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The Muse's News

Issue 3.2 - May 2000
ISSN 1480-6975

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I n   T h i s   I s s u e :

@-- Editor's Musings
@-- Q&A with Nancy A. Reece from Carpe Diem Copyright Management
@-- Music Reviews - by Ben Ohmart
@-- Songwriting Book Review - by Jodi Krangle
@-- Featured Article - A MUSE ZING by Danny McBride
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - by Irene Jackson
@-- Songwriter In Spotlight - UK Singer/Songwriter, Shann Lee Parker
@-- On Site Featured Article - An article already online for your
    viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
ISSN 1480-6975.  Copyright 1998 - Jodi Krangle.  For more contact
information, see end of issue.
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E d i t o r ' s   M u s i n g s :

Hi everyone.  Once again, I'm going to keep this musing fairly
short.  There's a fantastic interview with UK Singer/Songwriter,
Shann Lee Parker in this issue that I didn't want to chop up.  She
was a great deal of fun to talk with. :-)  Lots of other updates
have been added to The Muse's Muse throughout the month.  You can
see for more details on
that.  And of course, the columnists are still going strong. if you'd like to see
what they have to offer.

Big news of the month is that Access Magazine, a popular magazine
supplement in many of the major newspapers across the US, did a
review on The Muse's Muse that was quite favourable.  In fact, a
few of you may have subscribed to this newsletter as a result of
that.  Thank you!  Good press is invaluable, of course.  Good press
with national distribution, can't be beat. ;-)  I've seen a few
copies of Access Magazine since the review, and I have to say that
it's an excellent magazine.  Have a look at if you get a chance.

The winner of this month's book give-away, is George ElKoura of
Waterloo, Ontario Canada.  George has won himself a copy of
bands and solo artists by Nyree Belleville. Congratulations!  For a
full review of this book, see below.

And that's everything for now.  I hope you all have a wonderful
May!  What do you think the chances are that the weather might
actually approach being spring-like in Toronto??  Naww...

Take care!

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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 ----------------------------------------------------------------- Q: I'm a singer/songwriter and I am working with a couple of different musicians, separately, writing and singing to music they've already written. One of them is via the internet because we are in two different states. The other is in the same state as I am but won't be soon because I'm moving. I wanted to know if I could copyright my lyrics separately from the song as a whole or if we'd have to copyright the songs together. Also, if we copyright the music and lyrics together, does that mean I won't be able to use the lyrics outside of that project? --CC ------------------ A: It is a good idea to talk about this with your co-writers. It needs to be clear if you are collaborating and if so, what percentages you are willing to agree upon. It should be clear to all participants if you are getting or giving assistance on creating a derivative work of an original already secured under its own copyright. If you co-own the copyright then the registration would indicate that and both of you would have administrative ability, unless you indicated otherwise in writing with each other. ------------------ Q: Hi Nancy. I have really enjoyed your column. It always seems that you answer one of my own questions just when I have them. Now I have a few more though. I'm wondering how much information is necessary in preparing a lead sheet to copyright. Just a melody line, words, and chord symbols? What about an introduction to the song or an instumental that may occur? Include harmonies? What about if the melody of your second verse varies slightly from the first? What if the hook lies in the bass cleff? And what if the song has no lyrics, then what is essential? Anything else that I missed that I should know? Thank you so much, I hope to hear back from you. --Ryan ------------------ A: Lead sheets. Wow, you know I hardly ever see lead sheets anymore. I should refer you to the copyright office web site ( to get a list from them as to the acceptable format. We always send in a recorded version of the work(s). The arrangement is a separate issue from the "underlying work". If you like, you could register the main work and then submit the arrangement's lead sheet as a derivative work to show you have ownership in it as well. --Nancy ---------------------------------------------------------- New Questions & Answers for April 2000 can be found at: ---------------------------------------------------------- ***** 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 She can't guarantee she'll get to all of the questions, but she'll certainly try.** Back to Menu
================================================================= M u s i c R e v i e w s : by Ben Ohmart -----------------------------------------------------------------
Will Makower - Only Human Simple pop songs a bit on the dark side, like Sting in the Police years with guitar and a slower speed lane. 'Falling Into You' might be the most pleasant tune, with thick, interesting backing vocals underlining a few moods. 3 songs, penned by Will, with a jazz underlying theme, complete with sax, sexy female vocals and just enough keyboard programming to keep it updated. A good teaser for things yet to come. --------------- OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE: Make Lisa Rich - Brown 25 Lunar Modular Unit - Burnside Project - Cupid Cramp Music - Jennifer Rade - Jack Saunders - Beth Singer - Ric Sven - Bob Janis - --------------- ****** 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: . **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 for more details.** Back to Menu ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ S p o n s o r M e s s a g e : (Please support the sponsors that support this newsletter! Thanks!) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ STEPMAGAZINE.COM is a publication for the sophisticated and cutting-edge mainstream, focusing on e-music, e-film, e-entertainment, and more. Articles on music on-line, interviews with up and coming and established artists, music and concert reviews. Also offering MP3 and short film postings. Visit us at ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ================================================================= S o n g w r i t i n g B o o k R e v i e w s : by Jodi Krangle BOOKING, PROMOTING & MARKETING YOUR MUSIC: A complete guide for bands and solo artists by Nyree Belleville ( if you have questions) ----------------------------------------------------------------- Nyree has really created something fantastic here. Not only is there tons of information about how to "do it yourself", but there's a large dose of *encouragement* included as well. It's easy to find books that will tell you how horrible the music industry is - how everyone's after a piece of you - how you can lose your integrity in the blink of an eye. It's not so easy to have someone patiently tell you that it's all *worth* it. We're all writing songs for a reason. That reason is generally because we love it, far and above the prospects of possibly "making it". But Nyree's book encourages you to go after your own brand of success - to take matters into your own hands. She has an easy-to-read writing style, and the book itself is cleverly divided and organized so that it's easy to find just the part that interests you most just by flipping through it. She takes you through a Q&A at the very beginning about figuring out what you really want from your career (one of the most useful parts of this book, too! Make sure you take the test!). There's information on how to build up your performance and songwriting skills, venue options, booking yourself concerts, merchandising, building a fan base, promotional tips and even information on how best to take advantage of the internet. She has also patiently recorded a checklist of questions you should ask yourself as your own manager, booking agent, publicist, etc. Roles are clearly defined. Even if you're taking care of all of them at once, these things are still very important to know. There's advice from the pros, and a handy appendix in the back that has a list of useful web sites (unfortunately, The Muse's Muse is not included among them :-)), songwriting organizations, contests and showcases as well as contact information for a whole host of other useful organizations you should know about. As a reference book, BOOKING, PROMOTING & MARKETING YOUR MUSIC is an invaluable resource and I highly recommend it to all of you. As encouragement, it's also invaluable. You CAN do it all if you really want to. It's possible - and nothing can stop you from going after your dreams. This book can help make that dream come true for you. Happy learning! ================================================================= F e a t u r e d A r t i c l e : A MUSE ZING by Danny McBride
© 2000, Danny McBride. All Rights Reserved. Used By Permission. ----------------------------------------------------------------- I haven't written a song all week. In fact I haven't written more than a couple of lyric lines all month, and THEY won't be working together in the same song. Well, I do have to confess that I did find two unique chords that sound good together when I dropped my guitar, but that's about it. The first chord was an attempt to catch the guitar before it hit the floor, and the second chord was when it actually DID hit the floor. I've been trying to re-create them all day with the guitar in my lap, but I can't seem to get the fingering. (Martin lovers, do not fret (sorry)...It was my Tele...I once knew a guy whose apartment building caught fire and he saved his Tele by throwing it out of the third story window. When he got down to the street, it was lying on the sidewalk, still in tune.) So why haven't I been able to create anything of note (sorry again) all month? Because I have been overwhelmed with songwriting help. I made the mistake of going to the library and getting one of those "helpful" songwriting books. After I read it- -many days later- -I had to go and get all the other publications listed at the back of the book. And, of course, click on all of the web sites, and read them, and subscribe to more stuff, and read that, and now I'm so inundated with help, I can't seem to write anything. I'll get over it, as soon as I can get some of the "help" out of my head: "The Key of E and You"..."Write What You Know Even If You Don't Know Anything"..."Words and Lyrics- -How To Tell Them Apart"...and my personal favorite..."Hooks, Lines, and Clinkers- -How To Know If Your Writing Really Sucks As Bad As You Think It Does". Now, more than any time in the past, there is so much "help" for songwriters. If you read it all, you'll never have time to do any writing. In fact, stop reading this right now, and go try something out...I'll wait. Good. How was it? See, there's lots of formulaic suggestions- -come up with a title that's catchy, then write the song- -that if you follow too many of these suggestions, what you write may be very well crafted, but won't necessarily be anything your friends and family begin humming around the house. And that's when you know you REALLY have something...when the people around you that hear your "work in progress" started humming or whistling or singing unconsciously that very ditty you've been slaving over. This is a key (sorry) factor ESPECIALLY if they are not musicians or songwriters. When civilians start singing or remembering fragments of what you're working on, you know you've hit (sorry) on something. Remember the most important axiom in show business: Nobody Knows Nothing. If they did, why would so much dreck see the light of day, not just in music, but in film, television- -you name it. We all have a long list of "stuff we can't believe got financial backing and got made and released"....How long is YOUR list? Stick to your gut feelings and and don't get too bogged down in what other people think you ought to be writing. Only YOU write what you write (one would hope). Take all the suggestions you can, and then throw out what isn't you. And remember this other show business axiom: Never Form A Trio With A Married Couple. ****** Danny McBride is a singer/songwriter/musician who will be appearing at NEMO in Boston April 14, 2000, at COPPERFIELD'S DOWN UNDER in Kenmore Square at 9:00 PM, with his great new band. Visit to learn more. Danny has played guitar with dozens of well known acts such as ShaNaNa, including the TV series and movie GREASE, as well as Freddy Fender, Mary Wells, Chuck Berry, Delaney and Bonnie, Bo Diddley, Conway Twitty, Roger Miller, Bobby Day, and many, many more. Visit him at Danny's C D "16 TUNES...and whaddaya get...A Songwriter's Portfolio" is available from and other music sites. He lives in Los Angeles. Visit The Boston Rock & Roll Museum at (Danny is originally from Boston.) Back to Menu ================================================================= 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 & . Please check there regularly for updates! ----------------------------------------------------------------- SONGSCOPE.COM OFFERS INDUSTRY EXPOSURE TO SONGWRITERS WORLDWIDE Despite the huge growth of the internet, it has always been difficult for songwriters and independent musicians to get themselves heard by industry professionals. offers a service that will change all that. was created by industry professionals in need of fresh, new material that was often difficult to find. Until only recently, the majority of songwriters had only been able to "shop" their songs by virtue of limited trips to LA, New York or Nashville. Listing songs with means that those songs are automatically considered "solicited material" by the music industry, eliminating the need for travel or time consuming scheduling. This leaves songwriters with more time to do what they do best - write songs. World-renowned producer Barry Beckett, having newly joined up with the SongScope team, says, "I have to spend a huge amount of time searching for material. With the application, I can listen to twice as much material in half the time. I wish there was something like SongScope ten years ago!" The cost of listing on is $49/song per year - and those who join through this mention on The Muse's Muse will receive 25% off all their listings - both at and at the sister site to SongScope, Vision Music Group Inc. ( For more information or sign up details, visit ----------------------------------------------------------------- THE 3RD ANNUAL KRCL PERFORMING SONGWRITER SHOWCASE CONTEST is now seeking entrants. The Showcase is on Saturday, August 12th, as part of the Deer Valley Folk & Bluegrass Festival in Park City, Utah. Each entry should include a rewound cassette recording of two original acoustic vocal songs, along with a $10 entry fee (checks payable to IAMA, the Intermountain Acoustic Music Association). Send entries to KRCL Showcase c/o IAMA, PO Box 2187, Salt Lake City, Utah 84110-2187, postmarked by June 15, 2000. 15 finalists will be chosen by a committee of judges; prizes will be awarded for the first five places, and the winner also earns a spot opening next year's Festival. For details, check out or call (801)532-5218. ----------------------------------------------------------------- LAUNCH OF FOOM 2000 SONG COMPETITION SCALA (Songwriters, Composers And Lyricists Association) has launched its seventh annual Song Competition, the Festival of Original Music Song Competition (FOOM 2000). SCALA’s FOOM Song Competition has helped launch the careers of many songwriters attracting entrants worldwide in the previous 3 years. Winning songs have been recorded and released on SCALA’s annual CD series, the fifth of which is nearing completion for a June 2000 release. SCALA has released 7 other albums. Previous SCALA Song Competition winners have come from as far afield as New South Wales, Victoria, Tasmania and South Australia as well as New Zealand, Singapore and the USA. This year's Song Competition includes Live, Demo, Master and Lyrics sections and it adds a Master (instrumental) section specifically for composers of any style or genre. Last year the value of prizes offered, including professional recording and CD release, was over $4,000 and FOOM 2000 expects to exceed this prize value. Entry forms and rules for FOOM 2000 can be obtained from SCALA at: PO Box 228, Kensington Park, South Australia 5068 by phoning (08) 8431 4063 (Australia), +618 8431 4063 (International), faxing (08) 8332 1013 (Australia), +618 8332 1013 (International), emailing or they can be downloaded from SCALA’s website at: Closing date is Friday, 9th June 2000. ----------------------------------------------------------------- THE CANADIAN MUSIC INDUSTRY ONLINE DIRECTORY IS NOW COMPLETE! The directory is part of a much larger worldwide online project being built for aspiring and professional musicians, actors, models and related companies. Located at the website provides links that lead to helpful sources including services that allow musicians to upload song demos or actors and models to post bios and pictures. From their community page you can network in the chat room, forum or guestbook. Sign up for their upcoming Musicmoviemodelling Connections E-Newsletter and stay up to date on what's new on the web for aspiring talent and related companies! "Connections R What U need 2 Succeed" (tm) ----------------------------------------------------------------- Back to Menu ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ M u s e ' s C l u e s : by Irene Jackson ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ One of my favourite things to do is sit down and come up with articles for my songwriting tips webpage. In researching the internet, sometimes I come across other sites that have songwriting articles...the most interesting are always from established writers such as Pat Pattison and Harriet Shock. But recently I stumbled across another webpage by Marc Kuchner, who is actually working at his PhD at Caltech in the Astronomy Department. He started out writing a songwriting "essay" in 1996 and ended up getting quite a response to it. But Marc is not only a hobbyist when it comes to writing...he has studied music seriously and was a pro member of NAS before it joined forces with the Songwriters' Guild of America. His series of short articles are definitely written by someone who knows what he's talking about...and who else but a songwriter would write so concisely about each element without wasting any time going into long detail?? He covers everything from singability to structure and form. My personal favourite is the "Titles" section...oh, and "furniture". Never heard of that term? Check it out, and you'll see what I mean: Another interesting section is "Forms and Historical Trends" where he discusses what he calls classic forms such as the blues, and gets into the Tin Pan Alley Form comparing it to Beatles hits from 1962 to 1965! This series of articles is short and sweet, and easy for a songwriter to consume on your lunch hour at work while the boss isn't surf on over there and tell Marc the Muse's Muse sent you :-) ****** Irene Jackson is a performing songwriter from Victoria, BC in Canada. Aside from writing, recording and performing, she also maintains a website for songwriters that includes tips, articles and more links of interest. Her latest CD "Motor Scooter" has had attention everywhere from Japan to South America, and a new release is due out sometime in 1999. Songwriting Tips: Homepage: Songs on MP3: Back to Menu ================================================================= S O N G W R I T E R I N S P O T L I G H T : Shann Lee Parker ----------------------------------------------------------------- This dynamic singer/songwriter from the UK speaks out about songwriting - the process, the business, and how she's managed to keep her cool during some difficult times. ----------------------------------------------------------------- Q: What made you start writing songs in the first place? ----------------------------------------------------------------- A: I actually came to songwriting at a late point in my career. My husband Clem was always the songwriter, but I was always ready with a suggestion or two whenever he was short of inspiration. I would find tunes coming to me in the middle of the night (not always, but sometimes..!!) and being far too lazy to get up in the early hours, I'd do the usual thing of trying to remember them the next morning... It didn't work, come the morning, I would have totally forgotten everything. I swear this next bit is perfectly true..!! It would have been about two o'clock in the morning, and I was drifting on the borders of consciousness, when a GREAT! tune sprang into my head. It wasn't going to get away this time..!! I dragged myself from my bed, and half asleep, crawled along to the kitchen, where an old cassette recorder sat on top of the fridge. Hitting 'record' I whistled my hit onto the cassette tape. Feeling pleased with myself for finally having captured a midnight idea on tape, I returned to bed. The next morning I couldn't wait to hear the nights recording and get on with making it into a fully fledged song. At the breakfast table, I triumphantly played my song to Clem..... Oh! oh!... Damn!! Instead of a hit song, all that emerged, was the sound of me, BLOWING! into the microphone. I could have sworn that I had whistled a tune into the tape... Chorus, verse, middle eight.. It was all there last night... Wasn't it..?? Clem nearly choked with laughter! It was at this point that I decided not to wait for bedtime inspiration, but to start working hard (in daylight hours) on my 'songwriting'. We, (Clem and I) mainly collaborate on songs, and we have no fixed structure. Sometimes I will write the lyrics, sometimes the tune. On occasions, Clem might simply play a chord progression that instantly gives me an idea, and that suggests a melody line straight away. I have 'written' quite a few songs myself, and this usually takes form by my vocalizing a melody line using any old made up words, and after I am reasonably satisfied with the feel, emotion, and colour of the tune, I then get an idea of what the song should be about - the melody will suggest what the song should be about. That's how I sometimes arrive at the lyrics. Yeah! I realize it's a clumsy way of doing things, but it works for me. Believe it or not, I very rarely set out to write a specific song about a specific subject. On the last rare occasion I did that, a song called "Think It Over" came out. It was about the terrible violence that we see all around us today. It was a subject that I felt, and still feel very strongly about. After it was recorded, I took a step back and thought Whooo!! that doesn't sound like me, where did that come from. I do remember sweating blood, trying to put into that song exactly how I felt at the time. ----------------------------------------------------------------- Q: Can you tell us a little bit about your musical background? Was your family musical? Did you just get inspired at school? Was there someone in particular who inspired you? ----------------------------------------------------------------- A: Whenever I'm asked about my musical background, I always reply with the same answer; I somehow always knew, even from being a small child that I would be a singer. That's what I'd be when I grew up... I simply knew..!! I started singing at a very early age (four or five years old) singing songs that I'd heard on the radio, and performing for my parents, friends, relations... just about anyone who would listen. My Father, had, as I remember, a loud, strong forceful singing voice, and along with his piano accordion he would entertain in the pubs and clubs of the town where I was born. These are some of my earliest recollections. My Dad was a semi-pro, and for most of his early life, managed several night-clubs. This is where I think I got the idea of being a performer. I can remember playing on a Saturday afternoon in my Fathers club, standing on a huge stage pretending to sing into a microphone, with my older brother and the cleaners for an audience. At school I was always at the front of the line to be picked (hopefully) for school productions. The few names I can remember from those days are Dionne Warwick, Dusty Springfield, even Cilla Black, but my eyes were well and truly opened when I first heard Aretha Franklin...!! "Woo! Hoo! that's for me" I said. I guess Aretha, along with most of the other black soul artists were my love and inspiration - along with a bit of Janice Joplin thrown in for good measure. I also had every Joe Cocker album in record my collection. I suppose that gives you some idea of the kind of thing I was into.... Still am..!! I still enjoy listening to the more 'raspier' throated performers today. I myself, was once accused by a radio DJ, of having a voice that sometimes sounds like broken glass being scraped across sandpaper... Hmm!! I just realized... Maybe I shouldn't have taken that as a compliment...!!! . ----------------------------------------------------------------- Q: How do you feel about collaborating when songwriting? Pros & cons? (People or situations you enjoyed the process with the most? Or the least?) ----------------------------------------------------------------- For the answer to this and many other questions, please go to ----------------------------------------------------------------- Back to Menu ================================================================= " O N S I T E " F E A T U R E D A R T I C L E : The Muse In Oz by Shaman Sean Are you a "good witch" or a "bad witch"? How do you handle a "bad witch" if you find you need to work with one? Shaman Sean's regular column this month discusses the idea that "what goes around, comes around". Back to Menu
================================================================= 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 : ----------------------------------------------------------------- USA INTERNATIONAL SONGWRITING COMPETITION Gain music industry exposure! Win a grand prize of US$50,000 in cash and merchandise! This marks the largest prize ever to be awarded to a winner in any songwriting competition. Judges include representatives from Warner/Reprise Records and SONY Music. Visit: ----------------------------------------------------------------- MUSIC BUSINESS SOFTWARE FOR THE MUSIC PROFESSIONAL Music Business Contracts (100 music industry contracts), Record Company in a Box (complete record company management software), Tour Manager (manage gigs, and complete tours, financial reports, itineraries, etc.), and more! All software Mac & Windows compatible. 2-3 day priority mail shipping! ----------------------------------------------------------------- GO GLOBAL WITH CDSTREET.COM is your secure source for credit card music ordering in your own website. As a member of the CDstreet network, you will have access to the most cost-effective, secure transaction processing for global music merchandise distribution. Plus, no setup fee and no sales equals no cost! Check it out - ----------------------------------------------------------------- THE SONGWRITING EDUCATION RESOURCE Stop by the educational songwriting website run by professional songwriters Danny Arena & Sara Light. Features include, numerous songwriting articles, songwriting courses, discussion board, free classifieds, email and much more. Coming soon: our web classroom where you'll be able to take our songwriting courses over the Internet! - ----------------------------------------------------------------- MIDNIGHT TAPE AND DISC, AND TAXI offer the best bulk blank tapes made at great prices: Maxell Tapes in Shape Notch Shells with Azimuth Bridges C-10, C-20, C-30, C-60 and C-90 from $.60 to $1.38 each. BASF Chrome in Notch Shell C-10, C-20, C-30, C-60 and C-90 from $.48 to $1.26. These are the best tapes available anywhere and they are guaranteed! Prices are in U.S. funds. Call Ian at 1(800) 732-6770 or e-mail at: Look for complete information on Taxi¹s website at: ----------------------------------------------------------------- DISCOVER SHAREWARE MUSIC MACHINE and explore the a world of software which will help make writing and recording your songs a breeze! Featuring over 2100 software titles to freely download as well as more than 2000 discussion forums, Shareware Music Machine has software for musicians of all kinds. For MIDI sequencers to guitar effects to hard disc recording to the latest sound players, head to ================================================================= CLASSIFIED RATES: US$25 Max. 7 lines, where a line = 65 characters including spaces and punctuation. All contracts must be prepaid. Write to: editor@musesmuse.comBack to Menu
================================================================= C o n t a c t I n f o & C r e d i t s : ----------------------------------------------------------------- Jodi Krangle ............................................. EDITOR Kathryn Obenshain ...........................GRACIOUS PROOFREADER ----------------------------------------------------------------- The Muse's News is a free monthly newsletter for and about songwriters. Subscribers are welcome to recirculate or reprint The Muse's News for nonprofit use as long as the appropriate credit is given and the ENTIRE text of the newsletter is included (including credits and information at the end of each issue). Others should contact me at All articles copyrighted by their authors. Back issues and other information will be available at: The Muse's News is part of The Muse's Muse, a web resource for songwriters: For further information, send your e-mail to: ----------------------------------------------------------------- - How to place a classified ad, pass on market information or sponsor The Muse's News. - How to subscribe, unsubscribe, etc. - To submit articles,reviews,ideas,etc. SNAILMAIL: Please contact me first at
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