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The Muse's News |
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Issue 3.5 - August 2000
ISSN 1480-6975
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This issue sponsored by:
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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
@-- Songwriting Book Review - by Jodi Krangle
@-- Featured Article - STAYING CREATIVE IN THE MAINSTREAM WITHOUT
SELLING OUT - by Ken Rose
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - by Irene Jackson
@-- Songwriter In Spotlight - Up & coming songwriter/performer,
Marc Corey Lee
@-- 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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If you enjoy The Muse's News, why not suggest it to friends?
http://recommend-it.com/l.z.e?s=333678
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This ezine featured at EzineCenter.com - the Ezine Search
Engine(tm) - http://www.ezinecenter.com/
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S p o n s o r M e s s a g e :
(Please support the sponsors that support this newsletter! Thanks!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
LYRICIST! THE SONGWRITER'S BEST FRIEND HAS ARRIVED . . .
Virtual Studio Systems, Inc. is proud to announce Lyricist, the
first of its kind word processor designed for musicians,
songwriters, and poets. Includes rhyming dictionary, spell checker,
thesaurus, album categorization and more. Visit our web-site
http://www.virtualstudiosystems.com/ to download your FREE 30-DAY TRIAL
COPY and find out about our low 90-day introductory sale price.
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E d i t o r ' s M u s i n g s :
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The subscriber list broke the 5,000 mark this month. Woohoo! It's
actually at just over 5,200 and I sincerely thank all of you that
have taken the time to read this newsletter over the years. I'd
like to extend a personal welcome to the 300 or so newcomers since
last issue. Thanks for your interest! I hope you find this
newsletter to be extremely helpful to you. I'll certainly do
everything I can to make sure it continues to be so for a long time
to come.
A couple of things to announce: First of all, there are two new
Songwriter Spotlights at http://www.musesmuse.com/songhome.html .
Tracy Kash & Debra Davis are both *fantastic* songwriters and
performers (the VOICES on these women... WHOA. You have to hear to
believe...). Each woman has her own unique style but this is not
the plastic music our day and age is becoming known for. No, this
music has heart and soul and it'll *touch* you. Have a listen and
you'll see what I mean. I'm extremely pleased to be able to
spotlight them both.
Our newest book give-away is a copy of THE COMPLETE GUIDE TO
INTERNET PROMOTION for Artists, Musicians & Songwriters by John
Dawes & Tim Sweeney. A review is included further below. The
winner of this extremely helpful book, is Leigh Krampe.
Congratulations, Leigh!
There was a bit of a problem with the links database at
http://www.musesmuse.com/links/pages/ earlier this week but I
wanted to let everyone know that it has been fixed and is now
working properly thanks to extremely timely and efficient help from
Diana N. Thanks so much, Diana!
And that's it for this month. For further updates on the site,
check http://www.musesmuse.com/whatsnew.html .
Wishing you all the best,
--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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Q: I used to work in the music business end. I also am
songwriter/singer. In January 1999, my husband and I had a signed
written agreement with a producer for his wife to record 4 of our
songs (with a co-publishing factor), on a non-exclusive basis, with
us retaining copyright.
There was an addendum for the release to be in 2000, with our
understanding that project would begin once agreement was signed
and received. There was no advance.
The backing tracks for the recording were not started until May
1999. It has been continually delayed since then. I was told if
we came to the State where the producer was, that perhaps they
would get completed....although the producer played all instruments
on the backing tracks (I am handicapped and it was very difficult).
I stayed in contact, and we finally moved there at great expense
this year. We had hoped to have a meeting to discuss progress,
since it had been nearly 1-1/2 years since the date of agreement.
It kept getting delayed and more recent projects took priority.
Last week we were finally told that more had been done on one of
the songs, but that some other singer (whom we didn't know and
never heard of) wanted to use the song on her CD (she had cover
design and everything) We asked for more details and queried about
the change of artists. The producers' wife then said she wasn't
interested in recording any of the songs anymore! The producer
demanded a yes or no, on the new artist, without anything in
writing. Something did not seem right to us and we needed to
consult with someone. We asked for more time (we had, after all
been waiting over a year) He got angry and demanded we give an
answer within hours (on Sunday). (by email). He scheduled her to
come in for recording, with only hours notice to us. Because we
could not answer a simple yes or no then, he told us he was no
longer interested in any of the songs. My husband asked if he
would then be willing to sell the studio recording he had of our
songs, since he broke the written agreement. He ignored this
request.
I am emotionally upset about this, as I trusted his wife, and
really want to avoid get into attorneys and such. What do you
suggest I do? This is so hard for me to take, especially being
physically in pain as well. Please help ......Thanks
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A: I am sorry to hear that you have become frustrated over what you
hoped would be a productive relationship.
If I understand correctly, your signed and fully executed agreement
with the producer was a Co-Publishing Agreement. If this is the
case then any remedies or definitions of breach should be defined
in that agreement.
If I misunderstood and you did retain ownership of the works then
your Agreement with the Producer probably indicated that he had
first right to record. It is clear there that the time limit on
the "hold" placed on your compositions was the year 2000 but I'm
not sure if an exact date was indicated.
The producer has every right to withdraw the decision to record the
works. Mechanical royalties are only paid on units sold.
Understand that if the works have been released before then anyone
can secure a compulsory license to cover the work. They must,
however pay appropriate fees.
The masters are of no use to the Producer because he does not hold
the license to release them.
This situation should be helpful to others to understand the
importance of stating clearly in writing the terms and deadlines of
any given situation.
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New questions and answers for July can be found at
http://www.musesmuse.com/pub-july00.html
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*****
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 nreece@musesmuse.com. She can't guarantee she'll get to all of
the questions, but she'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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Massaka - Dynasty of Massaka
31 tracks of sampled rap music here that gets quite imaginative,
and silly, sometimes. The techno and black rap world has combined
to produce some sounds I've not heard before. Statements that need
to be said, and fun, fun, fun, it's all here, depending on what you
happen upon first. One of my favorites is a short bit of fluff
called 'Your Name'. Now, I'm not sure why I should single this out.
It's not even a song really. Sounds like a couple of guys who keep
asking 'Your name?' to girls getting on the bus. I don't know, you
have to hear it to appreciate it. Or not. One stand out track is
'Break It Down', with rock-techno background sounds/tune/rabbit
scaring stuffs credited to 'CT The Asian (Vietnamese) Techno House
Rock Artist.' It will make you into a Columbo, listening for the
clues in the back and forgetting the larger picture in front. Okay,
you've got to like rap to really Dig this album, but there's
something for everyone here, definitely. Is there too much humor in
it? Can there be ENOUGH?
http://www.hadaminname.com/
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OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE:
JP Jones - http://www.musesmuse.com/mrev-jpjones.html
Screwface - http://www.musesmuse.com/mrev-screwface.html
ICU - http://www.musesmuse.com/mrev-icu.html
Jeff Silverman - http://www.musesmuse.com/mrev-silverman.html
Steve Bardsley - http://www.musesmuse.com/mrev-bardsley.html
Folding Edifice - http://www.musesmuse.com/mrev-fe.html
Cassie Rose - http://www.musesmuse.com/mrev-rose.html
---------------
******
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: ohmart@musesmuse.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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S o n g w r i t i n g B o o k R e v i e w : by Jodi Krangle
THE COMPLETE GUIDE TO INTERNET PROMOTION
for Artists, Musicians & Songwriters
by John Dawes & Tim Sweeney -
http://www.musicpromotion.net/webguide/index.shtml
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I've mentioned John Dawes' MUSICIAN'S GUIDE TO WEB PROMOTION
before. He's now taken that and run with it. In collaboration
with Tim Sweeney, John has put together an easy-to-understand guide
to internet promotion that any self-promoting songwriter should
read and learn from. Do you have a web site and no one knows about
it? John & Tim have step-by-step instructions that will put you on
the internet "map" - everything from adding a signature to the
bottom of all your emails to promoting your web site in the
materials you produce OFFline. One of the major points made in
this book is that Offline promotions can't be underestimated. If
you perform, let people know at your shows where they can find you.
I know for myself, if I really love a performers, I'll definitely
seek them out. What's the easiest way to find them? The internet.
A url is like a business card and it's becoming more and more
necessary every day. Getting traffic to your web site isn't where
it ends, however. That's only where it *begins*. Having your
visitors *participate* and respond to your web site, is crucial.
That's why creating a strong web site presentation is talked about
in detail. You have to start somewhere, after all. Issues such as
how to protect your music online and copyright of music are all
covered. An extensive checklist is included at the end of the book
along with a very helpful appendix of internet resources. And best
of all? Most of the methods laid out in the book won't cost you a
penny beyond the set up costs of your web site and connection
charges (and even connection charges could be nothing if you use a
free ISP). THE COMPLETE GUIDE TO INTERNET PROMOTION is well worth
the investment and a fantastic resource for those new to the
internet and how it works. Even if you're not new to the internet,
John & Tim's book will undoubtedly inform you about methods you
haven't yet tried. At the very least, it's a great way to focus
your efforts. I highly recommend you pick up a copy for yourself
to see what I mean.
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S p o n s o r M e s s a g e :
(Please support the sponsors that support this newsletter! Thanks!)
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UNLEASH THE FULL POTENTIAL OF THE INTERNET WITH SONGSCOPE.COM!
SongScope is a valuable tool enabling you to build an on-line song
catalog, accessible only by proven industry professionals. Receive
FREE email informing you every time record producers and industry
professionals make requests. Songs listings are only $19.95 per
year. An ecommerce enabled marketing/promotion page and tour
calendar are also available for performing songwriters to get
further artist exposure. See www.musesmuse.com/songscope.html for
details or contact: writerinfo@songscope.com ~ Tel: 770.754.4543
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F e a t u r e d A r t i c l e :
STAYING CREATIVE IN THE MAINSTREAM WITHOUT SELLING OUT
by Ken Rose
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Although most artists get their earliest inspiration, as well as
the desire to enter the jungle of the music business, during the
turmoils of childhood and adolescence, I would like to keep this
article focused on songwriting instead of psychology.
To make a long story short, I grew up using music as an escape and
as a form of personal expression from within the confusion of a
family that had less than adequate communication skills. The
aggression and freedom of Led Zeppelin and the creative honesty of
John Lennon were all it took to get me hooked. Playing in bands
led to producing and songwriting, which, in turn, led to publishing
contracts from my late teens to the present. Being a rebel with a
message was as important as the music that came from my guitar
(sometimes it still is!).
The freedom of "pure" expression does not necessarily pay the
bills. Make no mistake about it - being a professional songwriter
is a job. I am blessed to be doing what I love, with all my heart,
but along the way I have faced many obstacles regarding the fine
lines between art and the marketability of my music. I firmly
believe that having strong material is the most important factor
of getting an artist to cut your song, but that is only the
beginning. In this age of marketing, radio formats, advertising
and the wishes of everybody involved in a project to have a hit
there are definite guidelines that must be adhered to during the
songwriting process. I won't mention names in my article, but the
extremes I have experienced range from producers bringing in proven
hits and saying "when I come back after lunch I want one of these"
to artists, that do not write, who want to be truly unique without
using a proven "formula" to acheive a result (a great concept for
the chosen few of us that can reach the public and never lose a
fraction of their musical voice). Whatever the request the goal is
the same: to have an artist record your song.
When I am writing for an artist they usually have an idea of where
the project is going in terms of direction. I love Lennon, Beck,
Eels, Tom Petty...but that is not what Geri Halliwell wants on her
next record! You will probably not get a cut by giving the record
company material that does not suit the expressed needs of the
project. Two years ago I wouldn't even write for mainstream pop
artists because I thought it wasn't "cool" and I did not want to be
judged by my "alternative" peers in that light (that was my
re-rebel phase, after a string of no success big budget commercial
rock/pop records that munched a couple years' time without the
result I had expected). The reality is clear: a Geri Halliwell cut
(if it ever happens) would allow me the luxury of complete artistic
freedom for some of my pet projects as well as escalating me to
more successful co-writing circles. It makes sense to me now (a
few years of therapy and a few terminated publishing deals helped
me to that conclusion!). Within the pop format of less than three
and a half minute songs that my 10 year old daughter can
understand, it is a challenge, and an art, to come up with good
lyrics. I try to stay with the "creative flow" and do not judge my
lyrics until they are done. If something is too corny, or too
heavy, I just find another way to express the thought. The options
are usually unlimited and the story or theme of the song will still
follow the original train of creative intuition. It took me a long
time to learn that the creative energy that fuels the pop tunes is
no different from the energy that fuels the killer pieces of art
and expression that inspired most of us. At least that philosophy
works for me. I love music of all genres so I just try to apply
that love to the situation at hand.
A good example: I was in Europe co-writing with an award winning
writer who has had more than a few international rock hits. From
the beginning of the session he was very uncommunicative and aloof.
He sat in the corner, did not say much, and within the first hour I
had basically formed the structure of a new tune by myself. At
that point he started throwing out some lyrical and melodical
concepts that would have made Milli Vanilli look like The Beatles.
My initial impulse was to ditch the writer, session and the song,
go for a long walk, and move on to the next day's co-writing
session with another writer. After a few frustrated minutes I
decided, first of all, it was my job to come up with a song, and,
secondly, that I had to just be myself and make the most of the
situation (this particular writer had a major publisher and we all
know that two companies pitching a song is always better than one -
especially if your co-writer is more successful than you are!).
Basically I challenged myself to write a good song regardless of
the less than creative vibe in the studio. I diplomatically took
note of his ideas, let him doodle around and find keyboard sounds
that were on every current top 10 record, and spent an hour in
solitude getting a lyrical and melodical concept together. The
bottom line is that the song came out great and will probably end
up getting cut in the future. Regardless of my co-writer's input
the situation motivated a good song. And that was the goal.
Inadvertently this person's presence inspired the moment and that
earned him his co-write. I ended up with a quality tune, there was
no "politcal" stress, and I can decide in peace if I want to work
with the guy in the future. A happy ending for all. Two years ago
I would have just bailed out, ended up with a burnt bridge(you
never know when you'll need to cross them again) and missed the
opportunity to add a song to my catalogue.
By the way, 99.9% of my co-writing partners are gifted, motivated,
and creative artists who are inspirational during the songwriting
process. They are also respected friends who can give and take
criticism while having a lot of fun at "the office". Professional
songwiting is still a job...and an adventure!
******
Ken Rose, born in Los Angeles, has been a professional
songwriter-producer-musician since he was 16. He is currently
signed to Famous Music Corp. and is spending most of his time
co-writing and producing music in London. A solo project is also
on the way.
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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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COOCH MUSIC HAS LAUNCHED ITS "AMATEUR SONGWRITING CONTEST"!
Web address at http://www.coochmusic.com/. Songwriters are now able
to enter a contest that is aimed for amateurs only! Songs are to be
judged on originality, lyrics, melody and composition. Quality of
performance and production will not be considered. Entry fee is
only $5.00. Win Prizes and publishing contracts from J Cooch
Music (BMI), music publisher. As Joseph Cuccia from Cooch Music
explains, "This contest is for every amateur songwriter who really
wants to make it in this industry. Helping the amateur songwriter
is what we do best! Every entry is listened to by the staff of J
Cooch Music(BMI), music publisher. Giving every entry the guarantee
of being listened to by a professional in the industry." Deadline
for this contest is August 31st, 2000. Cooch Music will run its
Amateur Songwriting Contest twice a year. For information on how to
get an entry form, rules, regulations and prize list, visit
http://www.coochmusic.com/.
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MUSIC JOURNALISTS WANTED:
Neo, a syndicated music information company serving alternative
publications, is seeking high quality music writers. Credentials
aren't important - being a lucid, persuasive writer with excellent
music knowledge, is. We are a unique service and we accept
submissions related only to specific music genres. Please read our
submission guidelines at
http://www.getneo.com/jobs.htm ~ Neo Media
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M.I.C. (MUSIC INDUSTRY CONNECTIONS)
M.I.C is a new monthly unsigned artists/bands & songwriters
magazine which features record labels, professional music managers,
film companies, promoters, etc., who are all actively seeking new
talent. It is a UK based magazine with worldwide readership. We
are eager to develop bands from all corners of the globe and we
welcome submissions from everyone. So far, we have had great
success and are particularly proud of our multi-national
representation to the UK music industry. Three bands have been
signed, another band has been given the opportunity to work on
soundtracks for Sky Sports, two bands have been approached by
Prince's management company and Stereophonics Management Company,
another band is in discussions with major record labels and a final
band has been given free record studio time (and that's all
happened in 2 months!)
M.I.C. provides free exposure and publicity for unsigned
bands/artist and songwriters etc. We also have our own record
label for promoting/showcasing new talent with the first
compilation release planned for September 2000. All artists are
welcome to send samples of their work, photo & biog. into our demo
review section.
For a free sample copy of the magazine, please e-mail:
melee@supanet.com or you can view a small sample of the magazine by
surfing to: www.mp3musicscene.com/mic/ . Please send all demos etc
to: M.I.C. PO BOX 1742, SHEFFIELD S8 0GA UNITED KINGDOM.
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SONGWRITING FOR FUN & PROFIT: Sparkie Allison
Everyone has a song in their heart. Some people want the world to
hear it. Some people just want to write it for their friends
and family. Whatever the motivation, you can write a song and you
can make a good song into a great song with a few simple
techniques. This songwriting workshop focuses on developing an
idea into a three minute movie that will catch your listener. From
impacting the storyline to the use of images, rhyme, melody,
re-writing and co-writing, the workshop offers exercises in the
evolution of a song. Marketing and an overview of the music
publishing business is also covered for those who are interested in
pursuing songwriting as a profitable venture. The instructor is an
award-winning performing songwriter, music publisher, Founder and
Past-President of the Massachusetts Songwriter’s Association.
WHEN: Sat. 9 a.m.-4 p.m. * August 19, 1 Session.
HOW MUCH: $65 by August 11; or $70 after August 11
TO Register call : 413-545-3653
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SONG SHOPPING CENTER -
http://TrowbridgePlanetEarth.com/T2/T2C1.html
SUBMIT YOUR SONG -
http://trowbridgeplanetearth.com/T2/T2S1.html%20
McClure & Trowbridge Publishing, a Nashville TN niche and
alternative music publisher, announces today that its WWW,
Internet, and office song promotion services, previously available
only to Trowbridge Writers, are available to Trowbridge Associates
as well. Associates, independent songwriters whom McClure &
Trowbridge sign to promotional contracts, now have a "leg up" into
the fast paced world of music plugging and the faster yet Internet.
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CONTEMPORARY SONGWRITERS WORKSHOP:
theharmonyhouse presents daytime or evening workshops through July
and August. Workshops include: music and lyric writing plus music
industry information. No prerequisites required, comprehensive
workbook provided.
Location: Toronto area, or to groups (7+) at location of your
choice. Call or E-mail for more information, free brochure and
registration form. (905) 853-5537, theharmonyhouse@home.com.
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JOERECORDS.COM IS SEEKING MUSIC:
joerecords.com is seeking compilations, unusual, weird,
hard-to-find, ethnic and world music. If you are interested in
submitting, send to:
4047 49th SW,Seattle, Washington 98116
or contact katehart@speakeasy.org
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M u s e ' s C l u e s : by Irene Jackson
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This month's Muse's Clues will appeal more to guitar players...but
if you play piano, or are just beginning the guitar, you just might
find this little "toy" an interesting venture!
A lot of songwriters talk about getting into a musical rut. Heck, I
do that myself all of the time. I am constantly searching for a
new way to play something, a new chord progression, or a new chord
all together, just to get my creative juices bubbling. If you've
never found this in your web surfing travels, check it out:
http://www.members.home.net/find-a-chord/
Your computer will have to be Javascript-enabled to view it
properly...this is a cute little site called Find-A-Chord! On the
right-hand side you'll find a whole bunch of chords in the
Find-o-matic box. For instance, there are 8 different ways to play
a "G" chord! You'll also find a lot of more exotic chords, maybe
more than you'll ever need to know :-)
In the middle graphic is the fingering on the fretboard for each
chord, and on the right are the notation and the base fret (the
base fret changes as you move up the neck to play chords higher)
The only thing that is missing is the sound of the chord itself,
which I actually HAVE seen before on other guitar lesson
sites...but just the number of chords alone would make creating
wavs for each one an ominous task!
Pick a really unusual chord, one that you've never tried before,
and sing over top of it. Find another one and put them
together...you might not get a song out of it, but you'll certainly
push your envelope a little!
******
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: http://www.irenejackson.com/tips.html
Homepage: http://www.irenejackson.com/
Songs on MP3:
http://www.mp3.com/artists/20/irene_jackson.html
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S O N G W R I T E R I N S P O T L I G H T : Marc Corey Lee
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Even in the age of the internet, it's a struggle for new and
emerging artists to be heard. Here's an interview with a fellow
who's taken matters into his own hands and has seen a great deal of
success doing so. Besides being a very talented songwriter, Marc's
music also has a very unique sound to it - and industry
heavyweights are starting to take notice. It's a long "battle",
but here's Marc's "plan of attack".
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Q: What are your songwriting influences? Do you have a musical
family or is it something you picked up entirely on your own?
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A: I have always been drawn to songwriters who were
singer/artists. That genre seemed to reach its zenith in the
early-mid 70's. Consequently my strongest songwriting influences
come from the period of early 1960's to mid 1970's. Specifically;
Roy Orbison, Buck Owens, John Denver, John Prine, Gordon Lightfoot
and...the Beatles.
In the case of Orbison, I think nobody to date has ever captured
that intense emotion that he created by combining those unusual
chord progressions with amazing vocal and melodic twists. his songs
need to be listen to in the dark! His melodies were other-worldly.
Orbison could condense intense emotion (sadness, longing, lust)
into a 3 minute mini-opus with such ease. He is one of my strongest
influences.
Buck Owens captured the intensity of a rock band. His songs are a
study in 2 1/2 minute perfection. What great phrases, delivery and
structure. Clean simplicity. Verse-Chorus was his domain. Nothing
fancy. But pure heart and soul. Listen to "Together Again" or
"Tiger By The Tail." It's simple genius. His songwriting influenced
me as a kid. In the 60's radio was not as regimented or formatted
as it is today. So I would hear The Rolling Stones, Dylan and then
Buck's music. I didn't care that it was country. It excited me to
no end.
Denver is a guy that people laughed at because of his goofy
persona. But if you overlook his "super-star" days in the 70's and
just listen to the songs he wrote earlier...nobody has had a
greater influence on me than John Denver in that period. Listen to
"Rhymes and Reasons." That's the stuff nobody knows. It's just
purely perfect. People don't realize what a great writer he was.
Before the "Rocky Mountain" image thing, he wrote about some deeper
things. Things that mattered to me. I heard him in 1971 and was
hooked as a kid. It wasn't the "wilderness" thing that drew me. It
was his songs about other topics that left me branded forever.
Thinks like "Poems, Prayers and Promises." Those types of songs
struck a chord with me. The acoustic guitar, the tenor voice, the
phrasing.
Prine and Lightfoot were (and to a degree still are) what I call
"Song Craftsmen." Truly gifted writers.
The Beatles? What can one say? There will never be another set of
writers like that. Why? The melodies and chord structures. They
could convey a feeling instantly.
My family was not a musical one. My grandfather played guitar and
sang but that was not known to me back when I started playing. No,
I was hooked by 1960's radio. I LOVED the Beatles. I came to this
country from Costa Rica (in central America) as a 3-year old child.
My family listened to Latin music. Things like "cumbias" and
"merengues" What today you would call "Salsa." I had not been
exposed to the Mexican "Rancheras" music at the time, but I did
listen to much Spanish music, being that my relatives were all from
Spain. My father worked hard in a factory. Nobody played an
instrument.
As I grew up in the U.S. I, of course, heard my dad's AM radio in
the car. I fell IN LOVE with country music of the time! Buck Owens,
Merle, all of that. The twangier the better! Why? I don't know. I
was not a "cowboy", I didn't grow up in the US. I wasn't from the
South. That music just connected with me. I LOVED it! As I grew up,
I would go to the library and check out vinyl records by obscure
folk, country and bluegrass groups and play them all day long. I
loved Elvis too, who was really a Rockabilly act in those days. It
was those things that excited me and later, spurred me on to start
writing and performing my own stuff. But it was definitely these
guys who were writers first that I identified with. I wanted to be
like them. There was nothing I wanted more than that. So I picked
up a guitar in a music store when I was 10. That was it. By next
Christmas, I had one of my own and two perplexed parents who knew
nothing about music really!
-----------------------------------------------------------------
Q: So how did you take those influences and make them into your own
songs? How did you get started?
-----------------------------------------------------------------
A: I started writing in high school. My first attempts really
closely emulated the writers who influenced me. I guess everyone
sort of "copies" their mentors when they begin writing. It's a
natural progression; first you imitate, then you assimilate their
styles into your experiences and finally you forge a new style
that's a combination of your influences and your own emerging
skills.
Those first songs were really just exercises in establishing the
model; coming up with a decent verse, chorus, bridge and overall
mood. I've always been a "mood" writer. When I write, I want to
convey a mood. I'm not the kind of guy who can sit in a "writers"
room and just churn it out. I have to feel what's going. I remember
actually weeping as I wrote some of my songs. I get into it that
much. I don't know how those Brill building guys did it...just
putting them out like pizzas. That's a real talent. There are still
guys like that though, Kostas, Harlan Howard. I'm more of a
"one-at-a-time" writer.
I began applying the styles of writing that I was into (Beatles,
Orbison, etc.) and putting my own experiences into those
structures. Not copying per se, but emulating the feel of those
songs.
On the performance end, I had seen another guy in my school walking
around with a guitar case. He was the only one besides me! One day
after school, I heard him playing a John Denver song and that
started a friendship and musical education that continues to this
day. He showed me a lot of things and, together, we found the
courage to actually go looking for gigs. We were so naive and
uneducated in the music business...we'd walk into a restaurant in
suits and ask if we could get up and sing a few songs!
On the rare occasion that somebody would let us sing, we'd do the
usual acoustic repertoire and then add stuff that we were working
on. Things that I was writing. I took what I liked from Orbison and
Denver and even the Rolling Stones or Dylan and would make a sort
of new "stew" that combined all those influences. I used those same
type of chord voicings or melodic twists. Eventually I found myself
coming up with my own twists and things that combined so much of
what I'd heard growing up. I then discovered that if a song is
well-written, people actually RESPOND emotionally. What an
epiphany!
I can't remember my very first song, but I do remember that most of
them were pretty long and tried to fit too much into them. A little
bit dirge-like I'd have to admit. But it was definitely a start. I
have always LOVED writing. The process intrigues me and fascinates
me. It's so subjective. My favorite quote is Hank Williams Sr, when
he was being asked about songwriting and said, "God writes 'em, I
just hold the pen..." I love that. I still don't quite know how it
works.
-----------------------------------------------------------------
Q: When did you decide that you wanted to write songs and perform
professionally? And what have you done in order to reach that
goal?
-----------------------------------------------------------------
For the answer to this and many other questions, please go to
http://www.musesmuse.com/int-lee.html#newsletter
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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 :
How I promoted my CD on the net
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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
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Kathryn Obenshain ...........................GRACIOUS PROOFREADER
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