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The Muse's News |
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Issue 5.4 - July 2002
ISSN 1480-6975
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I n T h i s I s s u e :
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@-- Editor's Musings
@-- Copyright & Publishing Q&A with Nancy A. Reece from Carpe Diem
Copyright Management
@-- Music Reviews - by Ben Ohmart & Eliot Popkin
@-- Songwriting Book Review - by James Linderman
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - Songwriting Web sites that inspire - brought
to you by singer/songwriter & teacher, Irene Jackson.
@-- Featured Article - HOOK, LINE & SINKER:
Tips for writing Great Hooks - by Steve Moss
@-- Songwriter In Spotlight - Beth Nielsen Chapman
@-- 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 - 2002, Jodi Krangle. For more
contact information, see end of issue.
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Visit http://www.musesmuse.com/musemerchandise.html for great
Muse's Muse products like mugs, mousepads, shirts, and even wall
clocks! Start your own store too - with no up front costs!
See http://www.cafepress.com/cp/info/storeref.aspx?refby=musesmuse
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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!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THINK YOU HAVE WHAT IT TAKES TO SIGN A MUSIC PUBLISHING DEAL?
Brought to you by Universal Music Group, Songwriting and Publishing
is an instructional video that teaches you everything you need to
know to write a successful song and sign a lucrative publishing
deal. Purchase the video and we GUARANTEE a Universal A&R executive
will review your lyrics and send you WRITTEN FEEDBACK. We'll even
give you the chance to win a $1,000 publishing deal with Universal
Music Publishing Group.
http://www.insidesessions.com/products/songwriting/?rid=1051
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E d i t o r ' s M u s i n g s :
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Here we are, another month later. I hope that extra month has put
you all closer to your goals (whatever they might be). And it's
finally summer! Sweltering hot out there for most of you. But I
have to admit that I enjoy a summer thundershower a whole LOT more
than I enjoy snowstorms. Yay for summer! :)
I'd like to begin by saying that Eliot Popkin will only be writing
for The Muse's Muse for a couple more months before he leaves us to
focus on his own CD (good luck, Eliot!). Therefore, there's a bit
of an opening. If you're interested in writing CD reviews for The
Muse's Muse (and this newsletter), please do let me know. You can
reach me at reviews@musesmuse.com . If you could also include a
sample of your writing and an idea of the genres you'd be
interested in reviewing, that would be extremely helpful.
Meanwhile, there's tons of new stuff around the website - including
a new reference guide for beginning songwriters that I've put
together at http://www.musesmuse.com/res-beginners.html . If
that's of interest to you, I hope you'll check it out.
The raffle winners for this month are Moneec Browne from Dayton,
OH, who has won a copy of David Hooper's and Lee Kennedy's, "How I
Make $100,000 in the Music Business, Without a Record Label,
Manager or Booking Agent" (reviewed later on in this newsletter)-
and Timothy Kesterson from Forth Worth, TX, who has won a copy of
VSS's extremely useful Lyricist product (for a review of Lyricist &
information on a discount offered, see
http://www.musesmuse.com/vss-review.html ).
And that's it for this Musings. :) See you next month!
All the best,
--Jodi
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. Song listings are only $29.95 per
year. An ecommerce enabled marketing/promotion page and tour
calendar are also available for performing songwriters to get
further artist exposure.
See http://www.musesmuse.com/songscope.html for details or contact:
writerinfo@songscope.com ~ Tel: 770.754.4543
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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 Licensing executive Nancy A. Reece
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TOPIC: PUBLISHING DEALS
Q: Hello, I play and write songs in a band that has a recording
contract. Now I have written a song that would, in my opinion, fit
a well-known artist perfectly. The song is nothing like my own
band's style.
Can I copyright the song directly for myself, or is it the property
of the recording company? How should the well-known artist be best
contacted? Through our record-companies? I can sort the details
out with the company's attorney. I would just like to get some info
from an objective source prior to negotiating.
--------
A: You do need to talk to an attorney but the record company's
counsel is only representing the company, not you. Understand
that. If you signed an exclusive songwriting agreement when you
signed your artist deal then they probably own the publishing in
songs you write during the term. It would be that publisher's
responsibility to then help pitch and exploit the work in as many
ways as possible.
If you have a personal artist manager please seek his/her advice-
and get your own attorney!
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TOPIC: MECHANICAL
Q: First of all, thanks for providing a forum for songwriters to
wade through the technical/business aspects of the craft! I've
recently been approached by an independent artist who acquired one
of my songs through Songscope.com and is placing it on a CD
project. The song has been copyrighted under my publishing company
and I am the sole songwriter of the song. She is basically asking
permission to use the song. What type of release should I give her
to do so?
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A: She is asking for a compulsory mechanical license. You can find
samples in many of the books recommended through Muse's Muse and at
http://www.musesmuse.com/mechlic.pdf .
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TOPIC: LICENSING
Q: I recently have acquired an opportunity which is a little
unorthodox which I have questions about. I am a truck driving
singer\songwriter, and I write basically about my experiences on
the road. The company that I am leased to has taken a liking to one
of my songs in particular. The song is registered already with the
Library of Congress in Washington, DC. They previously asked me if
they could use portions of it in a commercial designed to recruit
more drivers to their company. They currently are using it in some
TV and radio commercials on local formats. The agreement we came up
with was that this use of my song was exclusively for this
application which we discussed. Furthermore, if it was to be used
in any future publications I was to be notified and a new contract
would be made. They now have decided they would like to go to a
more national format, asked to meet with me about the various
stipulations I wanted. They have agreed with my requests and have
asked me to have the contract drawn up to those specifications and
they would read and sign. One of the specifications was that a
reasonable percentage of the capital gains would come back to them,
for paying for recording the song and mentioning my website on
their commercial. My questions; How much percentage do you pay for
such a thing? What constitutes being a published writer? and; Is
there an Entertainment Lawyer in the vicinity of Springfield, MO?
--------
A: Congratulations! What a wonderful success story. I'm sure
there are good entertainment attorneys in St. Louis. I would
advise that you call the Blues Foundation in St. Louis and see if
they can recommend entertainment counsel that is licensed in
Missouri to help. If you strike out there, I would say you could
talk to some folks we recommend here in Nashville for advice.
If they want to claim that recording costs are a recoupable advance
as part of the deal, you can do that. Just be clear on ownership,
term and territory.
As always, EVERYTHING is negotiable and you need someone to help
you who you know will not only help you understand the offer but
will know what to ask for.
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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: She receives 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 Q&A's online to see if your question
has already been asked before you send in a request. Thanks!
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*****
ABOUT NANCY A. REECE:
Carpe Diem Copyright Management'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). In addition to her work at Carpe
Diem Copyright Management, Reece works at a performing rights organization
in the United States and is an accomplished contemporary artist working in
abstract and multimedia on canvas and wood.
**If you would like to ask Nancy a question, you can send your
e-mail to Nancy at 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 & Eliot Popkin
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Christine Kane - Rain and Mud and Wild and Green (by Ben Ohmart)
'A woman reads a romance / and I could smell her fragrance / all
the way to Baltimore / every guy with a cell phone / kept on trying
to call home / except nobody's home anymore' are the opening words
from the folk-inspired 'The Way Clouds Do.' Christine's gently
forceful vocals are the sort reviewers dream about. She should be
doing singing for Disney animated movies, because the microphone
seems to kiss her like a well-oiled boyfriend. Crisp, clear and
highly intelligent words spring forth from this young woman as if
she's an old fashioned waterwheel with a new state of the art
engine turning it. She’s realistic, but wistful for the old days
and dreams.
My favorite song is going to be everyone's. '(No Such Thing As)
Girls Like That' purges the gloss from the subject within the
photograph when it comes to supermodels and all things too perfect.
The lyrics are honed to perfection and are sure to be crowd
pleasers. Here's how the anti-lingerie catalog ends up: 'My
favorite girls are women that / are not afraid to cry and laugh /
and eat some food that's high in fat / can change your oil, fix
your flat / can say some prayers and blaze a path / and I'll just
say on their behalf / there’s no such thing as girls like that.'
Yet, there are enough pensive moods in here to keep the soul
growing outwardly to the furthest shining star. One of the most of
effective of which is 'Or Just Heading Home.' Just voice and
acoustic guitar, with a melody you roll up into a tight shoulder to
cry on. When she comes to 'I fell in love once / with a boy from
Wichita / and he left me in Africa / Yea, it’s quite a story' I'm
without a doubt, ready to call her the author of the finest indie
folk album I’ve heard this year. Not since growing up with the
enchanting sounds of Peter Paul and Mary have I heard such magic on
a disk. Beautiful, heartfelt stuff that I can't recommend enough.
You need to listen to this cd. I'm quite serious.
http://www.christinekane.com/
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OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE:
Music For Babies - (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000219.html
Cinema 8 - (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000210.html
Psicodreamics - (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000216.html
TampaStan - (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000209.html
Carolyn Fok - (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000215.html
Chris Welch - (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000217.html
Mara - (by Eliot Popkin)
http://musesmuse.com/columnistsgreylogs/archives/00000225.html
Nic Meredith - (by Eliot Popkin)
http://musesmuse.com/columnistsgreylogs/archives/00000223.html
Obstacle Illusion - (by Eliot Popkin)
http://musesmuse.com/columnistsgreylogs/archives/00000227.html
Kathy Phillips - (by Eliot Popkin)
http://musesmuse.com/columnistsgreylogs/archives/00000224.html
Scott Turchin - (by Eliot Popkin)
http://musesmuse.com/columnistsgreylogs/archives/00000226.html
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******
Ben lives in Boalsburg, PA where greedy people want to put up
condos in place of a nature preserve. He spends his off hours
listening to radio comedy - especially British - loves reading and
watching horror, and hates trying to make ends meet. Send him money
and gifts. While waiting for bribes, he's currently writing the
official biographies of The Bickersons, Paul Frees and Daws Butler.
His latest bit of immortality? The text for bickersons.com.
Contact him at: ohmart@musesmuse.com.
Eliot is a Boston born singer/songwriter who saw his debut album
"Down Along This Road" have 3 songs find their way into movies,
radio airplay on more than 100 stations across the country as well
as countless wonderful reviews and feature stories. He currently is
writing songs for various major label and film projects, and is in
the studio working on his follow up album. He lives in Los Angeles,
enjoying a nice view of the Hollywood sign. To hear his music, drop
by his web site at http://www.mp3.com/eliotpopkin .
Contact him at: eliotpopkin@musesmail.com
If you're considering sending in your own CD for review, please
drop by http://www.musesmuse.com/musicreviews.html to find out
which reviewer reviews which genre. Thanks!
Back to Menu
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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 James Linderman
How I Make $100,000 in the Music Business, Without a Record Label,
Manager or Booking Agent - By David Hooper and Lee Kennedy
http://www.amazon.com/exec/obidos/ASIN/1930575165/themusesmuse
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On the front cover of this book there are 3 claims that the authors
make. They claim to be able to help you "sell more merchandise","
increase your fan base" and finally, "quit your day job".
It was this final claim that left me sceptical. Most of us need to
work at something, other than being musicians, so that we can pour
whatever time, money and energy we have left into... being
musicians.
As I read through this book I began to realize that, although the
authors don't make it look particularly easy to make a decent full
time living as a musician, they do make it look possible and that's
enough to make me believe that this is an amazing little book.
This 200 pager was written by David Hooper and Lee Kennedy; David
is the promotion and marketing whiz of the team and runs
IndieBiz.com, a prominent artist development site. Lee is the
musician of the pair and is the particular one who makes the
six-digit income (from the title) doing gigs and selling merch.
I always prefer taking advice from people who have proven their
theories, not just formulated them, and so this was the second
thing that sold me on the power of this book.
David and Lee will teach you some terrific new ways to build good
partnerships; with other musicians, other bands, club owners,
events organizers, and fans; what to offer, and what to expect back
from your dealings with them.
There are some amazing tips on how to maximize these relationships
so you can begin to make back some of the money you've sunk into
your music... and then have a bit to spare... and then have a lot
to spare. Sound good so far? Read on!
They basically re-write the rulebook on how to book a gig. They
then offer up some incredible advice on things like; when to play
certain kinds of songs during your set, based on the common times
that people usually leave a club. This will put peoples "seats"
back in their seats and a smile on the club owners face. I found
this section to be one of the coolest things I've read in a long
time and I don't even play clubs.
The book then marches through a very detailed and specific set of
strategies that have been used by David and Lee to create the kind
of success that puts $100,000 in your hands every year and a smile
on your face.
The back 50 pages of the book contain short comments from top
industry insiders expressing their central perspective on what we
should know about the business, and usually don't. I almost did not
even blink while reading this it's so captivating.
This would be a great read for everyone, period. It's illuminating,
entertaining, insightful and totally hip. Obviously, it would
especially appeal to those who gig and want to get more serious
about it.
It is a book that promises to make you a lot more money than it
will cost you to pick up, and like all great products, it comes
with a money back guarantee... that you will never use.
******
James Linderman lives and works at theharmonyhouse, a music lesson,
songwriting and music pre-production facility in Newmarket,
Ontario, Canada. He has worked as a collaborating songwriter and
consultant for The Toronto Office of Catholic Youth and leads a
music workshop program for Life 100.3 Christian radio. James writes
songwriting articles for The Muse's News web magazine, Canadian
Musician Magazine and Professional Musician Magazine.
Contact James at: theharmonyhouse@rogers.com
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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'RADIO MUSE' WEBCAST FOR INDEPENDENT SONGWRITERS - SEEKING MUSIC!
The Muse's Muse & Host, Jan Best of Independent Songwriter
Web-Magazine, are putting together a series of shows, one every
month, featuring the songs of independent songwriters just like
you! See http://www.musesmuse.com/radiomuse.html for details on how
you can send in your own music for consideration.
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NEW OPERA/POP ARTIST SEEKING SONGS
Tonos hosts many songwriting contests and Industry Opportunities
specifically for songwriters every month. June contests include:
* Legendary Pianist Jim Brickman is looking for some great pop
songs for his new artist Joshua Payne. Just like Josh Groban,
Joshua Payne is an opera singer. Jim Brickman is releasing Josh on
his own label (to be re-named in coming days) through BMG.
Broadway songs will not be accepted; he is looking for traditional
pop songs that show the range of Josh's incredible opera voice.
* Jessica Andrews needs country songs for upcoming album!! - Many
remember Jessica Andrews by her first single, "I Will Be There for
You," on the Prince of Egypt soundtrack back in 1998. Just one year
later, at the tender age of 15, she released her first album titled
Heart Shaped World in 1999. Now she is working on her third album
release and a major Nashville production company is searching for
songs for her new project. (Deadline is July 31)
* Modern Rock Band Seeks Rock Songs! - A modern rock band with a
major indie deal is looking for uptempo rock songs. The band is
similar to Creed and Lifehouse. Here is a great opportunity for a
tonosPRO member to get in on the ground level of a band that is
getting ready to explode onto the music scene. (Deadline is July
24)
http://www.qksrv.net/click-793658-4194776?url=http%3A%2F%2F
www.tonos.com%2Fapp2%2Fopportunities%2Fjsp%2Findex.jsp
(It's a bit long, I know - but if it doesn't work as a clickable
link in your email, just copy and past the link into your browser.)
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NEW LIVE INTERNET VENUE WANTS TO GIVE YOU EXPOSURE
THE GUEST HOUSE LIVE, the first recording studio and jam space on
the Web that gives the world a 24/7 backstage pass, is a cross
between a club and a pro recording studio, and we webcast live
24/7. Under one roof is a professional, state-of-the-art recording
studio, performance and rehearsal spaces, the offices of three
record labels (Pop/Rock; Americana; Urban), two publishing
companies, and musicians, singers, songwriters and technicians all
creating and performing live to the world. We offer not only
exposure through live performances and considerable promotional
efforts throughout the U.S., South America and Europe, but
reasonable performance/recording packages for all artists and
genres. Contact Barbara@TheGuestHouseLive.com for more information
or just log on to http://www.theguesthouselive.com/ and check us out for
yourself.
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HIGHWAY 61 SINGER/SONGWRITER CONTEST:
From the land of Bob Dylan's roots in Northern Minnesota. Share
your original song live, on stage to kick off the Highway 61 Folks
Festival in Mahtowa Minnesota, Saturday August 3, 2002. All
entries have a chance to win an acoustic guitar provided by
Music-Go-Round. Songs will be judged on creativity, musical
performance, lyrical content, area appeal, and, listenability.
Winners to appear and be promoted on compliation CD.
For more information, visit http://www.festivalbrew.com/ or email us at:
rowjamesrow@msn.com
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GREAT ARTICLES TO CHECK OUT COURTESY OF GALARIS INDEPENDENT MUSIC:
* Understanding where and how you fit into the marketplace
http://www.galaris.com/articles?id=105
* How Good Do Your Demos Have To Be?
http://www.galaris.com/articles?id=30
* Make Music Money on the Web
http://www.galaris.com/articles?id=103
* What's My Style?
http://www.galaris.com/articles?id=113
* Being True to Your Musical Abilities
http://www.galaris.com/articles?id=80
Sign up for the Galaris Independent Musicians Newsletter. Simply
send a blank email to mailto:addmuse@galaris.com and twice monthly
you will receive FREE, direct to your email box, articles
containing: Promotion tips, Career advice, Recording tips,
Practicing tips, Legal advice, Musician's health, Radio promotion,
Songwriters tips and much more.
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NASHVILLE PUBLISHERS SEARCHING FOR NEW WRITERS
Two of Nashville's most successful song publishers, Scott Gunter of
Almo Irving Music and Chris Oglesby of BMG Publishing, are looking
beyond the Nashville city limits to discover great new talent. They
have asked hit writer, consultant and Bluebird Cafe host Barbara
Cloyd to help them. Applications are now being taken for a workshop
to be held in the Atlanta area Aug 23 - 25. Fifteen applicants will
be chosen to spend the weekend playing songs for and learning from
these Music Row pros. For complete details visit
http://www.barbaracloyd.com/.
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ATTENTION: INDEPENDENT BANDS AND SINGER-SONGWRITERS
You CAN earn a good living selling your MP3s! CoconutRoad.com will
invite up to ONE MILLION PEOPLE A YEAR to hear and buy YOUR music!
Sign Up NOW! Plans as low as $10 a month.
The Revolution Begins. Go to http://www.coconutroad.com/ .
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RPM Direct is now accepting music submissions for Volume 2 in the
RPM Direct Presents: Unsigned compilation CD series. RPM Direct
offers unsigned bands and recording artists the chance to have
their music heard by hit making music industry executives around
the world. All music submissions are reviewed by a panel of veteran
recording industry professionals and final artist choices will
appear on an exclusive RPM Direct compilation CD that will be
distributed directly to 2,000 of the world's top creative
executives in A&R, music publishing, film & tv music as well as
producers, managers, attorneys, radio programmers and more. The
project will also be heavily promoted in the RPM Direct Newsletter
and through other recording industry media outlets. All music
submitted for Volume 2 will also count as an entry into RPM
Direct's "Submit To Win" contest.
For more information please visit our Rules & Regulations page at:
www.rpmdirect.com/unsigned/rules.htm or contact RPM Direct, Inc. by
email at: mailto:Submissions@rpmdirect.com
Back to Menu
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M u s e ' s C l u e s : by Irene Jackson
©1998-2002 Moonstone Productions All Rights Reserved. Used By
Permission
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There's a website that I peruse from time to time called Music
Dish, which is essentially a music news website featuring stories
on the business side of music. Recently I discovered a section
that I hadn't noticed before (duh!), that deals specifically with
songwriters. It's called the Songwriters' In the New Millenium
series, and you'll find it here:
http://www.musicdish.com/bookstore/ereport/songs4.php3
Music Dish and MiN2.com hosted a panel at the Nashville New Music
Conference in 2001 that consisted of better known songwriters like
Jason Blume, Barbara Cloyd, Kim Copeland, Gary Talley and Susan
Tucker. Each of these songwriters also completed an essay that
went into a series of reports in PDF form all downloadable from the
above site. One of the reports deals with how songwriters utilize
different resources and services to further their careers.
Actually, what is most surprising is how FEW songwriters take
advantage of these. But there is also a Q&A section where
songwriters posed question to each of the panelists on various
topics such as critiquing, song contest and more.
There are also several other topics including a guide to open mics
and showcases, charting a career path, an more general reports
discussing the digital music revolution including the effects of
MP3.com and Napster. There is a LOT to read here, but most
interesting to me is the survey of songwriters that is very telling
in terms of the effectiveness of contests and critiques and other
services. You will require Acrobat Reader to read the reports, and
a link to the free software is provided if you don't have it.
There are also a couple of reports presented in zipped Microsoft
PowerPoint files.
All in all, a very interesting colletion of reports and information
for the songwriter looking to develop their careers. Who says the
business of music can't be interesting??
******
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 eagerly anticipated CD "Catnip" is
finally here, and her earlier recordings have had attention
everywhere from Japan to South America.
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
Back to Menu
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F e a t u r e d A r t i c l e :
HOOK, LINE & SINKER: Tips for writing Great Hooks
By Steve Moss © 2002 All Rights Reserved. Used By Permission
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What is a hook? Think of any song that was a hit back when you were
a kid and start singing it. Chances are, the first thing you think
of is its hook.
A hook is a brief, memorable, irresistible bit of music, lyric, or
both, that the listener will remember even after hearing your song
only once. It's the part that gets a song on the radio and sells
records. It's the part you can still remember and sing twenty years
later.
A song's hook is often, but not always, a musical setting of its
title. In the verse-chorus format of most of today's pop songs, it
is often found in the chorus.
No matter what style of music you're writing, if you have a great
hook, you have a shot at a great song. Here are some ideas to
consider when you're trying to reel one in.
The military has a rule of thumb for planning successful
operations. It goes by the acronym "KISS," for "Keep it Simple,
Stupid." I have a variation of this rule I follow when writing
hooks. It's "KIRSS" (sounds like "curse"): Keep it Repetitive,
Simple (and) Singable.
If your goal is a memorable song, you'll get a lot of mileage out
of repetition. What is easier to remember, Abe Lincoln's Gettysburg
Address, or the chorus of "Achy-Breaky Heart?" The listener's ear
craves the familiar. The more you repeat, the more familiar your
material is.
Simplicity goes hand in hand with repetition. You don't need too
much information in a hook. Tell your story in the verses. Many
classic hooks are simply repetitions of a one-to-three syllable
phrase, like "you're no good, you're no good, you're no good, baby
you're no good" (Clint Ballard, Jr.). The goofier it looks on
paper, the better hook it often is.
If your listener can sing along with your song, she will love it
even more. Use words that are easy to pronounce. They are easier to
sing gracefully. Tongue twisters like "She sells seashells by the
seashore" are memorable, granted, but you wouldn't want to sing
one, especially in an up-tempo song.
Musically, your hook should cover a nice wide interval, such as a
5th or more. Avoid hyperactive melodies that rise and fall too
often within a short span of time, however. Always sing what
you've come up with several times before deciding whether to keep
it or not.
You can approach a hook lyrically or melodically. Try it both ways.
As you practice, you'll probably notice less and less separation
between the two until you're routinely getting ideas containing
both words and melody.
Along with simplicity and repetition, strive for familiarity in
your lyric. Your listener wants a song he can identify with. Start
a list of common sayings and phrases. Many great song title/hooks
are musical settings of phrases we hear all the time. "Why Didn't I
Think of That" (by Paul Harrison and Bob McDill, recorded by Doug
Stone) is an example. You can also come up with a memorable hook by
changing one or two words in a well-known phrase to give it new
meaning, as Dewayne Blackwell and Earl Lee did in "Friends in Low
Places" (recorded by Garth Brooks).
Repetition of sounds within a phrase also helps make a lyric catchy
and memorable. Try to work some alliteration -- repetition of
consonant sounds, and assonance -- repetition of vowel sounds, into
your next hook line. Phrases like "Cats in the cradle" and "silver
spoon" (Harry Chapin) are alliterative. "Take the 'A' Train"(Duke
Ellington/Billy Strayhorn) uses assonance effectively. "Purple
People Eater" (Sheb Wooley) is a great combination of both.
If you're starting with music, practice composing short melodic
phrases, either in your head or on an instrument. Record them so
you can listen to them later. Let them vary in length, anywhere
from 2 to 8 measures.
It's hard to define what makes a "catchy" melody, but you know one
when you hear it. Some of yours will stick in your mind, or creep
up on you when you are thinking of something else. Those are the
catchy ones. When you get one of those, try setting some words to
it. Write whatever you can think of that fits. Try a few different
sets of lyrics for a given melody. Very often your best ideas lurk
inside you for a while before surfacing.
Another way to approach melodic hook writing is to use the "Big
Leap." Lots of memorable hooks feature a prominent vocal leap. The
first two notes of the classic "Somewhere Over the Rainbow" (Harold
Arlen/Hip Yarburg) are an octave apart.
Unusual or exotic sounding intervals work well too. "Maria" from
West Side Story (by Leonard Bernstein and Stephen Sondheim)
features the augmented 4th. "Somewhere" ("there's a place for us")
from the same score starts with a minor seventh, an interval that
is both wide and unusual, making this hook doubly striking.
Study one of your favorite songs. Does one phrase stick out (and
stick in your head) above the rest? Where do you find this phrase
in the song? At the beginning of the chorus? At the end? How does
it work? Take it apart and find out what tricks the writer used to
imprint her song on your brain. The more great hooks you study, the
more ideas you'll have to try in your own songs.
Good luck and remember: writing well starts with writing.
******
Steve Moss is the editor of Tunesmith Monthly: The Nuts & Bolts
Resource for Songwriters. He writes songs and performs with his
wife Jenny. Based just outside Chicago, IL, the two have performed
all over the upper Midwest. Their first CD of original songs, One
Foot on the Train, was released in June of 2000. A recent review in
Bluegrass Unlimited Magazine praised Steve's "particularly nice
lyrical gift." When not writing or making music, Steve works as a
technician for the World's largest maker of pedal harps. Visit him
on the World Wide Web at http://www.tunesmithmonthly.com/Back to Menu
=================================================================
S o n g w r i t e r I n S p o t l i g h t :
Beth Nielsen Chapman - conducted by Bart Herbison,
Executive Director of the NSAI
http://www.musesmuse.com/int-bethnielsenchapman.html
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Beth's bio states (on her website - from an article written about
her by Kerry Dexter at Dirty Linen Magazine):
"Beth Nielsen Chapman is the writer behind number-one country hits
for Trisha Yearwood, Willie Nelson, and Lorrie Morgan. Jazz artist
Ute Lemper and blues-rock Grammy winner Bonnie Raitt have also
recorded her songs. Chapman's own albums have charted in the top 10
in the Adult Contemporary field. Recently, Chapman's name has been
in the news because Elton John chose the title song of her current
release, Sand and Water, to sing at his concerts in memory of
Princess Diana and Gianni Versace."
This interview provides rare insight into the mind of an extremely
talented songwriter who has decided to share the most personal
aspects of her own life in her song.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Bart: Let's talk about the music first. I loved what you said; this
is a good record.
-------------------------------------------------------------------
Beth: Yeah, I'm very proud of this record. Well, songs come to me
in really sort of subliminal ways. I often write the vowels a
couple weeks ahead of the consonants. (Bart laughs.) I’m serious.
-------------------------------------------------------------------
Bart: Describe that.
-------------------------------------------------------------------
Beth: It's like I'll sit down and put my hands on the piano or the
guitar, and then I'll hear a sound or I'll feel a chord that will
resonate and then I'll get something happening in my voice. My
voice is like a car that I get into and drive but I don't know
where I'm going. And I record everything. And often, I sort of get
into a state, a creative state that is, where I'm just feeling
around melodically, and playing things off the top of my head. Then
I go back and listen to it and for the first time, hear what I just
did. It's like Elvis has left the building while the thing is
happening. I'll often think, "Oh that wasn't any good and I don't
think I got anything out of that." Then I go back and listen to it
the next day and hear a little bit of something, and that will be
the beginning of a song. Then I'll sing it over and over and over
again and it will develop legs. It'll sort of form itself. I'll
keep coming back to it and starting it at the beginning. There's a
song on this record called "Every December Sky" and I started it
the day, I was actually down at the Gulf, around New Year's and I
spent three days by myself in silence. I sat down and started
playing this song and I got this really strange feeling and I
started sobbing. It was right at that time, within that hour, that
I found that Kent Robbins died and I always felt like Kent Robbins
had a part in the spirit of that song coming through me and all I
had was "every December sky blah, blah, blah", and I had this whole
strange feeling like what does that mean? I felt there was this
sense of connection between that song and Kent. And then it was two
more years later before I finished that song. Then it was another
year before I recorded this album. So the song has been around for
about three years and then you know, somehow, I knew in the terms
of the functioning of writing that song, I knew it had to start
with "Every December Sky" and I knew it had to end with "Every
December Sky". I knew it was about letting go and it was about
believing that even though it seems like there's nothing ahead of
you, that there is something ahead of you. It's really a metaphor
for death and also a metaphor for life.
-------------------------------------------------------------------
Bart: Well, you know, we were talking about spiritual stuff just
before we started this interview. I just glanced at some of these
lyrics, and Beth, you have been through so much. You lost your
husband, finished this record three days before you learned you had
breast cancer and what amazed me at glancing at some of these
lyrics, it's almost like you could have written about even the
second part of that experience. It goes so uncannily with what you
have been through.
-------------------------------------------------------------------
Beth: It is. It's like; going through chemotherapy, that song gave
me the most comfort. It's all about believing. It's all about
really believing that in the darkest hour, in the darkest coldest
day of winter, that the spring is inside the trees. That somehow
folded into my psyche, many years before this challenging thing I
went through. Even as I finished this song, I felt a connection
with Kent. I am just looking forward to the song Harlan is going to
help us all write. (Laughs)
-------------------------------------------------------------------
Bart: Has Kent's family heard this song?
-------------------------------------------------------------------
For the rest of this interview/article, please click through to:
http://www.musesmuse.com/int-bethnielsenchapman.html#newsletter
-------------------------------------------------------------------
ABOUT THE INTERVIEWER:
Bart Herbison is Executive Director of the Nashville Songwriters
Association International (NSAI), a post he has held since 1997.
A Paris, Tenn., native, Herbison worked as a reporter and spent 14
years in Country radio before joining the staff of U.S. Rep. Bob
Clement in 1987. During the next 10 years, Herbison served as the
Tennessee Congressman’s Press Secretary, then Campaign Manager,
then Chief Administrative Officer before leaving Capitol Hill for
Music Row. Herbison is a 1996 graduate of Leadership Music.
Back to Menu
=================================================================
" O N S I T E " F E A T U R E D A R T I C L E :
BUILDING THE PERFECT BEAST: Form Follows Function
http://www.musesmuse.com/patart2.html
Brought to you by Author/Teacher/Songwriter, Pat Pattison, this
enlightening article explains why it's a good idea to have your
rhyming and rhythm scheme follow your song's subject - and gives
you tips on how to do it too!
=================================================================
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 :
-----------------------------------------------------------------
LYRICIST! VERSION 2.2 HAS ARRIVED-INCLUDES ON-LINE COPYRIGHT LINK
Virtual Studio Systems, Inc. is proud to announce Lyricist V2.2 -
The Songwriter's Best Friend: the first-of-its-kind word processor
designed for musicians, songwriters, and poets. The software
includes a rhyming dictionary, thesaurus, album categorization,
chord charting, chord generator, song arrangement, On-Line
Copyright Link, and much much more - all in a user-friendly
package. Check out the review at www.musesmuse.com/vss-review.html
Muse's Muse visitors can take home the product for $5.00 off the
regular selling price just for purchasing through the form provided
off of the review!
For more information, visit the review url above or call us at
888.732.1176 inside the U.S.A. or 603.726-4499 outside the U.S.A.
-----------------------------------------------------------------
MUSIC INDUSTRY SEMINAR:
Music Therapy 101 a recurring national music industry seminar
presents Rules of the Game, scheduled for Sat. Aug.17 in Atlanta
GA USA. Panels on Record Deals, Retail & Distribution, Music
Publishing and Networking Activities. Panelist include Willie
Hunter Music Ent. Editor, Steve Gordon, Esq.-10 years w/ Sony
Music, Jeffrey Omari, Esq.-Former DARP Publishing Admin, Ty Young,
JaWar KEMETIC RECORDS and more. Seating is limited! ACT NOW SAVE
30% by pre-registering @ http://www.mt101.com/ or call 800-963-0949.
Get info on MT101 Seminars; join the email list at www.mt101.com
-----------------------------------------------------------------
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Check out the details at http://www.indiemusicreview.com/mm1
-----------------------------------------------------------------
SONGLOUNGE.COM - THE WEB'S FIRST QUARTERLY SONG CONTEST SITE
awarding thousands in cash and prizes every three months to the
best three songs.
No gimmicks, bogus recording or publishing contracts or empty
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At SONGLOUNGE.COM we don't sign bands, we sign checks.
Come and visit us at http://www.songlounge.com/
-----------------------------------------------------------------
GET YOUR COPY OF THE INDIE CONTACT BIBLE & START MAKING WAVES!
This is an absolutely priceless resource for indie musicians. If
you want your music reviewed, on the radio, *heard*, THIS is the
resource you need to have. It's not going to tell you "how" but it
will *certainly* tell you "who". I highly recommend you pick it up
in order to compliment your other music marketing techniques. Have
a look at this url and read through a few sample pages to see what
I mean: http://www.bigmeteor.com/muse
(Full review at http://www.musesmuse.com/3.4-July00.html#book)
=================================================================
ADVERTISING RATES: For Classifieds: US$50 Max. 8 lines, where
a line = 65 characters including spaces and punctuation. All
contracts must be prepaid. Write to: editor@musesmuse.com
For Newsletter Sponsorship rates and other advertising
opportunities, please see http://www.musesmuse.com/media.html .
Back 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 editor@musesmuse.com.
All articles copyrighted by their authors.
Back issues and other information will be available at:
http://www.musesmuse.com/musenews.html
The Muse's News is part of The Muse's Muse, a web resource for
songwriters: http://www.musesmuse.com/
For further information, send your e-mail to:
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adinfo@musesmuse.com - How to place a classified ad, pass
on market information or sponsor
The Muse's News.
info@musesmuse.com - How to subscribe, unsubscribe, etc.
editor@musesmuse.com - To submit articles,reviews,ideas,etc.
SNAILMAIL: Please contact me first at editor@musesmuse.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Back issues of the newsletter can be read at the National
Library of Canada ecollection:
http://collection.nlc-bnc.ca/100/201/300/muses_news/index.html
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