song.
Anything that distracts from the title needs to be removed. The key it better lyrics is to write to the
song title.
Use Descriptive Words To Paint A Picture
The job of a lyricist is to paint pictures with words. This painting or words blended with the
emotional feel of music is what make songs such an amazing art form. There's a difference between
telling and showing. Telling is a very academic way to express ideas. Showing however will paint a
panorama of the story. Showing in lyrics will make the song more vibrant, entertaining and
memorable.
Rewrite The Story Into Song Lyrics
Now that you have a clear and concise picture of the song title and its storyline, you need to craft
this into lyrics. Lyrics follow certain patterns. These patterns include the number of lines per verse
and chorus. Each line in each section will has a repeating meter. The meter is the number of
syllables in each line. This meter will create a rhythm pattern.
It is often helpful to have a melody line written at this time to help you match your lyrics to the
musical patterns. Many songwriters feel that the lyric should come first, that is fine. But if you have
a melody already composed, your job is to write lyrics that will fit the melody. When you have a
melody it helps you know what syllables to emphasize based on the song time signature.
Give The Lyrics A Rhyme Scheme
As your lyrics take form and have structure lyric needs to rhyme. The human ear likes to hear the
sound of rhymes. There are many different ways to make a lyric rhyme. You could solicit the help
from a thesaurus. Use it as a tool by note to write the song. Song lyrics with have certain rhyme
patterns. This is where you will find a pattern of where the rhyming work falls. The most popular
position a rhyme word is positioned is at the end of a line. Let's say you have four lines. Here are
some rhyme pattern possibilities. 1) All four lines rhyme 2) The first and third lines rhyme 3) the
second and fourth lines rhyme. There are many others, these are some of the more popular rhyme
patterns.
Rewrite For Refinement
It is very rare that a song will be finished on the first effort. That is why rewriting is so important.
Rewriting lyrics is a way to polish them. Polishing them will make the better. Better written songs
will help its success in communicating the original idea. If you want to be a better songwriter you
need to take this step very seriously. Check the song lyrics for grammar errors. Rewriting includes
Making sure that the lyrics match the melody. Have someone you trust to be honest listen and
provide a critique. Consider what they tell you and make necessary changes. The result of rewriting
is making you a better songwriter.
As a songwriter good lyrics are important to the song. First you start with an idea. You then take
that idea and develop it. Once you have the idea developed give the song a title. The title is the
most important element of a song. From the title a storyline is written. Once the story is outlined
you can then turn them into lyrics. Lyrics have certain characteristics. Lyric consist of a specific
number metered lines per section that will have a rhyming pattern. Use these lyric writing tips to
help you the next time you write a song.
This article on songwriting is presented by John Pape. John is dedicated to assisting songwriters
create and write better songs. Songwriter's can download the Songwriter's Checklist a tool that will
guide you though the creative and practical process of writing a song. Visit Learn How to Write Songs
website at
http://learnhowtowritesongs.com/songwriters-checklist/
Electronic Press Kit Or EPK Why Do I Need One?
By Yvonne Roberts
The Electronic Press Kit or EPK has been around for some now, and for an emerging artist to obtain
an EPK seems totally out of reach, either they are too costly, they simply don't where to get one and
why do I need one?
Whilst all serious artists and stars have had electronic press kits for a long time now, you don't
need to be a super star to own one, nor do you need to think it is only for superstars, EPKs are
accepted as standard whatever level you are at. Email your promo kit locally, nationally and globally
to get on a tour, be in a festival, play at a gig or contact any industry professional, as quick as wink.
With the upsurge of social media artists can market themselves, communicate and connect with
fans, grow their fan base, keep in touch with fans, make their music a reality to fans through videos,
as well as being able sell or download their music online, in other words they are promoting and
branding themselves online as well as trying to do business online. The keyword here is doing
business online, whilst all artists are getting online are they using it to their best advantage?
Being part of a music company to receive emails from unsigned artists containing a whole barrage of
online links to find out about the artist and their music e.g. soundcloud, YouTube links, social links
or any other online links is very frustrating. This would be time consuming for any industry
professional whether it is a potential gig organiser, booking agent, venue, festival organiser, label,
manager or whoever in the music industry, to be flitting back and forth again to this email is out of
the question, so these online links are ignored by the music industry professionals that unsigned
artists are trying to catch the attention of, impress and to get a foot in the door with.
Historically, artists would simply send their traditional printed press kits via the general postal
system to the key people they wanted to target and still exists today as a system of sending their
music CV. However, for an unsigned artist it is very costly to update and to send to their printed
press kit locally, nationally and even more so internationally in volume, so with this in mind an
unsigned artist needs to have an extremely large budget to showcase their press kit and contact a
variety of potential influential people, whatever level you are at. The music industry as with all
industries has moved forward and the majority of music business is achieved online whether you are
just starting out or verging on super stardom.
To get real, in order to achieve being noticed, doing business and the prospect of getting signed, the
presentation of your music portfolio should be formulated onto an all in one expandable page, this is
the way forward in grabbing the attention of these busy people. A good electronic press kit is the
21st century answer, sent by email with a one click link to an artists EPK, no matter how limited an
artists portfolio maybe, whether you are just starting out or verging on super stardom it's the impact
with the material that an artist has that could make that all important deal which matters, without
spending more than a price of a cup of coffee per month, to be equipped with the right product to
communicate and do business with booking agents, promoters, producers, gig organisers, festival
organisers, event organisers, radio stations, venues, labels, managers or any music industry
professional.
With the exponential rise of electronic mail for 24/7, international, quick, easy contact, as well as
now being able to email on the move from a mobile phone, all industries and professions including
the music industry rely on the electronic mailing system. Whilst the traditional postal mailing system
still plays a part, communication by email is instant. The same goes for mobile phones and landline
telephones. The more comprehensive the list of contact, communication systems and addresses you
have the better it is for you.
So it makes sense to have an online press kit to send by email in a one click link, to add to your
portfolio of cutting edge tools, another 21st century avenue of approaching industry professionals, as
well as enhancing your image and branding. An artist needs to be able to provide all the options of
submitting their professional CV to meet all up to date demands, having a traditional promo kit to
send by post and an EPK press kit to send by email, you don't have to be a super star to own one.
Always go for an EPK that is fully encrypted and totally secure and does not double up as a website,
a website is your self promotional tool and business card and an EPK is your professional CV, which
should be in a specialised format.
Yvonne Roberts has been developing websites, researching, writing about valuable tools and
resources for specific industries for many years. The author researched that music artists needed an
affordable EPK to meet 21st century communication demands, that was fully encrypted, totally
secure, of worldwide industry standard accepted format and did not double up as a website. An
Electronic press kit that was formulated onto one expandable page, was easily created, edited and
maintained and sent by email.
Visit
http://www.musiclaunchpad.co.uk/Artists/EPK
to see this all inclusive package of your own artists EPK, your own artists website and entry into
opportunities, for the price of a cup of coffee per month.
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and pen an article for other members to read!
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INTERVIEW
Songwriter Profile - Will
Wallner & Joseph Michael
White Wizzard hails from Los
Angeles CA. Tired of the same old
down-tuned screamo metal that
seems to be everywhere these
days, Jon Leon formed White
Wizzard in the summer of 2007.
The goal was simple - to bring the
songwriting, melody and good
times back into metal and rock. He
then reformed the line-up
releasing two albums and a third
on the way called "The Devil's
Cut". Vocalist Joseph Michael and
guitarist Will Wallner talk of this all
new release and plans for even
more new music and more!
Introduce yourself, tell me what you do in White Wizzard, and how long the band has been
together?
Will: I'm Will Wallner, one of the lead guitarist's. This line-up has been together for about a year
but the band has been around for about 5 years.
Joseph: I am Joseph Michael the lead singer and general cause of trouble.
So tell me about White Wizzard.
Will: That's a difficult question because the band has been through many line-up changes. I would
say the bands sound is classic heavy metal. But each member has vastly different backgrounds and
influences.
Joseph: White Wizzard is an evolving entity... I think that the bands identity will be established
throughout the year. The band has always had great songs. Good Singers. But this line-up takes the
band to a new level and now that we are all starting to write together i see big things on the
horizon.
You guys are based in Los Angeles, California, how do you think being in LA changes your
sound?
Will: For this band I don't think being in LA particular affects the sound. The main influences of the
band are British (Maiden, Priest, Sabbath etc.).
Joseph: I think that Jake watches more porn out here than he would in Florida... o wait... that's not
about music.
How did you come together?
Will: This line-up came together after the previous singer left in 2012. I knew the band needed a
strong singer if the band stood a chance of surviving another line-up change. I knew Joseph from
working with him previous to joining White Wizzard.
Joseph: Will and I worked together on another guitarists demo. Funny thing is, Jon and I had
exchanged emails a year before but I was only taking on Studio projects. In reality I don't think
there are many singers that could sing this stuff. Between Luna and Wyatt there is a lot of ground to
cover. Personally now that the "Devil's Cut" is being released I am pretty confident that White
Wizzard fans won't miss any of the previous voices.
How would you describe your style? Which bands influenced your music?
Will: As a guitarist I would say I'm a melodic blues based player and I try to incorporate my style as
much as I can into the bands music. My influences are British Hard Rock most importantly Deep
Purple.
Joseph: My Style changes by the song... I think that is one of the biggest differences between
myself and some of the past singers... I like everything from Colm Wilkinson to King Diamond...
Mozart is a personal favorite... Dream Theater... Bruce Dickinson... Sebastion Bach.
What lyrical theme do you guys use in your music? What message do you want to send?
Joseph: So far since I joined the band a week before a tour and a month before the recording
process started Jon has written 99% of the lyrics... Jon is an intense and introspective guy... I think
he gets on a tangent and can't get off ... that's where his songs come from... Myself, I just kinda let
life wash over me and won't pick up the pen until the song is solidified. We have already started
writing the next record and I can tell you now, that the new White Wizzard is fucking sick!
You guys are signed to Earache Records how did this happen and are you happy with the
results?
Joseph: I believe Jon sent in some demos of "High Speed GTO" to Digby Pearson and He loved it.
Here we are five years later now working with Century Media in the US. Seems like we are doing
okay.
Can you tell me about the new single you have coming out, what's it called and whats it all
about?
Will: "Kings Of the Highway". It is somewhat of strange choice for this band as it's not too heavy.
There are two good leads from myself and Jake which highlight our own personal styles very well.
Joseph: Kings is the single because it is a big chorus... My vocal is very expressive and dynamic and
might appeal to non-metal fans.. I'm guessing that's what the label is thinking.
What about the new album, is there any story or concept behind the title The Devils Cut?
Joseph: Well, I may be wrong... but I happen to have some Pentagram Tattoos... and some anti
religious views. I think it was a nod from Jon. Well... Jon was it? lol.
Who produced The Devils Cut and what was it like working with them?
Joseph: Ralph Patlan,.... Dudes worked with Megadeth and Michael Shenker.... It was a blast.. and
a great learning experience... being a producer myself watching his workflow was educational...
though he wouldn't let me cook a steak at his house.
Will: The thing I liked most about recording with Ralph was he let me record on my own terms. I
prefer to record at my home studio where I have full control and he encouraged me to do it. As a
result I was able to give my best work.
Who did the cover art for The Devils Cut and how much input did you have on it?
Joseph: Cameron Davis and it is fucking awesome. He is the genius behind the Guitar Hero Drawings
Including King Diamond!
Did the band have any definitive goals they were shooting for before the recording process
began for this album?
Will: For me the goal was to make sure every member was able to have their own identity on the
album. As we didn't write as a band I was worried we might sound like session musicians. But the
way the album was produced allowed us to be our selves and let the fan base hear each musician for
who they are.
Joseph: As the singer it was my job to re-write the vocal melodies to suit my Style. I'm a bit bipolar vocally weaving in and out of styles and ranges. Creating vocal harmonies that carry the hooks
really just to make Jon's ideas shine.
What plans do you have for the near future as a band?
Joseph: Preparing for tour and writing the next record.
Where can we listen to your band and where can we buy your stuff?
Will: Damn it's all over... but the link to the new single is below and you can find more info at:
www.hrxrecords.com/whitewizzard
www.whitewizzardofficial.com
INTERVIEW
Songwriter Interview Dennis King
Television themes have often captured our
imaginations, reminding us of special times
and favourite tv moments but perhaps none
are so iconic as the theme to 70’s children’s tv
programme The Adventures Of Black Beauty.
The Ivor Novello award winning theme is called
“Galloping Home” and the composer is Denis
King.
Denis began his career in the 1950’s, not as a
composer but singing as part of a successful
trio called The King Brothers with his two older
siblings. They were in fact voted as Britain's
top vocal group of 1957 by readers of the 'New
Musical Express'. When the group disbanded,
Denis found instant success as a composer
with “Galloping Home”, and went on to supply
themes and incidental music for over a
hundred British television shows including
Worzel Gummidge, Dick Turpin and Lovejoy, in
which he also appeared as an actor in some
episodes.
He has written for movies and his theatrical
debut as a composer saw another Ivor Novello for best musical for the Royal Shakespeare
Company’s production of Privates On Parade. He joined forces with the late Dick Vosburgh
when producer Ned Sherrin asked them to write for the tv show Not So Much A
Programme, More A Way Of Life and their collaberation also produced a hit musical A
Saint She Ain’t. Denis is still an avid writer and very much in demand and his musical
Awakening Beauty with Alan Ayckbourn premiered in recent years.
What first made you realise that music was important to you?
As a very young boy aged about six, again my father would have been the musical inspiration. It’s a
curious thing to say but as I grew up with music (my father was an amateur musician) it was always
a significant part of my life.
Who inspired you musically? Any musical heroes?
Many musical heroes from Oscar Peterson (great jazz piano player) to George Gershwin, Richard
Rodgers, Jerome Kern, etc.
By the age of thirteen you were part of The King Brothers, who were voted Britain's top
vocal group of 1957 by readers of the 'New Musical Express'. Were you already writing
songs at this point?
I started writing songs mid-way through my King Brothers experience and had the good fortune to
have the first song I ever wrote- a pretty feeble attempt I thought – recorded by the wonderful Doris
Day.
When you disbanded, what led you from performing into the professional world of
composing?
After The King Brothers disbanded in 1970 I had had enough of performing and knew I wanted to
write music for a living so enrolled at the Guildhall School of Music in London to study orchestration
& composition.
Do you still have any inclinations towards performing live?
I really don’t have any great desire to perform live although I have on occasion been back on stage.
I was part of a very successful stage show with Maureen Lipman (Re: Joyce!) during the early
nineties.
What instruments do you play and what do you use to write on?
I play the piano and in fact always use the piano to compose on before transferring everything to PC.
Tell me about your songwriting process. How do you compose? Do you know how a song
should sound before you start working on it?
With me the songwriting process varies depending who I’m writing with. (I don’t write lyrics). I very
rarely write a song just for the sake of it. It is usually for a specific character in a specific dramatic
situation and therefore I tend to rely on the lyricist or librettist to set the necessary scene. No, I
don’t know how the song should sound before I start.
How did you come to be involved in composing for television?
I was very fortunate in getting involved with writing music for television as a result of a contact with
London Weekend Television in the early seventies.
How does the process work, do you see a script or a pilot episode? How do you decide
what style it takes?
When I started there were none of the advantages that one has today. As the composer you were
given one chance to view the TV film you were going to compose to and then had to go home and
try to remember what you had just seen and rely on a stop watch and metronome to help you. Of
course with videos, DVD’s, click tracks, and all the other aids which are now available, life is so
much easier. As for the style of music required, that is determined by the particular dramatic scene
taking place on the screen.
Do you think of the potential longevity of the show when deciding the instrumentation for
the theme tune so that it won’t sound dated in years to come?
Regarding the longevity of one’s music that is not something I think about at all. Obviously you
hope that people might remember your work after the series finishes but I don’t believe that should
be a priority.
Where did the original inspiration come from for your first TV composition “Galloping
Home” for the television series “ The Adventures of Black Beauty” as it fits perfectly the
brief?
The inspiration for the Black Beauty theme came from the title of the book. Having read it as a small
child I knew that obviously there were going to be many shots of galloping hooves etc., and sat at
the keyboard and out it came!
The theme has taken on a life of its own, winning the Ivor Novello award for Best Theme
From a Radio or TV Production in 1973, being released as a single in 1974 and still being
used years later as in a dream sequence by Alan Partridge. What do you think it is about
this theme that makes it so hugely popular?
Thank you for your kind words. The extraordinary thing about the Black Beauty theme is that it has
become something of a standard among such a huge age range. I can’t really explain why (although
obviously I’m most grateful), but it seems to have struck a chord with so many people. I also think
that the way the opening titles of the TV series were shot had a lot to do with the amazing
popularity of the music.
At a memorial concert for Dick Vosburgh, with whom you’ve collaborated many times over
the years, you revealed that he had written lyrics for the theme. Any plans to release a
vocal version?
The late, great Dick Vosburgh – who I still miss terribly, a really special man - wrote a lyric to the
theme (which was not to be taken too seriously) that we performed in a comedy/musical double act
for a few years. There are definitely no plans to release it anywhere!
You won another Ivor Novello for your first theatrical production “Privates on Parade”, the
first of many successful works for theatre. What’s your mindset for writing for the theatre
as opposed to television?
I don’t think there is a particularly different mindset for writing music for theatre as opposed to
television. With me as I said before, I think the mood for the music comes from whatever the
pictures or script requires of the composer.
What was your most challenging composition and why?
I can’t honestly say that any composition is more or less challenging. The only time I felt really
challenged was when I was asked to write a parody of a well-known song by Rodgers &
Hammerstein for a TV commercial and get it as close to the original as possible without infringing
copyright. The unhappy ending was that against my better judgement I went along with the wishes
of the advertising agency and ended up being sued by virtually everybody else. Not a happy
experience….
Of which piece are you most proud?
Not sure that I can answer your question as to which piece of music I am most proud of. I suppose
my luckiest one is the aforementioned Black Beauty.
As a composer, who are some of your favourite lyricists to work with or who are those that
most inspire you?
I have been lucky to have written with many wonderful ones including Sammy Cahn, Benny Green,
Willis Hall, Mary Stewart-David, Anthony Newley, Alan Coren, Alan Ayckbourn and many others, but
my very favourite is – or was – Dick Vosburgh. To my way of thinking the only true theatrical
musical genius – and I use the word carefully – is Stephen Sondheim who is in another league to
everybody else.
You’ve had many successful collaborations over the years, is there anyone you wish to
work with?
Sadly I don’t see anyone around at the moment who I would kill to write songs with. I’m obviously
stuck in a time warp but that’s the way I am.
From a composer's point of view, what sort of trends do you see happening in film and
television scoring?
The so-called trends of film and TV music appear to be governed by economics to a large extent. The
use of big orchestras in television is a thing of the past and keyboards, samples, etc., seem to be
much in evidence. The big movies tend to use big orchestras but I don’t see a particular trend as far
as the style of the music itself is concerned.
Do you think the use of live orchestra will diminish, with the advent of more acceptable
computer samples?
I think my answer to the last question more or less covers this one except to say I would like to
think that live orchestras will never be completely phased out. There are so many wonderful
musicians around who deserve to be constantly in work so let’s hope I’m right.
Many composers are turning their hand to writing the music for computer games. Is this
an area that would interest you?
No I’m afraid I am not remotely interested in computer games and wouldn’t have a clue as to how to
write music for them.
What are you up to at the moment?
I’m currently working on a new musical with a very clever, established writer called Richard Harris
(no, not that one, he’s no longer with us!) which goes into rehearsal in September. I’ve also recently
completed a musical with Alan Ayckbourn which ran earlier this year at his theatre in Scarborough,
so for someone who is well passed the age of retirement I seem to be busier than ever.
Finally, what advice would you give to others hoping to become successful composers?
For any budding composer, the best advice is to keep writing. It doesn’t matter what it is. Follow
your own instincts and don’t get too disillusioned by rejections from so-called people that know. If
you believe in your talent then push to make it work for you. Good luck!
Copyright Debbie Rial and Songwriter Magazine; All Rights Reserved.
INTERVIEW
Songwriter Interview Mick Hanly
Mick Hanly has been singing and performing for almost thirty
years now and is best known internationally as the man who
composed “Past The Point of Rescue”. The American country
singer, Hal Ketchum, recorded “Past The Point” in the early
1990s and took it to number two in the Billboard country charts.
It was the BMI Award Winner for the Most Played Country Song
Of 1992, and won a BMI MillionAir award a year later for one
million radio plays in the United States.
His tracks have been recorded in Ireland by people like Mary
Black, Maura O'Connell, Dolores Keane, Christy Moore, Frances
Black and Mary Coughlan, but his name loomed large in the
annals of contemporary Irish music from long before he ever
actually started writing songs himself. Indeed, if one attempted
to compile a quick hit-list of all that is best in Irish music in the
last three decades, one would come up with names like The
Bothy Band, Planxty, Moving Hearts, and Rusty Old Halo, and
Mick Hanly has been either tangentially or intensively involved
with all of the above during his career.
Could you tell me a little about your background?
Sure. I was born in Limerick City, Ireland, in 1949 into a working class family. We were all sent to
the Christian Brothers School. There were six of us - I have two sisters and three brothers. None of
us, apart from myself, plays any instrument, but my father is a singer. A very good singer. That was
the only music we had in the family.
Did your Dad sing in public or for his own enjoyment?
Purely for his own enjoyment, and he was quite good. As good as Frank Patterson, let's put it like
that. (Patterson is an internationally known Irish tenor, whose most recent success has been with
the “Faith Of Our Fathers” compilation album). He could have made a career for himself, I don't
know why he didn't. He always seemed to be nervous, doing stage work, as people will be if they're
not used to it.
I grew up listening to Radio Luxembourg as a teenager and my mother used to play Ceilidh House (a
traditional music show on Ireland's national radio station), so there was that kind of crosspollination, if you like. I wasn't that interested at all in traditional music at the time and didn't know
the first thing about it.
What was the first song that blew your socks off when you heard it?
The first one that blew my socks off was “Apache”. It was an instrumental, by The Shadows. The
sound of it got me in the gut, the sound of the guitar. I just wanted to make that sound. So
obviously I went chasing after a guitar.
Who bought you the first guitar?
Well actually there was a guitar at home that had been bought for my brother, Noel, and when he
discovered that you had to work hard to play a guitar he threw it aside. So, I was at home sick from
school one day and I remember picking it up. The dog had been at it at this stage so it was in bits
and it a wasn't tuned at all. I picked out a song called “The Boys From The County Armagh” (made
hugely famous in Ireland in the mid-1950s by Donegal singer, Bridie Gallagher). Then a cousin of
mine was visiting one night and when he saw me foothering (messing) he said ‘I have an oul' book
that will help you along the way’. When I read it, I discovered that a guitar had to be tuned, so “The
Boys From The County Armagh” didn't make sense anymore. But by now, I was really bitten by the
music and when I heard The Beatles for the first time with “Love Me, Do”, I was kinda hooked from
then on.
This would have been sometime in 1963?
Yeah, I suppose it must have been. I got myself a good instrument then - it cost sixty-three
guineas, which was serious bread in the early 60s, and I got it in a place called Peter Dempsey's
Music Store in Mallow Street in Limerick. He allowed me to pay for it at ten shillings a week - I don't
know how I was paying for it, to be honest with you. It was a Hagstrom, which is the same make I'm
playing here in GaIway tonight, but it was the 12-string version of it. I remember I bought it from a
catalogue without even playing it. Dempsey wrote off to Waltons in Dublin for it and it came down
on the train in a box! I brought it home on the bus and pulled it out. Suddenly, we were dealing with
the real thing. I couldn't manage the twelve strings - I could barely manage on the six ! - so I took
off six and that was my guitar from then on.
Mick moved to Galway after leaving school and worked with the ESB (Ireland's national electricity
power supply company) for two years. There, he worked by day and sang in a pub called The Golden
Key by night (“scaring off a few of the resident local alcoholics in the process”). He was pleasantly
surprised to learn that he would be paid for his troubles (“the landlady, Mrs. Mclnemey, started me
out on a pound”) and he worked his way through cover versions of songs by people like Woody
Guthrie and Ramblin' Jack Elliot. Eventually he was asked to join The Ronnie Burke Trio (with Burke
and Gerry Macken) and ended up doing seven nights a weeks with them in the Sacre Coeur Hotel in
the Galway seaside suburb of Salthill.
How did you turn professional?
I was being paid eight pounds by the ESB and twenty pounds by Ronnie, so I began to see the light
and started thinking that maybe I'd be better off on the road. I didn't even know what the “road”
was then and it was a risky thing that completely freaked my parents. I'd be freaked myself now if
my daughter did the same thing and said that she was going to leave school or whatever. So, I went
to Dublin, not even knowing what was there, but ended up playing in little folk clubs like downstairs
in Slatterys in Capel Street and The Coffee Kitchen. It was real survival stuff but my brother, David
(the well known journalist and presenter of current affairs programmes on the Irish broadcasting
service) was living in Dublin so I kind of bunked down with him.
Then, when I was playing a little gig in Trinity College, I met Andy Irvine and Donal Lunny, and they
liked what they heard. A couple of months later they formed Planxty and had a big hit with 'The
Cliffs of Dooneen'. Suddenly they were big-time and touring, and asked me to go on the road as
their support act. I was singing folk songs then as was as green as they come. Very naive. I
remember I used to do a song by Joni Mitchell called 'Carrie' and thought nothing of singing lyrics
like ‘I miss my clean white linen and my fancy French cologne’. I'm sure all the gays in the audience
went ‘oooo’ at that. While on tour with Planxty I met Micheal O'Domhnaill - a fluent Irish speaker
and a beautiful guitar player - we were into open-tuning then which creates a much bigger sound
because it gives you double notes, and went on to form the duo, Monroe, with him.
We made the album, 'Celtic Folkweave', together and toured to music festivals in France. We
actually ended up on an album of a festival called the Kartalg Festival in Brittany where we became
quite popular. I lived in Brittany for two years, revelling in the liberation I felt there and working for
a spell as a casual docker in the local fishing port. I loved everything about Brittany but eventually
started to miss 'the craic' at home. I returned to Ireland, came across a book by CoIm O'Loughlin
called “More Irish Street Ballads”, discovered that many of them hadn't be recorded, so I set about
writing tunes for them. That resulted in the album, “A Kiss In The Morning Early” with O'Domhnaill.
Was this the beginning of your songwriting?
We're in the mid-70s now, maybe 74'ish, and I suppose that was probably the beginning of my
writing, even though it was tunes I was doing, not lyrics although I did come up with a new
traditional song called ‘The Reluctant Pilot’ or something like that. Anyway, it's senseless and totally
meaningless as music. But there were a few nice things on that record and I used nice people like
Matt Molloy (of The Chieftains), Peter Browne, Noel Hill, Triona O'Domhnaill while Donal Lunny
produced it.
Had you yet set about the task of writing songs, or were you too busy?
No I wasn't awfully busy at all. It never struck me that I might be able to write a song.
Had you any awareness of things that were
happening in American country?
Well, I had a vague ear to the ground with the country
music, but I was very aware of writers like Joni Mitchell,
James Taylor and, later on, Randy Newman. I went to live
on Templeogue Road in Dublin where Mulligan Records
was set up at the time. While I was there I met Cathy
Moore, who was Thom Moore's wife (he's now presenting
a radio programme on RTE called “Thom Moore's
Melodies”) and she started playing stuff like Willie Nelson
and Guy Clark. I was very taken with the Willie Nelson
stuff and thought, wow, this sounds easy but in actual
fact that takes a lot of skill.
But I wasn't thinking along those lines myself, in terms of
writing music. I don't think of myself as a country music
writer at all. I see myself as a contemporary writer, and a
very Irish one at that, I would imagine. I suppose because
I formed Rusty Old Halo, that country thing came about
and indeed we had a very country style at that time.
Why are people so afraid of the term country music?
Well, there's so much shit in it basically. It puts people
off. Of course, there's a lot of bad in everything, but
some country music is gut-churning in its awfulness. But
then there's about 15% of it which is absolutely wonderful. Guys like Lyle Lovett are real good song
craftsmen, thinkers with original ideas - or original ways of ways of putting it over anyway.
The stuff that's coming out of Nashville now is very weak in terms of lyrical content. On the odd
occasion you'll get someone that will turn up something decent but I can't hear them and haven't
the time to go looking for them, to be honest with you.
What was the first song that you would have considered to have been of note?
The first one, that I really got my teeth into was 'The Crusader', which is recorded by Mary Black. It's
a song about Robyn Davidson and it's on the current live album. The process of writing 'The
Crusader' was as hard as it gets. They're not that hard anymore. It was the first one that had “teeth”
but it was like pulling teeth trying to write it.
I was working from an article I saw in the paper and to cut a long story short, it was about a woman
in the desert who was deserted by her camels. She knew if they didn't come back she was in deep
trouble and the quote she used was that during those hours her sanity was held together by a silken
thread. I had to do a huge editing job on it but got it down.to what I thought was a nice length. I
remember I wrote it upstairs in my grandmother's house in Limerick.
I was married to my first wife at the time and we went to stay there because we had no money and
nowhere to live. We stayed there for about six months. My whole notion of songwriting was very
vague at that time. I didn't treat it with tile respect that the craft deserves. You've to give it your
time, learn how to do it right, and have to put in a certain number of hours every day to make it
happen. I wasn't doing that, and I knew that.
How would you describe songwriting - a gift, a craft, a skill of what?
It's a craft. One that you have to learn. Don't be put off too easily - that's important to remember.
It's very easy to be discouraged if you think it sounds like something else, but if you have an idea,
just keep chasing it. It will actually take on a life of its own and eventually you'll forget what it
reminded you of in the first place.
Footnote: Garth Brooks has been quoted as saying that "Mick Hanly captures the essence of what we
all feel about things like love, even if we all can't say it quite as clearly".
Copyright Mary J Murphy and Songwriter Magazine: All Rights Reserved: Printed By
Permission.
INTERVIEW
Songwriter Interview Keith McCormack
Danny Andrews talks to Keith McCormack, who
wrote a million-seller. But even though he could
never repeat the trick, he’s not too
disappointed, since that one song has proved to
be a pension for life.
Viewers of two major movies in the past few years,
have heard Keith McCormack’s biggest hit. They may
even have silently sung along with the sound track.
“Sugar Shack” written by Keith and his aunt, Fay
Voss, has shown up in the Academy Award-winning
“Forrest Gump” and in the movie, “Congo.” It also
was played in another recent release called “Dog
Fight” and was featured several years ago in
“Mermaid,” starring Cher. McCormack, 57, now lives
in Ash Grove, Missouri, and still dabbles in the music
business. Mrs. Voss died six years ago.
“I was sort of living off “Sugar Shack,”’ McCormack
said lrecently. “but now it's gotten real popular
again.” He has always been paid royalties from
several songwriters associations but the use of his
song - recorded by Jimmy Gilmer and the Fireballs in the movies and, subsequently, on video releases,
means even more money for McCormack. He also
receives royalties from fees paid by radio stations,
clubs playing records, karaoke bars, etc. “I figure ‘Sugar Shack’ has made me about a half a million
dollars over the past 30 years. I usually got a check for $500 or $600 a month but it's been a lot
better in the past couple of years and could be real good for the next year or two.” He also wrote or
was part of recording a couple of other chart makers but never really hit the “big time” other than
with “Sugar Shack.”
Through his teen and young adult years, he was part of several bands, eventually winding up under
the tutelage of Norman Petty in Clovis, who had earlier handled the late Buddy Holly. Born in
Dalhart, he and neighborhood friends Aubrey de Cordova and Richard Stephens all took guitar
lessons and wound up “picking together in my uncle's back yard.” His uncle was Johany Voss, a
meat salesman who later operated several cafes in the area. Voss also enjoyed playing the guitar.
Soon, Charles Jay Edmiston joined the trio as a drummer but was replaced by Don Allen when he
went to military school.
“We actually cut our first record as The Rock 'N Rollers in Amarillo with Charles Jay as the
drummer,” McCormack recalled. “After Don joined us, my mother saved up enough money for a
master tape at Norman Petty's studio in Clovis. By this time, Jimmy Torres had joined us so we had
three guitars, a bass and drums and were calling ourselves the Leen Teens. “Norman sold our
recordings to Imperial which had Ricky Nelson and Fats Domino under contract, but they didn't sell
very well," he recounted. McCormack and his mother were writing most of the group's material and
“we kept going to Norman's studio every 2-3 months for a couple of years because he was our
manager, so it didn't cost us anything.
On the way to Clovis one time, I got real hoarse and knew I couldn’t sing, but Norman had an
instrumental he had written and wanted us to record. Two or three month later, we got a letter from
Norman who was in New York and he said he wanted to change our name to the String-A-Longs as
he had sold the instrumental to Warwick Records”.
Warwick had bought "Wheels," one of the songs recorded a couple of months earlier in Clovis.
Strangely, the person pressing the records reversed the labels and the song originally intended as
“Wheels” got the other recording's name and vice-versa! Nevertheless, “Wheels” was a big hit. “Our
version alone sold 7 million copies worldwide but we didn't get a dime because Warwick went
bankrupt," said McCormack. “That kind of thing happened a lot back then. Of course, you still hear
that song on the oldies stations (an Amarillo furniture company, used it for years with all its
commercials).” The String-A-Longs went on several promotional tours into the Midwest and even
into Canada, including a stint with Anita Bryant. They also cut an album called “Pick A Hit” which got
into the top 50 sellers for a while. That has been re-released in a 25-song CD by Ace records in
Great Britain which specialises in re-releases. “But we weren't getting paid much and we were kind
of disgusted. If this was what being stars was all about, we didn't want it,” McCormack said with a
laugh.
The group did come back hom to play as an opening act for a local who also made it big - Jimmy
Dean - at the old City Auditorium and stole the show that night. “Aubrey wanted to finish college
and Richard wanted to sell real estate in Colorado but I still wanted to do music,” said McCormack. A
quick trip to California and the re-establishment of the String-A-Longs with other musicians to play
clubs, dances and concerts for a year in Corpus Christi preceded a parting of the ways with Norman
Petty as the group's manager. However, McCormack continued to write songs on his own and with
Mrs. Voss.
Recalling the writing of “Sugar Shack.” McCormack said, “I kind of wrote the song in a few minutes,
ad-libbing it straight through one night in Faye's living room. But I couldn't remember what you
called those tight pants girls wore at the time (leotards) so I asked my aunt, and we kind of finished
the song together. “Actually, I though ‘Sugar Shack’ was kind of silly and it was quite a while before
I even did it for my mother, although I did demo it over at Norman Petty’s Clovis studio”. Then
unbeknownst to McCormack, Gilmer and the Fireballs recorded “Sugar Shack” while McCormack was
in California. “It was all kind of one big family over at Clovis and Jimmy Gilmer who was from
Amarillo and the Fireballs, who lived in Raton, New Mexico, already had a couple of instrumental hits
with ‘Torquay’ and ‘Bulldog.’ I firmly believe there has to be the right chemistry for a hit and,
listening to ‘Sugar Shack,’ it seems as if everything was right the night they did it, I guess.”
On the Dot label, “Sugar Shack” sold 1,340,000 singles in the first six months of that year, the only
song to sell more than 1 million. “Hey Paula” by Paul and Paula sold a million but was released in
October so sales were over two years while “Dominique” was supposed to have sold a million but
really only sold about 500,000” he explained. On the momentum of the hit, McCormack and his
mother wrote Gilmer’s follow-up “Daisy Petal Picking” which made it to the Top 20 and “Cinnamon
Cindy,” written by McCormack got to the Top 50.
McCormack then got what looked like a big writing break with Jimmy Bowen who also had started
out in Clovis along with Buddy Knox when they were both students at West Texas State University.
Bowen, who later went on to run Liberty Records in the Garth Brooks era, had turned down “Sugar
Shack” but remembered McCormack and asked him to write for the Reprise label which included
Frank and Nancy Sinatra and Dean Martin. “They were supposed to be reviewing my material, but
nothing seemed to happen” said McCormack. Meanwhile, he and Mrs. Jordan wrote a song called
“You Bug Me” which he recorded with his brother, Terry, Mrs. Jordan and her son Kenny. “Dot got it
pressed and distributed nationwide in a couple of days. It was hot for about three days and then
died on the vine,” McCormack said. He and Mrs. Jordan also wrote “Spring Has Sprung” and
“Stumbling Stone” which were released by Dot and another song, “Mary Ann Thomas,” showed
promise but never went anywhere “A lot of things were about to work out, when all of a sudden,
they just died”.
McCormack took Gilmer's place when Gilmer finally quit the Fireballs and he sang with the group for
six years. While touring with the Fireballs, McCormack settled in Springfield, Missouri and now lives
with his wife and son Malley, 32, in Ash Grove. He quit playing clubs in the area in 1991. “I still
write songs and Malley and I have a recording studio," said McCormack. Thinking again about “Sugar
Shack,” he recalls with a laugh: “We wrote that song in three or four minutes. It was an accident
really but I wish to hell I could have another one.”
Copyright Danny Andrews & Songwriter Magazine: All Rights Reserved
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ISA Private Members Site
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What To Look For In A Digital Multitrack Recorder
Starting Out In Music - The Pros And The "Con Man"
Songwriter Demos: 3 Devastating Mistakes To Avoid
I Love Today's Songwriting Tools
What Makes A Song Good?
Exercises To Improve Your Songwriting
Electronic Press Kit Or EPK - Why Do I Need One?
How To Get Your Music On Spotify
How Much Money Can You Make By Licensing Your Music?
Why Do I Need A Demo Producer?
Raise Your Production Values On A Music Video
Enhance Your Songwriting By Using Simple Techniques
Your Domain Could Be As Important As Your Music
Co-Publishing Deals In The Music Licensing Business
Spotify Vs Everyone Else - How Does It Stack Up?
Music Licensing For Film
Unleash The Songwriter With Loops
Use Rhyme To Write Powerful Lyrics
Tips For Landing Film And TV Deals
Six Quick Tips For Writing Lyrics
Five Quick Tips For Coming Up With Song Titles
The Importance Of The Melody In Songwriting
Three Tips For Writing A Great Melody
How To Write A Great Melody
Internet Songwriting
Customized Rhythms Can Help In Songwriting
What Is The Best Music Maker For Your Computer?
Using A Rhyming Dictionary In Songwriting
Turn Your Songs Into Money
What Exactly Is Stock Music?
Singer-Songwriters: Three Tips For Marketing Your Music
How To Come Up With Lyrics For A Song
How To Record Great Vocals At Home
Review: The Tascam DM-4800
Learn A Valuable Lesson From A Hit REM Song
Build A Home Studio From Scratch
Get Started With Digital Music Distribution
Three Questions To Ask Yourself When Writing Songs
Would Your Song Benefit From an Altered Song Structure?
How To Record An Album For Free!
Use Google+ To Sell Your Music
Write Better Lyrics: Go Back to Elementary School
Electronic Press Kits Boost Promotion And Sell Music
Should I Have A Manager?
How To Find Music Industry Work While Writing Songs
Where To Get Inspiration For Songwriting
How To Write A Song Melody On Guitar
Make Money From Your Original Music In TV And Film
Splitting Songwriting Percentages In A Song
Music Licensing And Making Movies
So You Want To Start A Music Publishing Company
Songwriters Due
Songwriting - Getting Started With Chords
How To Sell Music Online
Film - How To Find The Perfect Songwriting Partner
Don't Allow Your Demo To Date Your Song
Music in Film - How Music Publishers Can Increase Revenue
The Secret To Writing A Great Film Song
How To Write Song Lyrics That Have Emotional Impact
Do I Really Need A Record Deal?
How To Sell Your Songs On iTunes
5 Tips For Writing A Song
Why You Should Start Your Home Recording Studio For $5
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Recording Sound - How To Get Better Acoustics
Creating A New Melody
Music Sampling - Laws And Regulations
Contacting With Influential People In The Music Industry
The Basics For Creating A Catchy Melody
Listening To Music Is The Ultimate Songwriting Guide
Five Things You Should Know About Songwriting Programs
The Two Ways Music Gets Licensed
Great Songwriting Topics Are Easy To Find
Researching The Needs Of Publishers
Songwriters Using Software Packages To Make Hit Songs
Does Online Audio Mastering Work?
Licensing Music For Advertisements
Make Money With Your Music
Online Music Selling - Guarantee Sales Of Your Music
Putting A Price On Your CD
How To Sell Your Music On SoundClick
Connecting With People In The Music Industry
Music Writing Software - The Essential Facts
Top 10 Tips For Writing Hit Songs
Music Creation Software - What Are Your Options?
Music Licensing Tips: Identify Your Objective
Music Libraries - License Your Music And Publish It
Sending Demos To Record Labels
Music Licensing Provides Recognition To Hidden Talents
One Way To Write A Country Song Lyric
Music Publishers In The Music Licensing Business
Buyout Production Music
You Can Write Jingles For Money!
Submitting Music To Publishers And Supervisors
How You Get Paid When You License Your Music
How Your Music Licensed For Use In TV & Films Is Used
How To Write Rap Songs
Build An Affordable Home Recording Studio
Get Recognition For Your Unique Composition
Music Licensing For Film
Using Free Songwriting Software To Get Placements
The Dynamics Of Songwriting
Five Songwriting Misconceptions
Fix That Song Now!
Secret To Maximizing Revenue For Music Downloads
Wall Construction Tips For Sound Isolation In A Studio
How To Place Microphones For Recording
How Unsigned Artists Are Converting MP3s To Cash
Has BandPage Made Facebook The New MySpace?
Korg Wavedrum Review
Tips On Selling Digital Music
Using Twitter to Promote Your Music
Indie Music Promotion In A Nutshell
Music Licensing - The New A&R
Licensing Instrumental Music In TV And Films
My Experience With Sonic Producer Software
Get A Real Website
Music Licensing Tips - Diversify Your Musical Portfolio
Writing Songs In 3D
How Music Creation Software Can Assist Your Composition
Music Licensing Directories
How To Put Out Your Own CD
How To Go Global With Your Own CD
Software Every Songwriter Should Own
What Equipment To Buy For Your First Home Studio
Distribution - The Key To Successful Songwriting
Rise Above The Competition In Music Licensing
To access any of the articles, scroll down to HOW TO ARTICLES
on the main menu of the ISA Private Members Site
articles on site (contd)
• Where Do The Best Songwriting Topics Come From?
• Marketing Your Songs
• Song Arrangement In 10 Steps
• U.S. Music Copyright Registration
• Yamaha Tyros 3 - The Super Arranger Workstation
• Free Home Recording Studio Software
• Create The Perfect Structure For Your Songs
• How To Sell Your Music Online
• The New Music Industry - The Online Revolution
• How To Write Songs On Acoustic Guitar
• How Does The Zoom Micro Drum Machine Compare?
• Production Music
• Basics of Songwriting - Song Lyrics
• Six Free Ways To Get Your Music Heard Online!
• Songwriting Technique - Song Key Change
• How To Use A Compressor Or Limiter
• More SongWriting Tips
• The First Song I Licensed For Use In Television
• Avoid These Home Recording Studio Setup Mistakes
• How To Structure A Song
• Selling Your Music On Amazon
• How To Write A Pop Song
• Selling Your Music Online
• Places To Submit Your Music For TV And Film Placements
• Music Producing Software - Your Best Options
• Promote Your Music On My Space
• How The Best Songs Are Structured
• How To Convert Audio Cassettes To CD
• Music Composition Formulas
• Cakewalk Home Studio XL - Studio Software Review
• Basics of Songwriting - Song Structure
• Basics of Songwriting - Chord Progressions
How Can I Sell My Music On Mp3 Sites?
• Developing Your Own Songwriting Style
• Tools You'll Need To Get Started In Songwriting
• How Do I Sell My Music On iTunes?
• How To Sell Your Music With YouTube
• Promote Your Music Online For Free
• Film & TV Music Licensing For Songwriters
• Copyright Law - How to Copyright Music
• How To Write A Country Song
• How To Become A Film Composer
• 15 Essential DIY Tips To Recording A Great Record
• How To Present Yourself And Your Music
• Do The Songs You Write Always Sound The Same?
• Tips For Writing Great Song Lyrics
• Songs For Covers
• How To Write A Happy Song
• Advantages Of UJsing A Successful Record Producer
• The Secret To Songwriting
• Songwriting Ideas to Boost Your Creativity
• 10 Ways To Kill A Song
• Why Don't They Like Your Songs As Much As You Do?
• Simple Isn't Simple - But It's Mandatory
• Catch The Idea Before It's Gone
• Lyric Writing
• How Does A Songwriter Make Money On Songs?
• A Quick-Reference List of Songwriting Cliches
• Songwriting Circles - A Need For Creative Community
• How To Use Sonic Producer's Online Sequencer
• Writing Songs From the Heart
• How To Write Lyrics - Tips On Songwriting
• Costly Mistakes In Songwriting
• How To Choose A Microphone
• Mixing Your Song: How Do You Know You're Finished?
• Your Song's Melody Needs Shape
• The Only Song To Be Investigated By The FBI!
• Songwriting - And Going To The Movies
• Enhance Your Songs With Band In A Box
• How To Improve Your Vocal Range
• How To Get a Record Deal
• Learn to Read Music
• Songwriting Techniques For Better Intros
• Tips And Tricks For Recording Your Voice
• Want To Be A Songwriter? Be A Music Player First!
• Here's A Songwriting How To - Ask Questions!
• Try Writing A Humorous Or Novelty Song
• Software Tools For Producers And Songwriters
• Improve Your Songwriting
• This Songwriter's Secret - How I Wrote Over 1,000 Songs
• Start A Band By Finding Some Musicians
• Intros, Outros, Bridges, and Nuances
• Distributing Your Music Online
• Writing A Bio For Your Songwriting Press Kit
• Suffering From Songwriter's Block?
• The Songwriter's Do-It-Yourself Public Relations
• Three Things You Can Do to Instantly Improve Your Voice
• What To Write About
• How To Put Together A Music Press Kit
• Style And Delivery For Singer-Songwriters
• Writing A Rap Song
• The Importance Of Your Title
• Using A Rhyming Dictionary
• Professional Music Production Tips
• Using Pop Culture References In Your Hip-Hop Lyrics
• Online Songwriting - How To Write Songs Online!
• The Secrets Of Freestyle Rap Lyrics
• Songwriting Tips For The Lazy
• Transform An Old Room Into A Recording Studio
• The Balance Between Beat Making, Creativity & Copyright
• Which Matters Most - The Music Or The Lyric?
• Tricks For Improving Songwriting Creativity
• Home Recording Beats The Studio Every Day
• MySpace - How It Works For You
• How To Write A Rap Song
• Recording Music At Home
• Let's Take A Closer Look At Your Song
• Steps To Improve Your Songwriting
• Lyric Ideas Are Everywhere!
• What Does It Take To Become A Music Producer?
• Write Hits Like Blink 182
• The Record Deal - Do You Really Need One?
• Who Sells Inspirational Music?
• Why And When To Hire A Music Publicist
• Write Music That Appeals To People's Emotions
• Should You Start Your Own Independent Record Label?
• Music Licensing And The Future Of The Music Business
• Learn How To Write And Play A Guitar Solo
• Write A Killer Title
• How To Promote Your Indie CD
• Understanding Sound Effects
• The Cruel, Cold, Critical World Of Music Promotion
• Tips & Tricks For Recording Your Vocals
• Copyright - The Most Important Question Of All?
• When Somebody Asks YOU For Money
• Putting Your Songs On The Web
articles on site (CONTD)
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Make Your Own Beats And Save Money
Collaborating With Other Songwriters
Does Total Originality Exist In Songwriting?
Recording Your Music On A Digital Recorder
Tips That Make The Music Flow
Recording Music Software - The Post-Production Factor
Music Licensing As a Source of Passive Income
Need To Record A Demo?
How To Use Foam Insulation To Soundproof A Music Studio
Multiplying Your Online Music Sales X 12
The Bite Of The Unethical Song Shark
Prepare Your Computer For Recording Music
Video Production For Musicians
The Independent Music Artist and Social Networks
How to Write Lyrics
The Many Ways To Create Songs
Music Publishing Times - They Are A-Changin'
10 Tips For Improving Your Songwriting On Your Guitar
How To Write A Rock Song
Songwriting - What Do Sections Do?
Get Guitar Effects For Your Computer
How Publishing Your Own Music Can Double Your Income
Do It Again - A Songwriter's Tip
Digital Or Analog For Your Home Recording Studio?
Sampling For Songwriters
Transposing Music - How To Change The Key Of A Song
How To Build A Dance Track
Software Every Songwriter Should Own
Computer Music Making Tips
Points Mean Prizes in Your Music Contract
Preventing Demo Suicide
Songwriter's Block? Three Tips To Get You Started Again
What Comprises A Great Song?
Songwriting Tips & Tricks
Television - The Way to Make Money With Your Music
Tips For Buying Rap Beats
How To Market Your Music Online
Writing Songs On Guitar
Breaking Down Section Structures
How Songwriters Can Sell More CDs
How Bands And Co-Writers Divide Song Percentage Shares
The Ten Elements Of A Song
Make Money Writing Jingles
Seven Tips For Better Songwriting
Where Hit Songwriters Get Their Stories From
Were You Ever Asked To Share A Song Credit?
Under Pressure To Hand Over A Percentage Of Your Song?
What The Pros Did When The Star Turned Down Their Song
Happy Birthday To You - The Classic Still In Copyright!
Publisher Interview: Judy Stakee Of Warner Chappell Music
So You Wanna Website?
Four Tips For Avoiding Songwriters Block
2 Approaches To Writing A Song
Unoriginal Melodies Are A Good Thing!
Getting Your Songs Placed In TV Shows and Films
Spicing Up Your Songs With Sound Effects
Recording Vocals in the Recording Studio
Increase Your Odds Of Getting Signed
Unlikely Hit Songs That Broke the Rules
Things To Look For When Choosing A Producer
What's In A Song?
Add Background Music To Your Web Page
3 Elements Of A Compelling Song Arrangement
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Wheeling And Dealing With Industry Professionals
Can Ring Tones Bring In Fame And Acclaim?
Creating Possible Song Titles
Songwriting Contest Observations
Songwriting Basics - Using Minor Chords In Your Songs
Getting Song Ideas - The Humble Newspaper
Tips and Tricks For Capturing The Muse
Best Ways To Promote Your New Album
Songwriting Issues In A Band
What Are Time Signatures Or "What Does 4/4 Mean?"
Writing Song Lyrics - A Guide
Why Lyrics Are Important
Setting Up Your Own Internet Radio Station
How to Promote Your CD
11 Practices To Improve Your Songwriting Ability
7 Tips For Planning A Home Recording Studio
9 Ways To Get Your Music Heard
Unsigned? Success Without A Record Label
Getting Yourself A Personal Manager
Need Some FREE
Songwriting
Printing?
• CD Label?
• Songwriter Letterheading?
• Songwriter Business Card?
•Cassette Label?
• CD Inlay Card?
•Cassette Inlay Card?
• Outgoing Mailing Label?
• Return Mailing Label?
• Song Promotion File?
•Song Collaboration Contract?
• Promotion Letter?
•Personal Letterheading?
Well, just send us your name, address,
telephone number(s) and email address, typed out
as you wish them to appear, and we will send
you master copies of any or all the above - so that
you can photocopy them whenever you like!
And the cost?
00.00!
Just go to
http://www.songwriter.co.uk/printpak
Another Exclusive FREE Service Of International Songwriters Association
ISA MEMBERS ONLY
International Songwriters Association New Members’ Manual & Frequently Asked Questions
International Songwriters Association
(1967) Limited
New Members’
Manual & FAQ Frequently Asked
Questions
CONTENTS
Members’ Site
Publications
Services
Subscriptions
Contacting ISA
Our Guarantee
• This introductory leaflet is produced for your information, to enable you to understand how the
International Songwriters Association works
• If you feel it could be clarified, expanded, or improved in any way whatsoever, please let us know
•
• This leaflet is updated occasionally, and the update is available on the ISA Private Members Site
PRIVATE MEMBERS SITE
The ISA Private Members Site is open to all current members.
You are given an access code on joining, and that code
changes from time to time.
When it changes, an email is sent to you, which is why it is very
important to keep us updated on any change of email address.
Here is a short listing of what is on the site.
TODAY'S NEWS All of today's music industry, songwriting and
music publishing news, assembled fresh each time you drop by
THE ISA The Publications and Services of the International
Songwriters Association
ASSESSMENT How to use the Assessment Service of the
COPYRIGHT How to use the Copyright Service of the
DIRECTORY The addresses, telephone numbers and contact
names, for hundreds of Music Publishers and Record Labels
HOW TO ARTICLES Want to know more about Copyright?
Placing your songs in Movies or on TV? Collaboration? Writer's
block? Sharing credits? Song promotion? Making demos?
Building a website? Putting together a home recording studio?
And much more? It's all here in dozens and dozens of articles!
SELLING YOUR SONGS Read. print or download the current
edition of the ISA's 108 page, 60,000 word book on selling your
songs
LINKS You could be clicking for hours on the thousands of
songwriting links on our public site. Here we have listed what in
our opinion, are the Top 20 links that all songwriters need
INTERVIEWS Read, print or download dozens of interviews
with some of the world's top songwriters, including Mike Batt,
Tom T Hall, Roger Cook, Gordon Lightfoot and many more
NEW ON THE CHARTS The newest acts to make the charts,
along with their record label name, and the names of every
music publisher who has had a song recorded by that act since
1996!
SONGSELLER NOTICE BOARD Want to tell other members
something? Want to read what they have to tell you? Or simply
interested in seeing who is looking for new songs? Dozens of
listings for you to peruse, updated each day
• Oh and some sample songwriting and collaboration contracts
as well • And let's not forget the latest editions of "Selling Your
Songs", "Songwriter Magazine" and "Songwriter Update" • All
free to read, print or download
VIDEOS Some top songwriters, music publishers and record
label executives, inform and instruct - on video
Questions & Answers
How do I access the ISA Private Members Site?
Just go to your link, typed on the front of this leaflet, and when
you click on the arrow, you transfer to the ISA Private
Members Site Map, which lists everything on the site.
[Also, see the yellow card enclosed, headed ISA Private
Members Site]
The above link to the site changes from time to time, and when
it changes, you will be notified by email.
Your current link is also printed at the start of each issue of
“Songwriter NewsFlash”.
My access code does not work. What can I do?
You are probably using an out-of-date code.
Either look up the last issue of “Songwriter NewsFlash” where
the latest number is published, or send us an email whereupon
we will send you the current access code.
ISA PUBLICATIONS
The ISA publishes three newsletters available to all members“Songwriter Magazine”, and “Songwriter NewsFlash”.
The ISA also publishes two books “Selling Your Songs” and
“Directory Of Recording Stars”, also available to all members.
QUESTIONS & ANSWERS
How do I access the ISA Publications “Songwriter
Magazine”, and “Songwriter NewsFlash”?
The publication dates and access details for the ISA
publications, are as follows:
“Songwriter Magazine” is published quarterly, on the 1st
January, 1st April, 1st July and 1st October.
The current issue can be viewed, printed or downloaded, on
the ISA Private Members Site under the “Songwriter
Magazine” heading.
SONG CONTESTS Read, print or download, the current crop of
Song Contest Entry Forms
If printing this off, it usually takes between 35 and 100 pages.
SONGWRITER MAGAZINE Read, print or download the
current issue of Songwriter Magazine
“Songwriter NewsFlash” is published occasionally (usually
once or twice a week), and appears on the membership site
only.
SONGWRITER MAGAZINE ARCHIVE
Read, print or download, back issues from the vaults of
Songwriter Magazine
The contents of “Songwriter NewsFlash” are also updated on
the ISA Private Members Site, under the “SongSeller
NoticeBoard” heading.
UPLOADING YOUR SONGS There are so many places
nowadays where you can sell your CDs or even individual
songs on the internet, or else, simply upload them for the
benefit of posterity, that there is no reason why you cannot be
out there if you want to! And here is where to upload them
How do I access the ISA Publications “Selling Your
Songs”, and “Directory Of Recording Stars”?
“Selling Your Songs” is revised twice yearly, and can be
viewed, printed or downloaded,on the ISA Private Members
Site under the “Selling Your Songs” heading.
USEFUL DOWNLOADS The section where you can download
some useful songwriting tools, such as "Web Design Mastery
Trial" which was written to assist you in learning how to design
a professional looking web page in the easiest possible fashion
- with copy & paste codes • Plus a couple of useful Music
Publisher and Record Label directories • Not to mention some
stave paper, for when that musical idea hits you, and the shops
are closed!
If printing it off, it usually takes 108 pages.
The “Directory Of Recording Stars” is updated every 13 weeks,
and can be viewed, printed or downloaded,on the ISA Private
Members Site under the “Directories” heading.
If printing this off, it usually takes 90 pages.
I can find the publications, but cannot view them. What
can I do to rectify this?
If you can find but cannot view the publications, this is most
likely because you do not have Adobe Reader on your
computer.
Most modern computers come with Adobe Reader already
installed, so any PDF file should open immediately, once it has
been double-clicked.
If you know that you have Adobe Reader on your PC, but
(1) the PDF still will not open
or
(2) it will open, but you cannot click on the links
or
(3) it will open, but you cannot copy and paste from the text
then you probably have an old version.
If so, you might consider updgrading to the current version,
which is Version 11. This costs nothing and is quite simple to
do.
Write your name and address in full on the rear of the
envelope, along with the song titles. Enclose nothing other
than the matter to be copyrighted, in the envelope being
posted.
Copyright takes approximately 21 days from its arrival here
and lasts for two years (non-renewable). After two years,
copyright submissions will be destroyed.
No copyright submissions can ever be returned once lodged,
so make sure you have kept copies for your own use.
Never depend on one method of protection in case of loss or
dispute - use at least two methods always.
It is a pre-condition of using this service that you accept that in
the event of loss/damage etc, the liability of the ISA is limited
to the original purchase price of the contents of the package
sent, which usually means, the cost of a blank cassette or a
blank CD.
This service cannot be provided by e-mail.
ASSESSMENT
I can find the publications, and can view them, but they do
not look the same on paper when I print them as they do
on the screen. How can I make them look the same?
They should be identical, and if you have any version of Adobe
Reader (and 99% of all recent PCs will have this), then you will
be able to view the publication exactly as it was intended.
However, if it does not print exactly as it appears on screen,
that may be because you have an early version of Adobe, or
because your printer is not able to handle the PDF.
Each submission must contain one song on tape/CD only, plus
the lyrics. Send the song to
Assessment Service
PO Box 46
Limerick City
Ireland.
You can easily solve either or both these problems, as follows.
There is no limit on how many songs you send, as long as
each song is sent in a separate envelope.
(1) If you are using an earlier version of Adobe Reader, the
best way to solve problems you may be having is to download
and install the (free) latest version from
However, new subscribers should send only one song and wait
for this song to be returned, before using the service on a
regular basis.
http://get.adobe.com/reader/
(The reason for this is to make sure that any general errors in
existing presentation can be corrected by you in future
submissions).
Don’t worry—this is a very simple one-click procedure which
should take about a minute.
(2) Depending on which printer you are using, a PDF file may
not print properly unless you select the "Print as image" option
in the printer dialogue box. Using the "Print as image" option
may take several minutes to print one page.
When you go to “Print”, a large box will come up, and
somewhere there you will find a button marked "Advanced".
The tape/CD will not be returned, but will be destroyed, so only
send a copy of your work for assessment,.
The service can take up to 30 days, so do not query delivery
until 30 days has elapsed.
ADVICE & DIRECTORY INFORMATION
Click on that, and you reach the "Advanced Print Setup" screen.
Down at the bottom is a box, usually unclicked, titled "Print As
Image". Tick the box, click “OK”, and then “OK” again on the
original box and then press “Print”.
If you have any problems viewing or printing this, simply email
us and we will have a look at the problem for you.
ISA SERVICES
The ISA provides a range of services, which are supplied free
to you as a member.
The following is a listing of the services available free of charge,
to all members.
COPYRIGHT
Each submission can contain as many songs as you wish, but
we do not recommend that you send more than a few in each
envelope.
Lyrics, recordings, manuscripts, or a combination of all of
these, can be sent to copyright.
Send your request preferably by e-mail to the
Advice Service or the Directory Information Service
PO Box 46
Limerick City
Ireland
In the case of requests for advice, provide all the details plus
photocopies of any relevant documents/ contracts etc., in the
first letter.
In the case of directory information, state clearly which act,
record label, publisher or manager you wish to contact.
QUESTIONS & ANSWERS
How do I access the ISA Services, such as Copyright,
Assessment etc?
Just go to the ISA Private Members Site, and on the Site Map,
you will find each service explained on individual web pages.
If you have any query concerning any service, send an email to
Address the package to
[email protected]
Copyright Service, International Songwriters Association, PO
Box 46, Limerick City, Ireland
and we will be very happy to assist you in any way we can.
You can also go to
be paid, or initiate or cancel the Order. Only you can do that.
http://www.songwriter.co.uk/services
If you enrolled using PayPal, they provide the following
instructions on how to cancel - as follows:
where the services and publications are all listed on just one
page.
If writing to the International Songwriters Association, do I
have to enclose a self-addressed stamped envelope for
reply?
No. We pay all our own return postage.
If I wish to Copyright, or have Assessed, material written
by myself as an ISA member in collaboration with another
person who is not an ISA member, can this be done?
Yes, but all correspondence can only be with you as you are the
registered member.
If you would like to cancel a Subscription, log in to your PayPal
account and go to the 'History' subtab of the 'My Account' tab.
Choose "Subscriptions" from the drop-down "Show" menu and
click "Submit". Choose the subscription you wish to cancel,
and click on its "Details" link.
You will be taken to a Transaction Details page from which you
may cancel your Subscription. Cancelling your Subscription
will immediately stop all future scheduled payments for this
Subscription.
There is no need to notify us - PayPal will do that for you.
If I need Contractual Advice, can I get this from the
International Songwriters Association?
Yes. Please send by post or email, a copy of all relevant
documentation, including accompanying letters. In addition to
this, the ISA can recommend legal advisors based in the UK
and/or the USA, who are experienced in music industry law.
If I leave the ISA, what happens my copyright deposits?
They remain on deposit until the period of protection expires.
Why is the initial ISA Copyright service, limited to two
years?
Most writers will have placed the material with a publisher within
two years of writing it, whereupon protecting the material
become the responsibility of the publisher.
ISA SUBSCRIPTIONS
Remember, for your protection, the PayPal facility is a
Standing Order not a Direct Debit, so we can never “take” or
“request” money from your PayPal account, alter the amount
to be paid, or initiate or cancel the Order. Only you can do that.
Finally, if you enrolled using a Cheque, simply ignore the
Renewal Notice when it comes. There is no need to notify us.
CONTACT THE ISA
ISA operates from Limerick City, Ireland.
Contacting The ISA
• E-mail to [email protected] (this is the most
efficient method and the fastest)
• Letter to International Songwriters Association Ltd at PO
Box 46, Limerick City, Ireland
Your Subscription is due upon notification, unless payment is
being made by Banker’s Order or Credit Card-PayPal, in which
case, it is automatically paid until cancelled by you.
• Telephone to +353-61-228837
For your protection, Credit Card-PayPal or Banker’s Order
arrangements are not Direct Debits, so we can never “take” or
“request” money from your account, nor can we change in any
way, or increase in any way, the payment which you have
authorised PayPal or your Bank to make.
Due to the increasingly large number of calls from nonmembers seeking advice, it is no longer possible to provide a
live service. Instead, you should call +353-71-228837 24 hours
a day, 7 days a week, leaving your name, address telephone
number, and your message, on the answering service, along
with a suitable time at which you may be phoned.
In other words, we can neither initiate, alter or terminate your
Bank Standing Orders or Credit Card/PayPal payments - only
you, the customer, can do that.
Questions & Answers
How long does ISA membership last?
Membership of the International Songwriters Association lasts
until cancelled by you if you are paying by Banker’s Order or
Credit Card or PayPal, or until you fail to renew your
Membership if you are paying by cheque or cash.
How do I renew my ISA membership when it comes due?
This depends on how you took out your membership but we
think we have made it as simple as possible.
If you enrolled by Banker’s Order, payment is quarterly, and will
renew automatically until cancelled by you through your bank.
If you enrolled by Credit Card or PayPal, the payment is
half-yearly, and will renew automatically until cancelled by you
through your Credit Card provider or PayPal.
If you enrolled using a Cheque, the payment is half-yearly, and
you will receive a renewal form in the post about four weeks
before renewal is due.
How do I cancel my ISA membership?
This depends on how you took out your membership but we
think we have also made it as simple as possible.
If you enrolled using a Bank Standing Order, simply notify your
bank to stop payment, and send us a letter or email to that
effect on the day you cancel.
Remember, for your protection, what you signed is a Standing
Order and not a Direct Debit, so we can never “take” or
“request” money from your Bank account, alter the amount to
We reply by telephone. letter or e-mail to all communications.
Detail your query so that the appropriate person will phone you
back with the correct answer.
THE ISA GUARANTEE
Anything which International Songwriters Association Ltd
supplies, is guaranteed, or your money is refunded without
question. In the case of subscriptions, your last subscription
period (whether that be quarterly or half-yearly depending on
how you choose to pay), will be refunded in full without
question.
This has been our policy since 1967.
FINALLY
We have tried to make this introductory leaflet as clear and as
straightforward, and as informative as possible.
If however, you feel that we have failed in any way, please let
us know.
We do value your input - that is why we are still in business
since 1967!
PO Box 46, Limerick City, Ireland
Tel + 353-61-228837
Email [email protected]
IMPORTANT
INFORMATION
• All material published is the property of its owners.
anything published here, please request permission first.
If you wish to reprint
• Publication does not imply an endorsement by the ISA of any opinion, product or
service listed.
• To place a free non-commercial announcement in “Songwriter Magazine”, please
e-mail a message to us, and it will appear in the next available issue.
• It is an offence under law to submit a misleading advertisement which purports to
offer one service or product, but which is instead designed to divert the recipient to
a totally different service or product.
• If you receive a reply to any insertion which has nothing to do with what was
originally advertised, please send it to us.
• If submitting songs to any source at all, please make sure they have been
copyrighted first.
• Remember, the ISA passes on information received by it to its subscribers who
should satisfy themselves as to the bona-fides of any parties with whom they are
dealing before sending any material, and in addition, check any offer subsequently
made with a lawyer.
• Be wary of any email from a source hitherto unknown to you and watch for
unsolicited offers from people unknown to you.
• Be wary of people unknown to you, requesting your home address,
telephone number, your bank account details, or whatever .
your
• Be wary of people who want to send you money, but need some help from you
to do this.
• Remember that no matter whose name is on the email, it does not mean it has
really come from that person.
• And last, but perhaps most important - "If an offer seems too good to be true then it probably is".
If you do not wish to follow the above procedures, or take the above advice, do
NOT make any use of information printed in this publication.
The Small Print!
This publication is strictly confidential
Any reply to any announcement which is
not directly related to the announcement
you placed, or Any unsolicited offer by
e-mail, or Any request for payment of any
sort
should
be
notified
to
[email protected]
If you wish to place a non-commercial
announcement,
(commercial
advertisements are not accepted), then
simply e-mail it to us.
Any e-mail change of address should be
sent to [email protected] marked
e-mail change of address.
WARNING
Remember, the ISA passes on information
received by it to its subscribers who
should satisfy themselves as to the bonafides of any parties with whom they are
dealing before sending any material, and
in addition, check any offer subsequently
made with a lawyer.
Be wary of any email from a source
hetherto unknown to you. Secondly,
watch for unsolicited offers from people
unknown to you.
And last, - "If an offer seems too good to
be true - then it probably is".
If you do not wish to follow the above
procedures, or take the above advice, do
NOT make any use of information printed
in this publication.
STYLE
If sending us an announcement
publication, you can help us
remembering the following....
for
by
(1) Do not send us notices written in total
CAPITALS or total smalls. Use the correct
mix of "caps" and "smalls"
(2) Song or Album titles should be written
with each word of the title starting with a
capital letter, as follows;
"I Love You" and not "i love you".
(3) The plural of CD is CDs - not CD's.
(4) If giving a postal address, please make
sure you list the country also. There are
over a dozen towns in the world called
"Manchester", and several towns named
"London".
(5) If giving a URL - make sure you put the
full phrase
http://www
Thirdly, look out for people unknown to
you, wanting your home address, your
telephone number, your bank account
details, or whatever.
Fourthly, look out for people who want to
send you money, but need some help
from you to do this.
Fifthly, remember that no matter whose
name is on the email, it does not mean
that the email has really come from that
person.
before the remainder of the URL.
HELP!
One of the great things about the
International Songwriters Association, is
the number of talents (apart from
songwriting), posessed by our members.
If you have any advice for us, on layout,
content etc., please let us have it!
We do appreciate your input.
INTRODUCTION
This is the definitive listing of the most important features of our
publications and services.
All Readers’ Services and ISA Publications are offered on the
basis of the information below, and on no other basis.
CONTACTING ISA
ISA operates from Limerick City, Ireland.
Contact ISA
• E-mail to [email protected] (this is the most efficient
method and the fastest)
• Letter to Songwriter Magazine, International Songwriters
Association Ltd at PO Box 46, Limerick City, Ireland
• Telephone to +353-61-228837
E-mail is the fastest method for obtaining advice, directory
information, notifying e-mail or address changes etc.
Post is the only method for obtaining assessment and copyright.
Telephone is best for complex discussions.
E-MAIL SERVICES
We reply by e-mail to all internet communications, seven days a
week. We also provide a limited e-mail service on Bank and State
holidays.
POSTAL SERVICES
We reply by post to all letters, but remember that it can take five
working days for a letter from the UK to reach us, and of course, up
to five days for the reply to reach you.
Europe Mainland takes between 5-7 days, and the USA,
Canada, Australia and South Africa take about 9 days.
The Irish Post Office is the most reliable and dependable postal
service in the world (that’s official), so examples of postal loss
within Ireland are extremely rare.
PHONE SERVICES
We reply by telephone. letter or e-mail to all calls. Due to the
increasingly large number of calls from non-members, we no
longer provide a live service. Members should call +353-71-228837
24 hours a day, 7 days a week, leaving a name, telephone number
(including area code), and a message, on the answering service,
along with a suitable time at which you may be phoned. Detail your
query so that the appropriate person will phone you back.
SUBSCRIPTIONS
Subscriptions are payable due upon notification, unless payment
is being made by Banker’s Order or Credit Card.
It is a condition for those paying by Banker’s Order or Credit
Card, that they notify us if they or their Bank or Credit Card
Company, ceases to make payments for any reason, and await
receipt of our confirmation that we have received the cancellation
of membership.
Accordingly, if you cancel the Bank or Credit Card payment, you
must cancel with the ISA on the same day and await our receipt of
this cancellation. It is your responsibility to terminate your standing
order or credit card with your Bank or Credit Card Company, when
you terminate your subscription, as we can neither initiate or
terminate standing orders or credit card payments. For as long as
payments continue, your membership continues.
Changes of address must be notified to us. They do not take
effect until you have received our confirmation that we have
received the change.
PUBLICATIONS
All ISA Publications are notified by email, and are available online
at the ISA Private Members Site.
Songwriter Magazine is published on the first day of January,
April, July, and October of each year.
Songwriter NewsFlash is published whenever news of an
urgent nature becomes available.
We will always replace missing copies of our publications but
remember that all, including Newsflash, are also published on site.
READERS’ SERVICES - COPYRIGHT
Each submission can contain as many songs as you wish, but we
do not recommend that you send more than a few in each
envelope.
Lyrics, recordings, manuscripts, or a combination of all, can be
sent to copyright. Address the package to
Copyright Service
Songwriter Magazine, PO Box 46
Limerick City, Ireland
Write your name and address in full on the rear of the envelope.
Enclose nothing other than the matter to be copyrighted, in the
envelope being posted. Copyright takes approximately 30 days
from its arrival here and lasts initially for two years (non-renewable).
After two years, all copyright submissions will be destroyed.
No copyright submissions can ever be returned once lodged, so
make sure you have kept copies for your own use.
Never depend on one method of protection in case of loss or
dispute - use at least two methods always.
It is a pre-condition of using this service that you accept that in
the event of loss/damage etc, the liability of the ISA is limited to the
original purchase price of the contents of the package sent, which
usually means, the cost of a copy cassette or copy CD.
READERS’ SERVICES - ASSESSMENT
Each submission must contain one song on tape/CD only, plus
the lyrics. Send the song to
Assessment Service
Limerick City, Ireland.
There is no limit on how many songs you send, as long as each
song is sent in a separate envelope.
However, new subscribers should send only one song and wait
for this song to be returned, before using the service on a regular
basis. (The reason for this is to make sure that any general errors
in existing presentation can be corrected by you in future
submissions).
The tape/CD will not be returned, but will be destroyed, so only
send a copy of your work for assessment,.
The service can take up to 30 days, so do not query delivery until
30 days has elapsed.
ADVICE & DIRECTORY INFORMATION
Send your request preferably by e-mail to the
Advice Service
or the
Directory Information Service
Limerick City, Ireland
In the case of requests for advice, provide all the details plus
photocopies of any relevant documents/ contracts etc., in the first
letter. In the case of directory information, state clearly which act,
record label, publisher or manager you wish to contact.
WE ARE ON THE INTERNET
We have had our own site on the Web since 1997. The current
site is at http://www.songwriter.co.uk and comprises a news
page, song contest deadlines, articles and interviews, links to other
sites, plus a detailed description of the publications and the
readers' services. This page can also be found on our website at
http://www.songwriter.co.uk/page100.html
For details of the ISA Member’s Site, see your Member’s Pack.
GUARANTEE
Anything which International Songwriters Association Ltd
supplies, is guaranteed, or your money is refunded without
question. In the case of subscriptions, your last subscription period
(whether that be quarterly or half-rearly depending on how you
choose to pay), is refunded in full without question.
This has been our policy since 1967.
Please Keep This Page In A Prominent Position In Your Studio; Request A Replacement If Lost • A Copy Of This Information Appears In Every
Issue Of Songwriter Magazine • This Page Can Also Be Found On Our Website at http://www.songwriter.co.uk/page100.html

ISA Contributing Editor Larry Wayne Clark Dies

Transcription

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