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The Muse's News |
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Issue 2.1 - April 1999
ISSN 1480-6975
[ Back to The Muse's News Index ] [ Home ] =================================================================
I n T h i s I s s u e :
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@-- Editor's Musings
@-- Q&A with Nancy A. Reece from Carpe Diem Copyright Management
@-- Music Reviews - by Ben Ohmart
@-- Featured Article - Strategies for Success by Sara Light.
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Producer in Profile: George Martin (does he really need an
introduction??)
@-- Muse's Clues - Songwriting Web sites that inspire - brought
to you by Jeff Mallett of Lyricist.com.
@-- On Site Featured Article - An article already online for your
viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
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ISSN 1480-6975. Copyright 1998 - Jodi Krangle. For more contact
information, see end of issue.
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This ezine featured at EzineCenter.com - the Ezine Search
Engine(tm) - http://www.ezinecenter.com/
=================================================================
Sponsored in part by Samurai Consulting.
To set up a mailing list or for UNIX consulting, please contact
Bryan Fullerton (Owner) at bryanf@samurai.com, or see their
website at http://www.samurai.com/ .
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Also sponsored by:
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INTERNATIONAL SONGWRITING COMPETITION ANNOUNCEMENT
The USA Songwriting Competition in association with Billboard
Publications, Fender Musical Instruments, Digitech, Mackie,
D'Addario Strings, Cakewalk Music Software, Rane, Presonus,
Quantegy, Superdups, Line6, Audix, ASN and Musician's Friend has
announced the launch of this world's leading international
songwriting event.
Contact: http://www.songwriting.net ~ info@songwriting.net
---------------------------------------------------
PARTICIPATE IN 2nd MUSICDISH INDUSTRY SURVEY
RESPOND & WIN a "must-need" marketing book for any music industry
professionals. This music survey primarily focuses on the
promotion/marketing methods used by members of the music
industry. Participants will be entered into a drawing
for a signed copy of "Hidden Keys To Making And Promoting Your
Music Revealed" by Tonya Rae. http://www.musicdish.com/survey/
----------------------------------------------------
Please visit The Muse's News sponsors as they help to make this
publication possible. Thank you!
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E d i t o r ' s M u s i n g s :
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Well. It's been another eventful (and fun!) month over here at
The Muse's Muse. Welcome to another issue of the newsletter!
Tommy Merry has been having a hard time of it lately (I hope
you'll all join me in sending good wishes his way) so Jeff
Mallett has taken on the Muse's Clues section for a while. I
think, once you read his first installment, you'll all agree he's
doing a *great* job. Thanks, Jeff! Also, Ben Ohmart now has his
own Music Reviews section on The Muse's Muse website. More
details on that can be found beneath this month's music review.
If you have an independently produced CD or tape that you'd like
reviewed, Ben is definitely the guy to talk to.
In other exciting news, next month's "Songwriter In Profile"
interview will be with Brad Roberts of the Crash Test Dummies.
So if you're a CTD fan, stay tuned! Brad was a great interview
(and has quite a sense of humour!) and I'm sure you'll enjoy the
read.
Steve Gillette's' SONGWRITING & THE CREATIVE PROCESS was our book
give-away for this month. A review of the book can be read at
http://www.musesmuse.com/1.9-December98.html#book in case you
missed it when it was first published in The Muse's News. Steve
also has selections from the book on his web site if you're
interested in getting a taste. You can find that at
http://www.sover.net/~gillette/songwork.html . He's called it
the "Internet and the Songwriter's Tutorial Site" and it's
wonderful! Not a substitute for owning the book, but quite a nice
sense of what it has to offer.
The lucky winner of Steve's book this month is Sandra Atkinson
who describes herself as "an aspiring songwriter hoping to get my
feet wet in the music business industry very soon."
Congratulations, Sandra!
Next month's book give-away will be Pat Pattison's WRITING BETTER
LYRICS. A review can be found by viewing an earlier edition of
The Muse's News at
http://www.musesmuse.com/1.7-October98.html#book and trust me
when I say this book is a lyricists *dream* come true. Pat
really know what he's talking about.
Incidentally, if you have a book review you'd like to have
published in The Muse's News, you can contact me at
editor@musesmuse.com. I'll be happy to talk with you
about it.
A couple of things I'd like to ask you before I "release" you to
read the rest of the issue ;) - First off, if you see any reviews
of The Muse's Muse or its newsletter in any print or online
publications, please e-mail me at editor@musesmuse.com and let me
know about it. I'd really appreciate that. Often, I don't hear
about these things unless someone tells me. Thanks in advance!
Secondly, if you know of anyone that you feel would make a great
regular columnist for The Muse's Muse, please let me know! I'm
looking for columnists and people to do Q&A's on any number of
subjects that would be of interest to songwriters and who better
to ask than you guys? So if you have ideas, I hope you'll
contact me.
And that's it, folks. I won't hold you back any longer. :)
Enjoy!
--Jodi
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C O P Y R I G H T & P U B L I S H I N G Q & A :
with Nancy A. Reece of Carpe Diem Copyright Management
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Question:
I'm writing a book about a well known band in it can I use E mail
letters sent to me and mailing lists ? Do I need permission from
the people who sent the E mail ?
--Laura
Answer:
Hello Laura. There may be some first amendment issues here that
are outside of my advisement reach. Please seek competent legal
advice in your area on this matter.
Does this 'well known band' know you are writing a book about
them? Is this more of a news piece or is it educational or for
profit? I would tread lightly. There are provisions for persons
considered celebrity for the use of their image etc. however,
there are rights of publicity issues and liable ground mines that
could make what you are doing treacherous without proper
representation to clear the way.
Your question directly relates however, to private E-mail and it
would be important to find out the rules of privacy concerning
your State or Province as well as that of the one from where the
letter was sent. There is a certain 'reasonable assumption' that
the E-mail sent privately is private. Comments made on mailing
lists are assumed to have been made only to those subscribing to
the list, however, those posted in public domain such as on a web
site may be the property of the owner of that web site and should
not be used with out proper permission.
I'd play it safe and get permission in writing for all parties.
With that, you should be able to maneuver well through the land
mines.
*****
Carpe Diem's owner and president, Nancy A. Reece has been
involved in the music business since 1983. She was the president
of an independent advertising agency for eight years as well as a
successful personal artist manager for nine years. She
represented the careers of several recording artists and
songwriters including those with EMI, Zomba and Liberty Records
as well as Benson, Starsong, WoodBridge, Temple Hall and N'Soul
Records. She also represented, for a number of years, a Grammy
and Dove nominated record producer. Reece has won awards of
excellence in print magazine advertising and has been named as
one of 2,000 Notable American Women (1995) as well as being
listed in the International Who's Who of Professional and
Business Women (1993). She was also named Cashbox Magazine's
Promoter of the Year (1989).
If you would like to ask Nancy a copyright or publishing question
for our continuing Q&A section, please send your e-mail to
editor@musesmuse.com. We can't guarantee we'll get to all of the
questions, but we'll certainly try.
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M U S I C R E V I E W S : by Ben Ohmart
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BILLY DECHAND - Pop Another Cork
Let me tell you about Billy's little 27 minute cd. THESE ARE DAMN
CATCHY SONGS. 'The Last Time' starts it off. My ear was hooked
into 'the very last time / like the 2nd last time / like the 3rd
last time', both words and music. Interesting this should be
called a solo album since the vocals are what works Very much for
me. Beautiful backing arrangements. Especially on 'Calling'
nearly a homemade Queen/Brian May ballad. Overdubs? Groovy.
'So Many Reasons' however does remind me of Sting's Police years.
A rich darkness that will set your sun. Clear vocals and bass
twirling like a baton in a nervous girl's hand. Great stifled
guitar work that threatens to explode, but holds back, hanging
on, at the last moment.
Title track 'Pop Another Cork' is - well - rocking jazz/lite
blues? It's a fun song, helped on by the youth-like excitement of
the vocals. Like an 8 year old looking at his zit face in the
mirror, singing aloud, like in a musical, about how he sees life.
Well, that's what the sound of the voice tells me. Since the
lyrics are about popping corks and toasting 'those below', I'd
say it's an adult song. But I can dream, right?
This album seems like a teaser. The band is asking - what do you
think of us? Should we pump the money into recording and pitching
a full length cd? I say yes. They produce the flaky, fun kinda
songs that don't get to live on every FM station. That alone is
reason enough that they should be allowed to be stars.
CONTACT INFO:
481 Wythe Avenue, Brooklyn, NY 11211
http://mussmyhair.hypermart.net
******
Ben Ohmart has had 100s of stories and poems in zines and
journals, and had 4 plays produced last year. His lyrics will be
on 2 CDs this year, 1 a gothic album, the other a rock album.
He's currently writing films, with hopes of having one done in
Malaysia soon, and is also trying to break into the prison of
television. He's white, 26, single and loves British comedy. He
lives in Boalsburg, PA, and enjoys watching rabbits eat his
garbage. Contact him at: findline@mindspring.com .
**Ben has kindly consented to do music reviews for this
publication and also for The Muse's Muse itself. If you have an
independently released CD or tape that you'd like to get
reviewed, send it off to: Ben Ohmart, P O Box 750, Boalsburg, PA
16827 or drop by his Music Reviews web section at
http://www.musesmuse.com/musicreviews.html for more details.**
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F e a t u r e d A r t i c l e :
STRATEGIES FOR SUCCESS by Sara Light
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Having been Membership Director of the Nashville Songwriters
Association International (NSAI) from 1992-1996 gives me a unique
perspective as I look at my own efforts in becoming a full-time
staff writer. Over the four years I worked with, talked to and
counseled NSAI members, I began to recognize certain similarities
between those songwriters who continually realized their goals
and those who didn’t. In this article I want to share some of the
strategies that have worked for me and seem to be common among
other songwriter friends of mine who are new staff writers.
Find your team.
From the day we make the decision to pursue our dream of becoming
a professional songwriter, we’re beginning a long and often
frustrating journey. Like Dorothy on her way to Oz, we need help
reaching our destination. At first, our family and friends may be
the ones to give us the emotional support we need to keep going.
Eventually, however, we must expand our team of supporters to
include industry professionals who can keep us moving in the
right direction. Performing Rights Organization representatives
(ASCAP, BMI, SESAC, and SOCAN), publishers, professional
songwriters, producers and even major label recording artists,
all may eventually become part of our team - but this takes time.
By continually improving our songwriting craft and expanding our
knowledge of the industry we let our potential team know that
we’re serious and motivated. By having the patience to form
honest relationships and showing appreciation when someone helps
us, we earn the trust and respect that we need to add members to
our team little by little. Luckily, we don’t need everybody in
town to like our songs, but we do need a strong team who does.
Stay focussed.
Most of the songwriters I’ve met actually begin with some kind of
plan. For some, it is to take frequent trips from their hometown
to LA, NY, or Nashville in order to write and establish
relationships. For others, it is to move to one of these cities
and find an alternate means of income until the ship carrying
their hit song comes in. But the plan can’t end there. Even if
we’re living in a major music center, it’s easy to get
sidetracked or discouraged if things aren’t happening as quickly
as we might have hoped. Organization and goal setting are key
ingredients to persevering and moving forward on our journey.
Several years ago, I began (and still continue) a ritual of
having weekly goal setting meetings. Every week I list my
"successes" for the week, no matter how insignificant they seem.
I also list the phone calls and appointments I need to make and
my songwriting goals for the week. I keep track of long range
goals for three months, six months and a year away. Over the
years some of the ideas that have come out of those meetings are:
I will take guitar lessons; I will host a show at the Bluebird
Café; I will meet with five publisher(s) this month; I will write
everyday; I will save enough money to demo ten songs this year; I
will get a major artist cut. Only when I began to really focus on
each little goal did I find new doors opening to me.
Take chances.
I’ve heard it said that it’s better to take a risk and fail, then
fail to take a risk. In an industry as competitive as this one,
we can not afford to let our fears of failure hold us back.
Challenge yourself. To "take a chance" means something different
for everyone. We all have different strengths and weaknesses and
different "comfort zones." What might feel like a risk to one
person, might be a piece of cake to another. For example, I get
very nervous when I have to talk on the phone about anything
relating to my own career, even to people I know well. Over the
years I’ve had to force myself to make business phone calls every
day. You’re the only one who knows what’s scary to you. As my
favorite T-shirt says, "you miss 100% of the shots you don’t
take." So keep in mind that if you’re not writing a song today,
someone else is. If you’re not calling a certain publisher,
someone else is. If you’re not booking a gig - well, you get the
point. If we never step outside of what feels comfortable to us
and risk rejection or failure, we can’t learn the skills we need
to succeed (namely to accept rejection and failure and keep going
in spite of it).
You’ve already taken a huge step, just by allowing yourself to
pursue your dream. It’s not an easy thing to do, but don’t let
yourself give up too easily. Have no fear!
You can do it!
--Sara
******
Sara Light is a professional songwriter who holds a Master's
degree from Rutgers University in English Education. While living
in NJ, she was an instructor at Rutgers University and studied
lyric writing with Sheila Davis from 1989 to 1992. After moving
to Nashville to pursue songwriting, she served as the Nashville
Songwriter's Association International (NSAI) membership director
until 1996. She has been a guest lecturer at several NSAI
regional workshops, the Nashville NSAI Workshop Pro-Teaching
series and Belmont University. She has served as a judge in
several national songwriting contests and her popular class on
lyric writing has a waiting list. She is currently a faculty
member at Vanderbilt University and a full-time staff songwriter
for Zamalama Music. She has had several independent artists
recording her songs and currently has a cut on John Michael
Montgomery’s upcoming CD.
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M u s i c a l N o t e s : Songwriting Contests & Market Info.
In the interest of conserving space, I will only be including
changes to this listing in this newsletter. All other contests
and market information that have already been listed here, are
displayed at http://www.musesmuse.com/contests.html &
http://www.musesmuse.com/markets.html . Please check there
regularly for updates!
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CREATION: CRAFT: CONNECTION
This is the theme of the Northern California Songwriters
Association's 19th Annual Songwriters Conference, happening, as
usual, on the second weekend of September - Saturday/Sunday,
September 11 & 12, 1999, at Foothill College in Los Altos, CA (40
miles south of San Francisco). For more information, see:
http://www.musesmuse.com/markets.html
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SEMINARS FOR SONGWRITERS:
Jai Josefs, songwriter/producer, and author of the Diane
Warren-endorsed Writing Music for Hit Songs will be giving a
series of seminars around the country over the next few months.
Learn why hit writers have said "Jai's seminars can open the door
to the knowledge needed to create great songs."
Here is his schedule and who to call for info:
Thursday April 22nd - Nashville - NSAI - (615)256-3354
Saturday April 24th - Virginia - Greg Trafidlo - (540)586-5000
Sunday April 25th - Charlotte -Doak Turner - (704)-896-7234
Saturday May 15th - San Diego - Liz Axford - (619)481-5650
Saturday June 26 - San Francisco - NCSA - (650)654-3966
He will also be teaching an 8-week class on groove and melody
writing in Los Angeles on Thursday nights beginning May 6th. Call
NAS (323)463-7178 for details.
(Jai Josefs will be a guest at the Songwriting Lounge
(http://www.musesmuse.com/songdisc.html) on April 5th!)
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GOODNIGHT KISS MUSIC (BMI) / SCENE STEALER MUSIC (ASCAP)
We are an active publishing company with specific needs (right
now a certain type of Christmas song.) Please check our website
to see EXACTLY what we are looking for. (Writers Area , "daily
updates".) Our current credits are posted there as well. PLEASE
NOTE! We only accept the EXACT thing we ask for, not blanket
submissions. http://www.goodnightkiss.com
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THE ROSE GARDEN COFFEEHOUSE in Mansfield, MA, will be accepting
entries until April 15, 1999, for its 7th Annual Performing
Songwriter competion. Three finalists will be selected to perform
their two songs live before Dave Mallett's feature performance at
the Rose Garden on May 15. An all-star panel of judges will
select a winner by the end of the evening. Complete details,
entry form, and rules appear on the Rose Garden website:
http://home.ici.net/~rsgarden.
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OSMC SONG CONTEST:
The Songwriters' Drive-In is setting up this cool Song Contest
just to help to promote the fine art of Songwriting. No entry fee
and you get an evaluation of your work. See how your song is
rated among other participants. At the OSMC Song Contest our
judges will give you a feedback on your demo. The only goal of
this contest is to give an economic way to amateur artist to
prepare for major Song Contest and educate and develop the
talents of those interested in the art and business of song
writing.
One Song a Month Contest (OSMC) Opens April 1st 1999 (No entry
fee) Check the rules and register now!
http://www3.sympatico.ca/charles.crepeau/OSMCrule.html
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NEW SONGWRITING CONTEST:
SongRider Studios, a music provider for major recording
companies, has begun its quest to cluster good songwriters by
sponsoring a new and unique songwriting contest for 1999. Four
winners are chosen for every 64 song entries throughout the year
in this ongoing tournament. First place wins $440 and a free
track on our CD sampler, second place wins $120, third and
fourth place win $40.
You can enter by sending in your cassette or CD with the lyrics
and your return snail and e-mail addresses with $20 to SongRider
Studios, Lakeside Village, 8250 E. Golf Links #118, Tucson,
Arizona 85730-1246. For other details regarding copyright, the
methods of selection, recording contracts, the lists of entries
and winners, click onto our website at
http://www.angelfire.com/biz2/songwritingcontest/index.html
For any questions, e-mail us at SongRider8@webtv.net
We look forward to listening to your songs.
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DO YOU HAVE A NOT-FOR-PROFIT CAUSE YOU'D LIKE TO RAISE AWARENESS
& FUNDS FOR?
I have been observing all of you for some time and very much
appreciate how you all come together in supporting one another in
times of need. As some of you may know, my husband’s first
major experience after being signed as a young recording artist
to Apple Records by George Harrison was the Concert for
Bangladesh. This made a profound impact on him as to how
powerful music can be in helping people. After recording on
Apple Records, CBS Records and A&M and then experiencing the
death of John Lennon, he founded Imagine A Better World fourteen
years ago with the intention of producing music for a better
world to raise funds and awareness for non-profit causes. As
1999 unfolds, we open our ears and our hearts to causes that
could use the help of a non-profit fund raising recording during
the coming year. We provide these CDs with no up front costs to
the non-profit organization and we have been fortunate to be able
to help some wonderful causes with our productions. For more
information on who we are, please visit
http://www.imagineabetterworld.com.
I would like to invite any of you individually and/or all of you
as a collective group to contact us if you have a non-profit
cause that you would like us to consider. Tel. 303-799-0070 or
Cvaneaton@imagineabetterworld.com.
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THE GREAT AMERICAN SONG CONTEST
Songwriters Resource Network (SRN) has announced that it will
sponsor an innovative new competition for songwriters and
lyricists everywhere THE GREAT AMERICAN SONG CONTEST. To find
out what kind of a contest songwriters wanted, Cahill explained,
SRN surveyed songwriters from around the country. Most said they
wanted a chance to "open doors" in the music business and have
their songs heard by music-industry professionals. THE GREAT
AMERICAN SONG CONTEST offers a range of Style Categories for
every kind of songwriter, including a special Lyrics Only
category. Winners receive cash awards and valuable prizes. Entry
fees are between $8 - $10 per entry. · ALL entries are reviewed
by qualified music-industry professionals. · ALL participating
songwriters will receive critiques of their work. · ALL
categories offer multiple award winners, not just one.
For further information visit SONGWRITERS RESOURCE NETWORK - * *
News & Information for Songwriters * * http://www.songpro.com.
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SCALA FOOM 6 -
SCALA FESTIVAL OF ORIGINAL MUSIC
SONG COMPETITION & CD RELEASE 1999
Details of the SCALA (Songwriters, Composers And Lyricists
Association) 1999 Song Competition are now available at:
http://www.senet.com.au/~scala/frules.htm . Closing date is 11th
June 1999.
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THE 1999 JOHN LENNON SONGWRITING CONTEST IS NOW ACCEPTING ENTRIES
We are now accepting entries for the 1999 John Lennon Songwriting
Contest. The new application has been completed and can be
obtained by clicking here. Please email us at info@jlsc.com if
you have any questions regarding how to successfully enter the
Contest. Remember that all entries must be postmarked by August
31, 1999 in order to be eligible.
Results of the 1998 Contest can be obtained at
http://www.jlsc.com/winner.html. We would like to thank each and
every songwriter that entered and congratulate the winners. Also
deserving of thanks are the members of Executive Committee whose
participation in the adjudication process made the Contest
possible.
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P r o d u c e r I n P r o f i l e : George Martin
This month's profile was contributed by Steven Jay Zuckerman, the
fellow responsible for that wonderful New York Music & Internet
Expo that just recently took place on the first weekend in March.
(Thanks Steve!)
Credits:
George Martin interviewed by Steven J. Zuckerman and Ken
Michaels.
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George Martin has produced the Beatles, America, Jeff Beck, The
Mahavishnu Orchestra and even Peter Sellers' comedy records.
He's considered a "producer's producer." Not only does he get
the best out of the artists he works with, he’s humble too.
Maybe it comes from confidence, having the knowledge of the
instruments of the orchestra, how they work both individually as
well as together. But with confidence comes conviction. The
sheer and utter faith in one's ability to shape sound. In this
brief yet informative conversation, we spoke with George from his
home in England, where he assured us that a great recording
should always start with a great song, and that despite the
unfortunate situations of our creative industries being taken
over by marketing companies and non-creative corporate
conglomerates, a great song will last forever.
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* Q *: Do you think that it is essential to have a full musical
background as you do in order to become an effective record
producer or is the talent of producing good records something
which is a little more instinctive or acquired?
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First of all, I've never really experienced dealing with people
who don't have a musical education. But having said that, there
are some very successful record producers who just are not great
musicians. But I think that it is an enormous help to be a
musician and to know what the guys in the studio have to do, to
have some experience in knowing what they go through. It is
definitely an asset to know the terrors and the difficulties that
a musician goes through so you can understand how to handle them.
I think there are so many facets to being a record producer that
are important. It is like teaching in a way. I started out as a
musician and I got involved in the recording business by chance.
I really wanted to write music for films. Orchestrating music was
very important to me. In regards to the studio business, I did
realize that I had the ability to get the best out of people
and making them better if I hadn't known them. I think that a
producer has to look inside the person and say "what is there
that I need to get out of them and how do I get them to release
it?" You got to get inside the person. Each artist is very
different. There is a lot of psychology in it. I learned that
diplomacy and tact were important when I really didn't have
those attributes and made a few mistakes. Then the ability to
shape music and know what will appeal so you can take a bit of
raw material and shape it knowing that it is good the way it
already is, however it could be better if we did something with
it.
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* Q * You used the words 'what if' which I find are very
important to the creative process. These are wonderful
experimental and creative words.
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Yes. You see, that is one of the problems today. I think the
problems facing a young musician and young producer today are
enormous. I have a son who is in his 20's who is a tremendous
help to me and a wonderful musician and producer, but it is much
tougher for him than when I started because when I started in
England there really weren’t more than a handful of actual
producers, and now everyone thinks that they’re a producer. You
didn't have to be that great to do well then! And now the
opposition is greater. Technology has been getting more
sophisticated and clever and more complicated with each day that
goes by instead of years, and it is quite mind-boggling what you
can do with it.. It's a far cry from where I started when you had
to do everything by the seat of your pants and some rubber bands,
mast tape and sealing wax. Now everything is right in front of
you and available for a price and because of that, it is really
easy, given the tools, to produce first class sounds, and you can
make a tune that really isn't that great sound wonderful, in a
back room. This stifles creativity because you don't have to
work for it, it's already there! When you’re hungry and you have
to work hard for something, you can be more creative than when
something is handed to you on a plate. Technology has helped
music and creation, but we shouldn't abuse technology.
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* Q * You have always had a knack of developing talent that will
last forever.
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The record industry is very different today. The people who
actually run the record companies today don't make records. They
are marketers. They take the product off the street while the
producers are finding the talent. It's rather like comparing it
to Hollywood when you had great studios and talent and now you
have nothing more than finance companies organizing and buying
independent films and projects. I guess I was lucky in a way
because timing is everything and I came into the business at a
very important time when the recording changes were coming out of
mechanical into the electrical into electronic and Stereo was
coming in and people were getting sophisticated in their
thinking, but it wasn't too sophisticated. When people say to me
"I can't believe that you made that record on a four track" I say
that it was an advantage because having the constraints that you
had, you had to work through it, you had to work harder, you had
to think more to get the effects you wanted. I feel that having
the constraints really helped me in many ways.
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* Q * Considering your background working with some very
important performing artists, do you listen to contemporary music
differently today than you would have years ago?
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It is harder to judge when you've been around a lot longer. You
have to accept that your standards might not be the same
standards working today. I don't understand or like a lot of what
I hear today. A lot of what I hear doesn't have what a good
record should have, a good tune and a good lyric. A lot of what I
hear has good production, but it doesn't have the basics.
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* Q * Of all the records you've made, is there one that is your
absolute favorite?
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I've been so lucky to work with so many good artists. Being a
producer with EMI at first gave me a very good in with people,
but of all those marvelous people, of course the Beatles had to
be head and shoulders over everyone else, not just because they
were good characters, but they were great songwriters. My wife
and I talk about it often. Elvis was great, but he didn’t write
his own songs. The Beatles did. I think the people who create
the songs are very important people.
-----------------------------------------------------------------
* Q * So getting to the Beatles, looking at your musical
training, do you think you would not have been able to make
"Elenor Rigby" the way you did?
-----------------------------------------------------------------
Well, two aspects of that. The production and the scoring are two
separate things. But my role model for that was Bernard Hermann
who did the scores for Alfred Hitchcock. He was a great film
scoria. I got the idea for the jagged strings from, I think,
Fahrenheit 451. And it was very, very effective. Also the
harmonies that Paul gave me gave me a bit of Benjamin Britten.
-----------------------------------------------------------------
* Q * As someone who has been so versatile in so many styles of
music, from rock and roll to jazz to show music, is there any
project you haven't done which you would like to do some time in
the future?
-----------------------------------------------------------------
I don't think that I can really look too far into the future. I
think that one of my vices is that I've been interested in too
many things instead of concentrating on just one. I'm sort of a
butterfly at that. I liked working with Stan Getz enormously.
Blow By Blow by Jeff Beck was wonderful. He was one of the most
wonderful guitar players I've ever worked with. John McLaughlin
of the Mahavishnu Orchestra was wonderful too. I used to do a lot
of old Dixie Stuff. The first number one single I had was with a
group called the Temperent Seven. And that was intriguing. I've
worked with lots of actors which I found interesting. I don't
think that I'm going to be doing a great deal more because I
don't think I’m as good now as I used to be. Maybe it's time to
quit before it’s too late....
-----------------------------------------------------------------
* Q * Well the artists that you have worked with share a common
denominator of having a great passion for great melody. A lot of
the music coming out now doesn't seem to have that same passion.
Is there something that you could say to the music industry today
to wake them up?
-----------------------------------------------------------------
I think that learning how to make change in anything is
important, whether you make cars or records. You will find that a
person will be doing a better job when they learn their craft
before they attempt to work at it, and don't bullshit people.
Don't pretend you know something prior to doing it. Have
confidence. You have to have confidence or people will walk all
over you. I am delighted with the success of the Gershwin
records set.
-----------------------------------------------------------------
* Q * Here in America there are so many different formats of
radio and of music and I feel that by having these pidgeon-holed
formats, it takes the creativity away from the artist.
-----------------------------------------------------------------
It is pretty horrific that with the format of radio today, that
if you have a band with a certain style, it just doesn't get
played. If you don't fit in, you don't get played. For the
creative point of view, it does get you to channel what you want
to do. I've never done that. I've always made different records
from rock to spoken word and it's all music and it makes life
interesting doing more than one thing. I would be bored stiff if
I made records in only one format. The old mix and match is
gone. You have to listen to a specific category. And that's not
very good. But you have to do what you do and maybe the people
will like it. I think that the key things are the artist and the
song. The producer is important in getting it right when the raw
material is right. The most important person is the songwriter.
And the second most important person is the artist who performs
it and way down the line is the producer.
-----------------------------------------------------------------
* Q * But you have a tremendous ability of getting the best out
of people. And in the case like the The Beatles I find it
difficult to imagine what a song like "Strawberry Fields Forever"
would have sounded like without you as the producer?
-----------------------------------------------------------------
It was a great song and it would have been a great record.
******
Steven J. Zuckerman is an executive producer of music and
entertainment events focusing on helping artists promote
themselves while maintaining creative control. He has helped
hundreds of nationally recognized performing artists secure press
and radio prior to their fame. Some of these artists include Bon
Jovi, Meat Loaf, Foreigner, Bryan Adams and INXS....Most of the
artists he has worked with are still successful. He is also a
producer of music television programs and creative director of
numerous projects.
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=================================================================
M u s e ' s C l u e s : Web Site Reviews by Jeff Mallett
-----------------------------------------------------------------
I just finished watching the movie "Antz" on video tonight. The
film finishes with that optimistic tune, "High Hopes", which
still brings back a flood of youthful memories ...of watching
"Laverne & Shirley" on T.V. Okay, okay, so I wasn't yet born when
Sinatra's rendition won an Oscar. In any case, this was Doris
Day's version and I am more interested in who wrote it.
Where do you go when you want to hunt for more information about
a song? One good place to start is on the sites of the big U.S.
performance rights organizations. They have online search
engines that work very similarly, down to the total disclaimer of
any responsibility for damages the data may cause!
Our first stop (sound of coin flipping here) is ASCAP:
http://www.ascap.com/ace/ACE.html
ASCAP created a dial-up database called ACE in 1993. It is now
maintained with weekly updates on the web. You can search by
title, writer, performer, or publisher. I'll search by title and
check the performer and writer(s) checkboxes to see that
information in the results. *click* Wow! Look at all these
titles. I don't see Doris Day listed as a performer anywhere,
but did you know that Sammy Hagar (Van Halen) also wrote a song
called "High Hopes"?
The next stop would be BMI:
http://www.bmi.com/repertoire/database.html
Their "hyperrepertoire" database has millions (literally) of
songs licensed by BMI searchable in the same four categories.
Check all the boxes and...*click* Wow! Again, no Doris Day, but
did you know that David Gilmour (Pink Floyd) also wrote a song
called "High Hopes"?
Our journey might continue on to the SESAC Repository Online
(SRO): http://www.sesac.com/repertory1.htm
but then again, maybe I should just put in the video again and
watch the credits!
--Jeff Mallett
******
Jeff Mallett is the man behind LYRICIST.COM, an extensive, "no
ads" website devoted to helping songwriters find and learn what
they need to know about songwriting. Jeff writes, plays, and
sings his songs from the bay area of California.
http://www.lyricist.com
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===============================================================
" O N S I T E " F E A T U R E D A R T I C L E :
NATIONAL DISTRIBUTION by Kenny Love
http://www.musesmuse.com/kenny4.html
Get national sales without a distributor. Also addresses
Internet sales and distribution.
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=================================================================
C l a s s i f i e d s & U s e f u l S e r v i c e s :
-----------------------------------------------------------------
HART SEEKS RODGERS
BMI-member lyricist with two completed scripts seeks
Broadway-style composer to make them sing. Or let's do a new
show. allroypro@aol.com
-----------------------------------------------------------------
ATTENTION BANDS & SINGER-SONGWRITERS:
I am currently booking acts here in new orleans send press kit to
Chip Waguespack @ Monarch Productions 6138 Stratford Pl Nola
70131. E-mail at monarchp@bellsouth.net.
-----------------------------------------------------------------
RECORDING ARTIST VERNA CHARLTON
Canadian Country recording artist Verna Charlton has had five
albums, 15 single releases, and three top ten Canadian hits.
Looking for strong country and trad/bluegrass material for
upcoming recording projects. Details at
http://members.tripod.com/~musicmart/index.html
musicMART: musicmart@sprint.ca
-----------------------------------------------------------------
LOOKING FOR GROUPS & SONGS
Lulu Records is currently looking for one or two good groups to
add to it's label. We are interested in rockabilly, swing, and
retro 50's and 60's sounding bands. We are also looking for
original songs in these styles. Contact Paul Barry at
lulurec@execpc.com ~ http://www.execpc.com/~lulurec/index.htm
=================================================================
CLASSIFIED RATES: US$2/line/issue. Min. 2 lines, max. 10 lines,
where a line = 65 characters including spaces and punctuation.
All contracts must be prepaid. Write to: editor@musesmuse.com
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=================================================================
C o n t a c t I n f o & C r e d i t s :
-----------------------------------------------------------------
Jodi Krangle editor@musesmuse.com..................... EDITOR
Kathryn Obenshain kobensha@runet.edu.....GRACIOUS PROOFREADER
Bryan Fullerton bryanf@samurai.com.......SYSTEM ADMINISTRATOR
-----------------------------------------------------------------
The Muse's News is a free monthly newsletter for and about
songwriters. Subscribers are welcome to recirculate or reprint
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credit is given and the ENTIRE text of the newsletter is
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All articles copyrighted by their authors.
Back issues and other information will be available at:
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The Muse's News is part of The Muse's Muse, a web resource for
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For further information, send your e-mail to:
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The Muse's News.
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