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The Muse's News |
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Issue 3.9 - December 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 - DOING UNTO OTHERS AS YOU WOULD HAVE THEM DO
UNTO YOU: Or - Linking as a Networking Strategy by Jodi Krangle
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - by Irene Jackson
@-- Songwriter In Spotlight - Nashville Songwriter's
Hall of Fame Inductee, Mickey Newbury
@-- 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!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
MAY THE HOLIDAY MUSE INSPIRE THE MAGIC OF THE SEASON IN US ALL.
Virtual Studio Systems and its staff would like to wish The Muse's
News and its subscribers a joyous and peaceful holiday season with
many thanks to all of those who supported us in our first year.
As a special holiday offer, we are making our boxed Lyricist CD
package available to Muse's News subscribers for $24.95 USD
(includes 2nd Day Priority Shipping - Global Priority outside the
U.S.). This is a 50% savings off the regular web-site price and a
$15 savings if you were to purchase Lyricist off the shelf.
Lyricist makes a great gift item for the songwriters in your life
or even for yourself. If you want to purchase our download version
of Lyricist, we are offering it to Muse's News members for an
unprecedented $14.95 USD. Call us toll-free in the U.S. at
888.732.1176 or outside the U.S. at 603-726-4499 and mention the
Muse's News Holiday promotion to receive this exclusive offer.
(Offer expires December 20, 2000.) Happy Holidays from VSS!
http://www.virtualstudiosystems.com/
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E d i t o r ' s M u s i n g s :
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Since this will be The Muse's Muse Christmas issue, I want to take
this opportunity to wish you all the very best of the holiday
season!
Looking for a gift for that special music lover in your life? I
just picked up Kenny Loggins' "More Songs From Pooh Corner" and
it's ... (sigh). It's wonderful. It really is. Yes, I'm a sap.
I know it. There are just so many great children's songs on it -
beautiful children songs and DONE beautifully (this is more for
parents than it is for kids...), that I had to mention it here.
"Back to Pooh Corner," Loggins' prelude to this one, is just as
wonderful. I highly recommend them.
Now that you know what a sentimental silly person your editor is,
on to the other announcements. ;-)
There are a couple of new songwriter spotlights online now at
http://www.musesmuse.com/songhome.html - Barbara Kessler and Stacey
Board. They both impressed me immensely and I think you'll really
enjoy listening to their songs. There are also some new articles
online from the Muse's Muse columnists (many of them on Holiday
themes). Check out http://www.musesmuse.com/whatsnew.html for a
list of all those new articles and where you can find them, along
with a listing of all the other new things that have been added to
the site in the last month.
This month's winner of Joy Butler's audio instructional
publication, THE MUSICIAN'S GUIDE THROUGH THE LEGAL JUNGLE, is Beth
Cole from Merna, NE. Congratulations, Beth! A review of the audio
book is located below. If you need help with the legalities of
just about anything having to do with your musical career, you
really should pick up a copy for yourself. In fact, Joy has made
that incredibly easy to do! Check out the special offer below the
book review this month - only for Muse's News readers!
When the new year arrives, I'll be starting up something of a
membership drive and if any of you out there would consider
donating prizes to the event, please contact me
(editor@musesmuse.com) and let me know. I'd really appreciate it.
And one last thing. I attended a gathering in Toronto last night
where John Harris of the Harris Institute and the creator of
METRONOME CANADA gave a talk to explain what METRONOME was all
about and how we could get involved. As a Canadian involved in the
music business, the subject and the DREAM were very near and dear
to my heart. It's a fantastic undertaking that has never been done
*anywhere* before and has already been 7+ years in the making.
It's GOING to happen - but it needs more support from the world -
and from Canadians specifically. YOU can make a difference. Drop
by http://www.musesmuse.com/metronome.html and see how. I urge you
to get involved today. It's a legacy in the making. If you can
help, or know someone who knows someone who can help, PLEASE
contact the folks at METRONOME and do everything you can to make
this fantastic dream happen.
May the creation of music play a large and cherished part in your
holiday celebrations.
Wishing you all the best,
--Jodi
Back to Menu
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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: What are the standards and ethics of co-publishing? -- Fred
------------------
A: Co-publishing is something that can happen for a number of
reasons. Two of the most popular reasons are: 1. There may be more
than one writer on a song, each with different publishers, thus
creating a co-publishing situation. 2. The writer may be a
self-publisher and has granted to another publisher, a portion of
the copyright in exchange for something.
Co-publishing deals may be 50/50 or may be 75/25 (or any other
agreed on split). One publisher usually retains administration
rights. This gives that publisher the authority to make day to day
decisions concerning the composition(s). It also gives that
publisher the right to negotiate and execute any licensing
agreements during the term. For this service, the administrator
may secure a 10-15% administration fee. This may be a flat fee, or
an escalation fee. Many numbers of scenarios may apply.
This fee may come out before the split occurs or the fee may be
shared by both.
Samples-
Even Splits/Even Administration
$100 in for composition
$50 goes to writer(s)
$25 to one publisher and $25 to another publisher
Publisher pays back to Administrator 10% each or $2.50
Administration Splits
10% of $50 = 5.00 goes to administration
22.50 to one publisher
22.50 to another publisher
As you can see, if one of the co-publishers is itself the
administrator, then they will get $27.50 of the $50
If neither publisher is adept at administration, then the fee may
go to a third company to handle it for them. Which is, by the way,
what we do at Carpe Diem Copyright Management.
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Q: I am new at songwriting exposure and currently only write for
pleasure and contests. But now I think I'm ready for more. Upon
placing a web ad for potential collaboration, I received a reply
from a foreign band looking for songs. I'm ready to send a CD and
feel that I should be getting some legal backing prior to this
collaboration. Can you tell me what the steps are that I should
take prior to and during this collaboration? --Roger B.
------------------
A: As long as you have properly registered your compositions with
the copyright office you have the means in place to claim
protection. However, just like buying a car-alarm does not mean
your car won't still be stolen, the registration is there only if
you need to sue for infringement. You need to be sure that the
person(s) you are pitching your material too are easy to reach and
are who they say they are. For example, when you get interest in
material, get a complete street address and phone number. Call
them up. Do some checking beyond an inbound e-mail request.
Always-always ask for references.
Remember, you are acting as publisher as well as writer and you
need to always behave in a business-like and professional manner as
the sole guardian of your intellectual property.
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Q: I recently hired a backup singer for 1 song on our new CD
release. After she sang the part , I mailed her her pay and a
piece of paper to sign stating that she had been paid in full and
was due no further payments or future royalties of any kind. She
refused to sign it, cashed her check and said she would have to
talk to her attorney first. Is she entitled to any proceeds from my
CD? Everyone I've talked to so far says she doesn't have any legal
grounds to collect any future monies of any kind and it doesn't
matter whether she signs anything or not. Do you have a definitive
answer for this situation ? -- George S.
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A: Hindsight is 20-20 isn't it? The important thing, once again,
is to always get things in writing before proceeding. Of course
she is not entitled to anything at all past what you agreed to when
you started. If she was hired as a background vocalist and she was
paid as such, end of story. There is such a thing as "featured
vocalist" and they may be paid more than other background
vocalists. This is determined at the time, not after the fact.
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TO VIEW OTHER QUESTIONS AND RESPONSES, SEE NANCY'S COPYRIGHT &
PUBLISHING Q&A ONLINE AT http://www.musesmuse.com/pubq-a.html .
Please note: Nancy received a *lot* of e-mail in a month. If you
sent in a question but have not heard a reply, it's very likely it
already *has* an answer online. It's always a good idea to
thoroughly look through the Copyright & Publishing Q&A online to
see if your question has already been asked before you send in a
request. Thanks!
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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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Gene Land Strangers & Angels
Country. Country, country, country. Give a listen to songs like 'I
Hate It When That Happens' and 'Lost in a Border Town', and you'll
suddenly have a secret hankering for a ride on a fake bull, or a 3
gallon downpayment on a 10 gallon hat.
But there's also that area of crossover that's close to the theme
from Growing Pains, like 'I Know Where You're Coming From' gladly
demonstrates. I think the upbeat quality helps, the duet with a
female voice, the electric guitar hidden, smiling in the back.
Good production, and Gene has a fine sense of self-style. He has a
formula that works and he uses it through the 10 songs here. They
are written by various songwriters, not all Land (as you might
expect for an indie), and that gives the cd a unity of
disassociation which is pleasurable. It's not the same song 10
times over. Though he does love his female backups, and so do I.
Kevin Jones is apparently doing all the guitars, and a good job of
variation he does!
gelmusic@swbell.net
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OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE:
Clowns Of God - http://www.musesmuse.com/mrev-clownsofgod.html
Faith - http://www.musesmuse.com/mrev-faith.html
The LA Carpool - http://www.musesmuse.com/mrev-lacarpool.html
Urban Tapestry - http://www.musesmuse.com/mrev-urbantapestry.html
Michael Man'gia - http://www.musesmuse.com/mrev-man%27gia.html
Rebecca Lee - http://www.musesmuse.com/mrev-lee.html
Kari Tieger - http://www.musesmuse.com/mrev-tieger.html
Christine - http://www.musesmuse.com/mrev-christine.html
Fredro Starr- http://www.musesmuse.com/mrev-starr.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.**
Back to Menu
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SHAMELESS PLUG:
Drop by http://www.musesmuse.com/musemerchandise.html today to
pickup your very own Muse's Muse shirt, mug or mousepad! And
while you're at it, think about starting your *own* store.
Details on how to do that are only a click away...
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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 MUSICIAN'S GUIDE THROUGH THE LEGAL JUNGLE:
Answers to Frequently Asked Questions About Music Law
Written by Joy R. Butler, Esq. & Produced by Sashay Communications
http://www.sashaycommunications.com/musician.htm
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Looking for a way to get a good summary of the legal information
you need to know in order to make the most of your songwriting
career? THE MUSICIAN'S GUIDE THROUGH THE LEGAL JUNGLE is one of
the best ways I know of to get that overview. The package consists
of two tapes (about 3 hours of information split between the two)
and a small booklet that summarizes the information on the tapes.
The tapes consist of short opening explanations of what will be
discussed, and then a question and answer dialogue going on between
the "Artist" (Lynne Reynolds) and the "Expert" (James Chatelain).
At the end of each segment (there are five of them), the Expert
summarizes the information discussed. This is really the best of
both worlds. You get to sit back and simply use your ears rather
than your eyes, but you can also refer to the handy booklet that's
included. The booklet contains easy reference charts (for
instance, which forms to use for copyright registration depending
on the nature of the work, or how long a copyright lasts),
resources (websites and contact information for frequently used
services such as performing rights organizations and the US
Copyright Office), information on what should be in certain legal
agreements (for Band Partnership Agreements, Talent Agency
Agreements, etc.) , a glossary of terms, and more.
Joy has really put something special together here. Not only is
the information explained in easily understood terms using specific
(if manufactured) examples, but the readers on the tapes speak
well, slowly enough to be clearly understood, and made me feel
comfortable listening to them. (I swear that James' voice reminds
me of the narrator from that really popular Civil War
documentary...) Confused about Copyrights? Don't understand why a
Poor Man's Copyright won't hold up in a court of law? Want to know
the difference between a mechanical license and a performing rights
license? Interested in the legal differences between major record
labels and independent labels? Want to know how best to go about
retaining a music lawyer, should you need one? There are a whole
host of other answers to frequently asked questions on the subject
of music law - each one answered succinctly (and without talking
down to the audience that would be listening to it, which I feel is
very important), then cross-referenced in the small booklet that's
included. It's a portable guide that will give you the basics
without requiring you to read a huge tome on the subject. This is
one of the best references I've seen on this very confusing topic
in YEARS. For $29.95 - less than most printed publications on the
subject, I'd say this is a *very* worthy investment.
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15% DISCOUNT TO MUSE'S NEWS READERS!:
Sashay Communications is offering a 15% discount plus free shipping
(to United States addresses) to Muse's News readers. To claim
your discount, use the promotional code MUSE when ordering online
(type all caps) or through their toll-free order center,
1-877-995-8645. Offer ends December 31, 2000.
Back to Menu
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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!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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 :
DOING UNTO OTHERS AS YOU WOULD HAVE THEM DO UNTO YOU:
Or - Linking as a Networking Strategy, by Jodi Krangle
©2000, Jodi Krangle. All Rights Reserved. Used By Permission
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The last time I wrote an article, it was about web directories that
you might have overlooked. Keeping to that same theme, here's some
information about a commonly overlooked method of getting your site
higher up on the search engines and making friends at the same time
- linking to other sites.
Before you say it, yes, it's true that being presented with a large
list of links within a web site, might get your visitor to leave
your site before they've really had a chance to look around.
However, if visitors are interested in the content of your web
site, they'll be happy enough to use their browser's "Back" button.
Chances are also pretty good that they'll have a more rewarding
experience being able to look around as they please rather than
being "herded" in a particular direction. Visitors typically
appreciate open navigation concepts so that they can easily jump
between subjects and sections of a web site rather than having to
click several times to get to a particular area of interest.
There's one inescapable fact here: a web site is called a "web"
site for a reason. Use that "web" of interconnected information
streams to your advantage.
To begin with, most web site administrators and/or owners, love to
be approached by those who are impressed with their efforts. A web
site is a lot of work. (Take it from someone who knows. ;-)) What's
the most flattering way to express your appreciation? Easy: Link
to that web site from your own. This is a fantastic way to build
relationships between yourself and your site, and other web site
owners with similar content or concerns.
First of all, set aside a page on your site that specifically lists
resources visitors to your site might find useful. Approach web
sites that offer similar services and/or resources to your own and
ask them if they would consider exchanging links. This is
important - the word EXCHANGE. It's important because building
relationships has to do with offering something in return for a
favor granted - and make no mistake - having another web site link
to your web site, is a PRIVILEGE - not a right. Remember also,
that the other site in question *does* have the right to say no.
If this happens, it could be for several reasons. Don't take it
personally. Make your own assessment about whether or not that
particular web site is worth including in your list (usually, I
think you'll find that it is. You approached them initially for a
reason, after all) and move on. There are plenty of folks that
WILL link back to you.
Consider putting together specific graphics for such links (for
instance, I've set aside a page of such linking ideas for The
Muse's Muse at http://www.musesmuse.com/linking.html) . Make sure
you have both graphical and simple text examples of them as some
sites only do text links. If the site only does text links, it's
likely due to design considerations more than anything else and has
no bearing whatsoever on how much they value your site. Give them
the option and they'll be much more likely to reciprocate.
These are some ideas on how to go about creating a links page while
getting other sites to link back to you in return. But you might
ask - WHY is this important? Besides adding value to your web site
in terms of what you can offer your visitors, there are two main
reasons. The first is the idea of relationships. Relationships
are what make the world go round. They are especially important in
the business of making music. Many times, it all comes down to
*who you know*. That isn't to say that talent isn't important or
that it can't open doors for you. That is to say that talent on
its own doesn't necessarily open those doors. It's *people* who
open those doors. Though the web is a different environment from
going out to songwriting organization or association meetings or
playing live and meeting folks personally, it is still an
environment where relationships can be extremely important. Don't
underestimate how many extra people might check out your web site
should another site say yours is a good one. Also remember that
networking may not help you today, but it will most definitely help
you tomorrow - sometimes in the most surprising ways.
The second reason is a little more mercenary, and I hope you'll
forgive me for "telling it like it is" in this respect. Here it
is: The more people linking to your web site, the more popular
your web site will be assumed to be by the search engines, and the
higher it will rank. (Remember: this is ONLY relevant in the
search engines - the ones that use what are termed, "spiders" to
crawl through web sites and categorize them. Directories use human
editors and therefore won't be affected by this sort of "popularity
contest".) This is not to say that a good title, good keywords and
good description for your web site won't help you equally as well -
but it IS to say that linking is one of the best ways I know of to
keep a web site high in the search engine standings on a consistent
basis. Titles, keywords and descriptions often change. Have you
ever noticed how links tend to linger forever and a day? If you've
ever bought a new domain name and have contacted those linking to
you in order to have them change their link to reflect the new
url, you know what I mean.
Ultimately, the relationships you build on the web will benefit
you. This is one instance where nice guys actually finish FIRST.
Back to Menu
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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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MERLEFEST ANNOUNCES 2001 CHRIS AUSTIN SONGWRITING CONTEST
MerleFest 2001 organizers have announced that RCA recording artist
Jim Lauderdale will serve as Honorary Chairperson of the Chris
Austin Songwriting Contest for 2001. Entries on audiotape for the
Chris Austin Songwriting Contest must be received by March 18,
2001. Lauderdale will select a panel of Nashville music industry
figures that will evaluate all the taped entries. This panel will
choose three finalists in each of four categories: bluegrass,
country, gospel, and general. Finals will take place at MerleFest
2001 on April 27 with songwriters performing at the festival
judging. At MerleFest finalists receive 4-day tickets and lodging
within thirty miles of the event. Finalists will compete for prizes
include cash and Epiphone Guitars from Gibson. The first place
contestants will perform for the main stage audience. For entry
information, please call 800-799-3838 or visit the web site
(http://www.merlefest.org/). All entries must be submitted on tape with
entry fee and an official entry form to THE CHRIS AUSTIN
SONGWRITING CONTEST; P.O. BOX 121855; NASHVILLE, TN 37212. Entries
without entry form and fee will not be judged.
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THE MUSICIANS TIP SHEET:
A free newsletter for musicians which includes many industry
contacts and informative information about the music industry. To
subscribe please send an email to:
musicians-tipsheet-subscribe@egroups.com .
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NRT PUBLISHING BROADCAST MUSIC INC. IS PROUD TO ANNOUNCE
a favorable reply from RCA Records for its last client, and your
music can be next. NRT Publishing is a submission service for
bands/ artists to all the major and independent record labels. All
we require is a tape of fifteen minutes of your best music, lyric
sheets and a U.S. postal money order of $250.00 to get you
submitted. If we do not feel your music will gain the interest of
the top music industry professionals, we will gladly send all three
items back to you.
For more information, contact me directly at:
alansweetproject@hotmail.com
Sincerely,
Alan & Michelle Sweet
of NRT Publishing Broadcast Music Inc.
(775) 885-8173
http://listen.to/Alan-Sweet-Project
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M u s e ' s C l u e s : by Irene Jackson
©1998-2000 Moonstone Productions All Rights Reserved. Used By
Permission
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hands up...how many songwriters want to get heard on the radio??
Hmmmm...a few of you I see :-)
When I released my first serious recording in 1997, I decided that
it was worth trying to get some radio airplay. I found a usenet
list of deejays for college and university stations, decided that
was a good start, and subscribed to it. I announced the release of
my CD and got a few responses and promptly sent them packages.
Some actually played it, while others kind of slipped into the
ethers and I never heard from them. Did I do anything wrong? Well
no, but I could have used this article in helping me to think a
little before I sent out those packages:
http://www.mapville.com/riback/micah.htm
Micah Engber is a self-described "independent producer, writer,
critic, and radio host from Portland, Maine." In his article
"Getting Heard On The Radio: How to Send Out Your Creations", he
gets into the nitty gritty of what deejays and producers are
looking for when it comes to those piles of independent CD's that
come in every week for consideration. Although the article focuses
more on his personal preferences to "help move recordings to the
top" of his ever-growing list, there are many practical things to
consider that many other deejays would probably agree with.
He discusses format, including cassettes (which are still accepted
at some college radio stations), DAT and CD's and even offers up
some ideas as to what to think about when choosing the songs and
their order when you are at the point of recording them. He also
gets into the subject of packaging and what printed material is
appropriate to send.
Even if you are not a performing songwriter, you might consider
some of Micah's tips when sending your material off to publishers.
What I have learned over the years is to research, research,
research...when you send a radio station or a publisher exactly
what they ask for, you have a much better chance at getting their
attention!
I'm just at the point of releasing a new CD, Catnip, and you can
bet I'm going to read this particular article one more time before
I mail that next bunch out!
******
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 2000.
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 : Mickey Newbury
Mickey Newbury was inducted into the The Nashville Songwriter's
Hall of Fame (http://vhost.telalink.net/~nsf/frame-hof.html) in
1980 - and for good reason.
From his web site:
"Newbury's songs have been recorded by Ray Charles, B.B. King,
Bobby Blue Bland, Jerry Lee Lewis, Kenny Rogers, Willie Nelson and
Joan Baez, among others. He once had four songs simultaneously in
the R&B, Country, Easy Listening and Pop Charts. He is perhaps best
known for his composition "American Trilogy", a pastiche of Civil
War-era songs also recorded by Elvis Presley."
He gave a wonderful interview. It's quite clear that, thrumming
through his words like a heartbeat, is a continuing love for the
process of writing songs - no matter where that takes him.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Q: When did you first start writing songs and what prompted you to
do so? Do you have a musical background?
---------------------------------------------
A: The first song I wrote and had published was titled "Just As
Long As That Someone Is You". It was written in 1959, and recorded
in 1965 by Jimmy Ellege. I started writing songs because I wanted
something of my own to sing. I, at that time, was not aware that
the songs I heard on the radio were not written by the folks
singing them. I had always loved poetry, and found it easy to
integrate a melody with poetry.
I have had no formal musical training. I took violin lessons as a
child. I played so badly I was asked to sing instead at a
Christmas show. That was my first performance. I have not stopped
singing, since. In 1954, I started singing with a group named the
Embers. We had our first record contract with Mercury Records in
1956. I sang with that group until 1958. I dropped out, and went
into the military in 1959. After being discharged in 1963, I
started writing again. In 1964, I signed a publishing agreement
with Acuff-Rose Publishing, in Nashville, and I have continued to
write. I have recorded for several labels, producing 18 albums
over the past 35 years.
I was not a touring artist, preferring to write and record as much
as possible. I have had two releases a month, by other artists,
for the last 35 years.
-----------------------------------------------------------------
Q: That's quite a record, Mickey! Can you tell us something about
the business behind that? By that, I mean: how do the publishers
and/or recording artists go about getting the right to record your
work? How did you get your work to them in the first place? Have
those methods and those agreements changed over the years? And if
so, how have they changed?
---------------------------------------------
A: It is a publisher's responsibility to copyright, protect,
exploit, and collect: although in many instances they fall soundly
short. In my case I was affiliated with the largest publishing
company in Nashville, when I, in 1964, arrived. It was a very
satisfactory arrangement for the first few years, until the record
industry started their own publishing companies. The incestuous
nature brought on by that union, made it very difficult, if not
impossible to have a song reviewed by a producer. I, personally,
had the majority of my "covers" from artists listening to my
albums, when I was actively recording. Acuff-Rose had less than
50% to do with getting anything cut for me.
A publisher has what is known as the "first right of refusal" which
means I can choose the first artist who gets to cut it. After that
onetime exclusion, it becomes public domain, and can be cut by
anyone, with nothing more than a licensing agreement with the
publisher. The rate is a statutory rate, set by the Patent and
Copyright Office of the US, which leaves me no control over who
cuts the record or the payment for that right.
-----------------------------------------------------------------
Q: What song of yours do you consider to be the most successful and
why? (This doesn't have to mean financially... However you've come
to judge these things over the years.)
---------------------------------------------
A: I consider 'San Francisco Mabel Joy' to be the most successful
song I have written, for several reasons. First, it was a five
minute song written in a two minute world. I was told it would
never be cut by any artist. Second, I was told you could not use
the term 'redneck' in a song and get it recorded. It has sold in
excess of 55 million records. It broke the rules and it broke the
walls down. It became the foundation for a new form of expression
in country music. It was chosen in the millennial year as one of
the top 100 folk songs of the past century.
Personally, I like "Doggone My Soul, How I Love Them Ol' Songs"
'Tis a fine line I walk.
-----------------------------------------------------------------
Q: So what are your thoughts on "going against the grain", so to
speak? When do you think it's a good idea to take the chance and
when do you think it's better to "fit the mold"? Have there been
particular times in your life when you did something to "fit the
mold" and then were disappointed that you did?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
For the remainder of this interview, see
http://www.musesmuse.com/int-newbury.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 :
A Ticket To Write
by Danny McBride
http://www.musesmuse.com/dm-tickettowrite.html
Danny's at it again. This time, he's writing about writer's block
- or rather... writer's trickle. ;-) If you need a few great ideas
to get yourself musically creative once again, have a read through
this article, part of Danny's regular column entitled, A Muse
Myself - http://www.musesmuse.com/amusemyself.html .
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Stop by the educational songwriting website run by professional
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Back issues and other information will be available at:
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