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The Muse's News

Issue 2.1 - April 1999
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
@-- Q&A with Nancy A. Reece from Carpe Diem Copyright Management
@-- Music Reviews - by Ben Ohmart
@-- Featured Article - Strategies for Success by Sara Light.
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Producer in Profile: George Martin (does he really need an
    introduction??)
@-- Muse's Clues - Songwriting Web sites that inspire - brought
    to you by Jeff Mallett of Lyricist.com.
@-- On Site Featured Article - An article already online for your
    viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
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ISSN 1480-6975.  Copyright 1998 - Jodi Krangle.  For more contact
information, see end of issue.
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This ezine featured at EzineCenter.com - the Ezine Search
Engine(tm) - http://www.ezinecenter.com/
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Sponsored in part by Samurai Consulting.
To set up a mailing list or for UNIX consulting, please contact
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website at http://www.samurai.com/ .
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Also sponsored by:
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INTERNATIONAL SONGWRITING COMPETITION ANNOUNCEMENT
The USA Songwriting Competition in association with Billboard
Publications, Fender Musical Instruments, Digitech, Mackie,
D'Addario Strings, Cakewalk Music Software, Rane, Presonus,
Quantegy, Superdups, Line6, Audix, ASN and Musician's Friend has
announced the launch of this world's leading international
songwriting event. 
Contact: http://www.songwriting.net ~ info@songwriting.net
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PARTICIPATE IN 2nd MUSICDISH INDUSTRY SURVEY
RESPOND & WIN a "must-need" marketing book for any music industry
professionals. This music survey primarily focuses on the
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Music Revealed" by Tonya Rae. http://www.musicdish.com/survey/
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Please visit The Muse's News sponsors as they help to make this
publication possible.  Thank you!
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E d i t o r ' s   M u s i n g s :

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Well.  It's been another eventful (and fun!) month over here at
The Muse's Muse.  Welcome to another issue of the newsletter!

Tommy Merry has been having a hard time of it lately (I hope
you'll all join me in sending good wishes his way) so Jeff
Mallett has taken on the Muse's Clues section for a while. I
think, once you read his first installment, you'll all agree he's
doing a *great* job.  Thanks, Jeff!  Also, Ben Ohmart now has his
own Music Reviews section on The Muse's Muse website. More
details on that can be found beneath this month's music review.
If you have an independently produced CD or tape that you'd like
reviewed, Ben is definitely the guy to talk to.  

In other exciting news, next month's "Songwriter In Profile"
interview will be with Brad Roberts of the Crash Test Dummies.
So if you're a CTD fan, stay tuned!  Brad was a great interview
(and has quite a sense of humour!) and I'm sure you'll enjoy the
read.

Steve Gillette's' SONGWRITING & THE CREATIVE PROCESS was our book
give-away for this month. A review of the book can be read at
http://www.musesmuse.com/1.9-December98.html#book in case you
missed it when it was first published in The Muse's News.  Steve
also has selections from the book on his web site if you're
interested in getting a taste.  You can find that at
http://www.sover.net/~gillette/songwork.html .  He's called it
the "Internet and the Songwriter's Tutorial Site" and it's
wonderful! Not a substitute for owning the book, but quite a nice
sense of what it has to offer.  

The lucky winner of Steve's book this month is Sandra Atkinson
who describes herself as "an aspiring songwriter hoping to get my
feet wet in the music business industry very soon."
Congratulations, Sandra!

Next month's book give-away will be Pat Pattison's WRITING BETTER
LYRICS. A review can be found by viewing an earlier edition of
The Muse's News at
http://www.musesmuse.com/1.7-October98.html#book and trust me
when I say this book is a lyricists *dream* come true.  Pat
really know what he's talking about.

Incidentally, if you have a book review you'd like to have
published in The Muse's News, you can contact me at
editor@musesmuse.com.  I'll be happy to talk with you
about it.

A couple of things I'd like to ask you before I "release" you to
read the rest of the issue ;) - First off, if you see any reviews
of The Muse's Muse or its newsletter in any print or online
publications, please e-mail me at editor@musesmuse.com and let me
know about it.  I'd really appreciate that.  Often, I don't hear
about these things unless someone tells me.  Thanks in advance!
Secondly, if you know of anyone that you feel would make a great
regular columnist for The Muse's Muse, please let me know! I'm
looking for columnists and people to do Q&A's on any number of
subjects that would be of interest to songwriters and who better
to ask than you guys?  So if you have ideas, I hope you'll
contact me.

And that's it, folks.  I won't hold you back any longer. :)
Enjoy!

--Jodi


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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Question:
I'm writing a book about a well known band in it can I use E mail
letters sent to me and mailing lists ? Do I need permission from
the people who sent the E mail ?
--Laura

Answer:
Hello Laura.  There may be some first amendment issues here that 
are outside of my advisement reach.  Please seek competent legal
advice in your area on this matter.

Does this 'well known band' know you are writing a book about
them?  Is this more of a news piece or is it educational or for
profit?  I would tread lightly.  There are provisions for persons
considered celebrity for the use of their image etc. however,
there are rights of publicity issues and liable ground mines that
could make what you are doing treacherous without proper
representation to clear the way.

Your question directly relates however, to private E-mail and it
would be important to find out the rules of privacy concerning
your State or Province as well as that of the one from where the
letter was sent.  There is a certain 'reasonable assumption' that
the E-mail sent privately is private.  Comments made on mailing
lists are assumed to have been made only to those subscribing to
the list, however, those posted in public domain such as on a web
site may be the property of the owner of that web site and should
not be used with out proper permission.

I'd play it safe and get permission in writing for all parties.
With that, you should be able to maneuver well through the land
mines.

                            *****

Carpe Diem's owner and president, Nancy A. Reece has been
involved in the music business since 1983. She was the president
of an independent advertising agency for eight years as well as a
successful personal artist manager for nine years. She
represented the careers of several recording artists and
songwriters including those with EMI, Zomba and Liberty Records
as well as Benson, Starsong, WoodBridge, Temple Hall and  N'Soul
Records. She also represented, for a number of years, a Grammy
and Dove nominated record producer. Reece has won awards of
excellence in print magazine advertising and has been named as
one of 2,000 Notable American Women (1995) as well as being
listed in the International Who's Who of Professional and
Business Women (1993). She was also named Cashbox Magazine's
Promoter of the Year (1989).

If you would like to ask Nancy a copyright or publishing question
for our continuing Q&A section, please send your e-mail to
editor@musesmuse.com. We can't guarantee we'll get to all of the
questions, but we'll certainly try.

Back to Menu
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M U S I C   R E V I E W S :  by Ben Ohmart

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BILLY DECHAND - Pop Another Cork

Let me tell you about Billy's little 27 minute cd. THESE ARE DAMN
CATCHY SONGS. 'The Last Time' starts it off. My ear was hooked
into 'the very last time / like the 2nd last time / like the 3rd
last time', both words and music. Interesting this should be
called a solo album since the vocals are what works Very much for
me. Beautiful backing arrangements. Especially on 'Calling'
nearly a homemade Queen/Brian May ballad. Overdubs? Groovy. 

'So Many Reasons' however does remind me of Sting's Police years.
A rich darkness that will set your sun. Clear vocals and bass
twirling like a baton in a nervous girl's hand. Great stifled
guitar work that threatens to explode, but holds back, hanging
on, at the last moment.  

Title track 'Pop Another Cork' is - well - rocking jazz/lite
blues? It's a fun song, helped on by the youth-like excitement of
the vocals. Like an 8 year old looking at his zit face in the
mirror, singing aloud, like in a musical, about how he sees life.
Well, that's what the sound of the voice tells me. Since the
lyrics are about popping corks and toasting 'those below', I'd
say it's an adult song. But I can dream, right? 

This album seems like a teaser. The band is asking - what do you
think of us? Should we pump the money into recording and pitching
a full length cd? I say yes. They produce the flaky, fun kinda
songs that don't get to live on every FM station. That alone is
reason enough that they should be allowed to be stars. 

CONTACT INFO:
481 Wythe Avenue, Brooklyn, NY 11211
http://mussmyhair.hypermart.net ****** Ben Ohmart has had 100s of stories and poems in zines and journals, and had 4 plays produced last year. His lyrics will be on 2 CDs this year, 1 a gothic album, the other a rock album. He's currently writing films, with hopes of having one done in Malaysia soon, and is also trying to break into the prison of television. He's white, 26, single and loves British comedy. He lives in Boalsburg, PA, and enjoys watching rabbits eat his garbage. Contact him at: findline@mindspring.com . **Ben has kindly consented to do music reviews for this publication and also for The Muse's Muse itself. If you have an independently released CD or tape that you'd like to get reviewed, send it off to: Ben Ohmart, P O Box 750, Boalsburg, PA 16827 or drop by his Music Reviews web section at http://www.musesmuse.com/musicreviews.html for more details.** Back to Menu ================================================================= F e a t u r e d A r t i c l e : STRATEGIES FOR SUCCESS by Sara Light ================================================================= Having been Membership Director of the Nashville Songwriters Association International (NSAI) from 1992-1996 gives me a unique perspective as I look at my own efforts in becoming a full-time staff writer. Over the four years I worked with, talked to and counseled NSAI members, I began to recognize certain similarities between those songwriters who continually realized their goals and those who didnít. In this article I want to share some of the strategies that have worked for me and seem to be common among other songwriter friends of mine who are new staff writers. Find your team. From the day we make the decision to pursue our dream of becoming a professional songwriter, weíre beginning a long and often frustrating journey. Like Dorothy on her way to Oz, we need help reaching our destination. At first, our family and friends may be the ones to give us the emotional support we need to keep going. Eventually, however, we must expand our team of supporters to include industry professionals who can keep us moving in the right direction. Performing Rights Organization representatives (ASCAP, BMI, SESAC, and SOCAN), publishers, professional songwriters, producers and even major label recording artists, all may eventually become part of our team - but this takes time. By continually improving our songwriting craft and expanding our knowledge of the industry we let our potential team know that weíre serious and motivated. By having the patience to form honest relationships and showing appreciation when someone helps us, we earn the trust and respect that we need to add members to our team little by little. Luckily, we donít need everybody in town to like our songs, but we do need a strong team who does. Stay focussed. Most of the songwriters Iíve met actually begin with some kind of plan. For some, it is to take frequent trips from their hometown to LA, NY, or Nashville in order to write and establish relationships. For others, it is to move to one of these cities and find an alternate means of income until the ship carrying their hit song comes in. But the plan canít end there. Even if weíre living in a major music center, itís easy to get sidetracked or discouraged if things arenít happening as quickly as we might have hoped. Organization and goal setting are key ingredients to persevering and moving forward on our journey. Several years ago, I began (and still continue) a ritual of having weekly goal setting meetings. Every week I list my "successes" for the week, no matter how insignificant they seem. I also list the phone calls and appointments I need to make and my songwriting goals for the week. I keep track of long range goals for three months, six months and a year away. Over the years some of the ideas that have come out of those meetings are: I will take guitar lessons; I will host a show at the Bluebird Cafť; I will meet with five publisher(s) this month; I will write everyday; I will save enough money to demo ten songs this year; I will get a major artist cut. Only when I began to really focus on each little goal did I find new doors opening to me. Take chances. Iíve heard it said that itís better to take a risk and fail, then fail to take a risk. In an industry as competitive as this one, we can not afford to let our fears of failure hold us back. Challenge yourself. To "take a chance" means something different for everyone. We all have different strengths and weaknesses and different "comfort zones." What might feel like a risk to one person, might be a piece of cake to another. For example, I get very nervous when I have to talk on the phone about anything relating to my own career, even to people I know well. Over the years Iíve had to force myself to make business phone calls every day. Youíre the only one who knows whatís scary to you. As my favorite T-shirt says, "you miss 100% of the shots you donít take." So keep in mind that if youíre not writing a song today, someone else is. If youíre not calling a certain publisher, someone else is. If youíre not booking a gig - well, you get the point. If we never step outside of what feels comfortable to us and risk rejection or failure, we canít learn the skills we need to succeed (namely to accept rejection and failure and keep going in spite of it). Youíve already taken a huge step, just by allowing yourself to pursue your dream. Itís not an easy thing to do, but donít let yourself give up too easily. Have no fear! You can do it! --Sara ****** Sara Light is a professional songwriter who holds a Master's degree from Rutgers University in English Education. While living in NJ, she was an instructor at Rutgers University and studied lyric writing with Sheila Davis from 1989 to 1992. After moving to Nashville to pursue songwriting, she served as the Nashville Songwriter's Association International (NSAI) membership director until 1996. She has been a guest lecturer at several NSAI regional workshops, the Nashville NSAI Workshop Pro-Teaching series and Belmont University. She has served as a judge in several national songwriting contests and her popular class on lyric writing has a waiting list. She is currently a faculty member at Vanderbilt University and a full-time staff songwriter for Zamalama Music. She has had several independent artists recording her songs and currently has a cut on John Michael Montgomeryís upcoming CD. Back to Menu ----------------------------------------------------------------- M u s i c a l N o t e s : Songwriting Contests & Market Info. In the interest of conserving space, I will only be including changes to this listing in this newsletter. All other contests and market information that have already been listed here, are displayed at http://www.musesmuse.com/contests.html & http://www.musesmuse.com/markets.html . Please check there regularly for updates! ----------------------------------------------------------------- CREATION: CRAFT: CONNECTION This is the theme of the Northern California Songwriters Association's 19th Annual Songwriters Conference, happening, as usual, on the second weekend of September - Saturday/Sunday, September 11 & 12, 1999, at Foothill College in Los Altos, CA (40 miles south of San Francisco). For more information, see: http://www.musesmuse.com/markets.html ----------------------------------------------------------------- SEMINARS FOR SONGWRITERS: Jai Josefs, songwriter/producer, and author of the Diane Warren-endorsed Writing Music for Hit Songs will be giving a series of seminars around the country over the next few months. Learn why hit writers have said "Jai's seminars can open the door to the knowledge needed to create great songs." Here is his schedule and who to call for info: Thursday April 22nd - Nashville - NSAI - (615)256-3354 Saturday April 24th - Virginia - Greg Trafidlo - (540)586-5000 Sunday April 25th - Charlotte -Doak Turner - (704)-896-7234 Saturday May 15th - San Diego - Liz Axford - (619)481-5650 Saturday June 26 - San Francisco - NCSA - (650)654-3966 He will also be teaching an 8-week class on groove and melody writing in Los Angeles on Thursday nights beginning May 6th. Call NAS (323)463-7178 for details. (Jai Josefs will be a guest at the Songwriting Lounge (http://www.musesmuse.com/songdisc.html) on April 5th!) ----------------------------------------------------------------- GOODNIGHT KISS MUSIC (BMI) / SCENE STEALER MUSIC (ASCAP) We are an active publishing company with specific needs (right now a certain type of Christmas song.) Please check our website to see EXACTLY what we are looking for. (Writers Area , "daily updates".) Our current credits are posted there as well. PLEASE NOTE! We only accept the EXACT thing we ask for, not blanket submissions. http://www.goodnightkiss.com ----------------------------------------------------------------- THE ROSE GARDEN COFFEEHOUSE in Mansfield, MA, will be accepting entries until April 15, 1999, for its 7th Annual Performing Songwriter competion. Three finalists will be selected to perform their two songs live before Dave Mallett's feature performance at the Rose Garden on May 15. An all-star panel of judges will select a winner by the end of the evening. Complete details, entry form, and rules appear on the Rose Garden website: http://home.ici.net/~rsgarden. ----------------------------------------------------------------- OSMC SONG CONTEST: The Songwriters' Drive-In is setting up this cool Song Contest just to help to promote the fine art of Songwriting. No entry fee and you get an evaluation of your work. See how your song is rated among other participants. At the OSMC Song Contest our judges will give you a feedback on your demo. The only goal of this contest is to give an economic way to amateur artist to prepare for major Song Contest and educate and develop the talents of those interested in the art and business of song writing. One Song a Month Contest  (OSMC)  Opens April 1st 1999 (No entry fee) Check the rules and register now! http://www3.sympatico.ca/charles.crepeau/OSMCrule.html ----------------------------------------------------------------- NEW SONGWRITING CONTEST: SongRider Studios, a music provider for major recording companies, has begun its quest to cluster good songwriters by sponsoring a new and unique songwriting contest for 1999.  Four winners are chosen for every 64 song entries throughout the year in this ongoing tournament.  First place wins $440 and a free track on our CD sampler,  second place wins $120, third and fourth place win $40. You can enter by sending in your cassette or CD with the lyrics and your return snail and e-mail addresses with $20 to SongRider Studios, Lakeside Village, 8250 E. Golf Links #118, Tucson, Arizona 85730-1246. For other details regarding copyright, the methods of selection, recording contracts, the lists of entries and winners,  click onto our website at http://www.angelfire.com/biz2/songwritingcontest/index.html For any questions, e-mail us at SongRider8@webtv.net        We look forward to listening to your songs. ----------------------------------------------------------------- DO YOU HAVE A NOT-FOR-PROFIT CAUSE YOU'D LIKE TO RAISE AWARENESS & FUNDS FOR? I have been observing all of you for some time and very much appreciate how you all come together in supporting one another in times of need.   As some of you may know, my husbandís first major experience after being signed as a young recording artist to Apple Records by George Harrison was the Concert for Bangladesh.  This made a profound impact on him as to how powerful music can be in helping people.  After recording on Apple Records, CBS Records and A&M and then experiencing the death of John Lennon,  he founded Imagine A Better World fourteen years ago with the intention of producing music for a better world to raise funds and awareness for non-profit causes.  As 1999 unfolds, we open our ears and our hearts to causes that could use the help of a non-profit fund raising  recording during the coming year.  We provide these CDs with no up front costs to the non-profit organization and we have been fortunate to be able to help some wonderful causes with our productions. For more information on who we are, please visit http://www.imagineabetterworld.com. I would like to invite any of you individually and/or all of you as a collective group to contact us if you have a non-profit cause that you would like us to consider.   Tel. 303-799-0070 or Cvaneaton@imagineabetterworld.com. ----------------------------------------------------------------- THE GREAT AMERICAN SONG CONTEST Songwriters Resource Network (SRN) has announced that it will sponsor an innovative new competition for songwriters and lyricists everywhere ­ THE GREAT AMERICAN SONG CONTEST. To find out what kind of a contest songwriters wanted, Cahill explained, SRN surveyed songwriters from around the country. Most said they wanted a chance to "open doors" in the music business and have their songs heard by music-industry professionals. THE GREAT AMERICAN SONG CONTEST offers a range of Style Categories for every kind of songwriter, including a special Lyrics Only category. Winners receive cash awards and valuable prizes. Entry fees are between $8 - $10 per entry. ∑ ALL entries are reviewed by qualified music-industry professionals. ∑ ALL participating songwriters will receive critiques of their work. ∑ ALL categories offer multiple award winners, not just one. For further information visit SONGWRITERS RESOURCE NETWORK - * * News & Information for Songwriters * * http://www.songpro.com. ----------------------------------------------------------------- SCALA FOOM 6 - SCALA FESTIVAL OF ORIGINAL MUSIC SONG COMPETITION & CD RELEASE 1999 Details of the SCALA (Songwriters, Composers And Lyricists Association) 1999 Song Competition are now available at: http://www.senet.com.au/~scala/frules.htm . Closing date is 11th June 1999. ----------------------------------------------------------------- THE 1999 JOHN LENNON SONGWRITING CONTEST IS NOW ACCEPTING ENTRIES We are now accepting entries for the 1999 John Lennon Songwriting Contest. The new application has been completed and can be obtained by clicking here. Please email us at info@jlsc.com if you have any questions regarding how to successfully enter the Contest. Remember that all entries must be postmarked by August 31, 1999 in order to be eligible. Results of the 1998 Contest can be obtained at http://www.jlsc.com/winner.html. We would like to thank each and every songwriter that entered and congratulate the winners. Also deserving of thanks are the members of Executive Committee whose participation in the adjudication process made the Contest possible. Back to Menu ================================================================= P r o d u c e r   I n   P r o f i l e : George Martin This month's profile was contributed by Steven Jay Zuckerman, the fellow responsible for that wonderful New York Music & Internet Expo that just recently took place on the first weekend in March. (Thanks Steve!) Credits: George Martin interviewed by Steven J. Zuckerman and Ken Michaels. ----------------------------------------------------------------- George Martin has produced  the Beatles, America, Jeff Beck, The Mahavishnu Orchestra and even Peter Sellers' comedy records.  He's considered a "producer's producer."  Not only does he get the best out of the artists he works with, heís humble too.  Maybe it comes from confidence, having the knowledge of the instruments of the orchestra, how they work both individually as well as together.  But with confidence comes conviction. The sheer and utter faith in one's ability to shape sound.  In this brief yet informative conversation, we spoke with George from his home in England, where he assured us that a great recording should always start with a great song, and that despite the unfortunate situations of our creative industries being taken over by marketing companies and non-creative corporate conglomerates, a great song will last forever. ----------------------------------------------------------------- * Q *: Do you think that it is essential to have a full musical background as you do in order to become an effective record producer or is the talent of producing good records something which is a little more instinctive or acquired? ----------------------------------------------------------------- First of all, I've never really experienced dealing with people who don't have a musical education. But having said that, there are some very successful record producers who just are not great musicians.  But I think that it is an enormous help to be a musician and to know what the guys in the studio have to do, to have some experience in knowing what they go through. It is definitely an asset to know the terrors and the difficulties that a musician goes through so you can understand how to handle them. I think there are so many facets to being a record producer that are important. It is like teaching in a way. I started out as a musician and I got involved in the recording business by chance. I really wanted to write music for films. Orchestrating music was very important to me.  In regards to the studio business, I did realize that I had the ability to get the best out of people and making them better if I hadn't known them. I think that a producer has to look inside the person and say "what is there that I need to get out of them and how do I get them to release it?"  You got to get inside the person. Each artist is very different. There is a lot of psychology in it.  I learned that diplomacy and tact were important when I really didn't have those attributes and made a few mistakes.  Then the ability to shape music and know what will appeal so you can take a bit of raw material and shape it knowing that it is good the way it already is, however it could be better if we did something with it. ----------------------------------------------------------------- * Q * You used the words 'what if' which I find are very important to the creative process. These are wonderful experimental and creative words. ----------------------------------------------------------------- Yes. You see, that is one of the problems today. I think the problems facing a young musician and young producer today are enormous.  I have a son who is in his 20's who is a tremendous help to me and a wonderful musician and producer, but it is much tougher for him than when I started because when I started in England there really werenít more than a handful of actual producers, and now everyone thinks that theyíre a producer.  You didn't have to be that great to do well then!  And now the opposition is greater. Technology has been getting more sophisticated and clever and more complicated with each day that goes by instead of years, and it is quite mind-boggling what you can do with it.. It's a far cry from where I started when you had to do everything by the seat of your pants and some rubber bands, mast tape and sealing wax. Now everything is right in front of you and available for a price and because of that, it is really easy, given the tools, to produce first class sounds, and you can make a tune that really isn't that great sound wonderful, in a back room.  This stifles creativity because you don't have to work for it, it's already there!  When youíre hungry and you have to work hard for something, you can be more creative than when something is handed to you on a plate.  Technology has helped music and creation, but we shouldn't abuse technology. ----------------------------------------------------------------- * Q * You have always had a knack of developing talent that will last forever. ----------------------------------------------------------------- The record industry is very different today. The people who actually run the record companies today don't make records. They are marketers. They take the product off the street while the producers are finding the talent.  It's rather like comparing it to Hollywood when you had great studios and talent and now you have nothing more than finance companies organizing and buying independent films and projects.  I guess I was lucky in a way because timing is everything and I came into the business at a very important time when the recording changes were coming out of mechanical into the electrical into electronic and Stereo was coming in and people were getting sophisticated in their thinking, but it wasn't too sophisticated.  When people say to me "I can't believe that you made that record on a four track" I say that it was an advantage because having the constraints that you had, you had to work through it, you had to work harder, you had to think more to get the effects you wanted.  I feel that having the constraints really helped me in many ways. ----------------------------------------------------------------- * Q * Considering your background working with some very important performing artists, do you listen to contemporary music differently today than you would have years ago? ----------------------------------------------------------------- It is harder to judge when you've been around a lot longer. You have to accept that your standards might not be the same standards working today. I don't understand or like a lot of what I hear today. A lot of what I hear doesn't have what a good record should have, a good tune and a good lyric. A lot of what I hear has good production, but it doesn't have the basics. ----------------------------------------------------------------- * Q * Of all the records you've made, is there one that is your absolute favorite? ----------------------------------------------------------------- I've been so lucky to work with so many good artists.  Being a producer with EMI at first gave me a very good in with people, but of all those marvelous people, of course the Beatles had to be head and shoulders over everyone else, not just because they were good characters, but they were great songwriters.  My wife and I talk about it often. Elvis was great, but he didnít write his own songs.  The Beatles did.  I think the people who create the songs are very important people. ----------------------------------------------------------------- * Q * So getting to the Beatles, looking at your musical training, do you think you would not have been able to make "Elenor Rigby" the way you did? ----------------------------------------------------------------- Well, two aspects of that. The production and the scoring are two separate things.  But my role model for that was Bernard Hermann who did the scores for Alfred Hitchcock. He was a great film scoria.  I got the idea for the jagged strings from, I think, Fahrenheit 451.  And it was very, very effective. Also the harmonies that Paul gave me gave me a bit of Benjamin Britten. ----------------------------------------------------------------- * Q * As someone who has been so versatile in so many styles of music, from rock and roll to jazz to show music, is there any project you haven't done which you would like to do some time in the future? ----------------------------------------------------------------- I don't think that I can really look too far into the future.  I think that one of my vices is that I've been interested in too many things instead of concentrating on just one.  I'm sort of a butterfly at that.  I liked working with Stan Getz enormously.  Blow By Blow by Jeff Beck was wonderful. He was one of the most wonderful guitar players I've ever worked with.  John McLaughlin of the Mahavishnu Orchestra was wonderful too. I used to do a lot of old Dixie Stuff. The first number one single I had was with a group called the Temperent Seven. And that was intriguing.  I've worked with lots of actors which I found interesting. I don't think that I'm going to be doing a great deal more because I don't think Iím as good now as I used to be.  Maybe it's time to quit before itís too late.... ----------------------------------------------------------------- * Q * Well the artists that you have worked with share a common denominator of having a great passion for great melody. A lot of the music coming out now doesn't seem to have that same passion. Is there something that you could say to the music industry today to wake them up? ----------------------------------------------------------------- I think that learning how to make change in anything is important, whether you make cars or records. You will find that a person will be doing a better job when they learn their craft before they attempt to work at it, and don't bullshit people. Don't pretend you know something prior to doing it. Have confidence. You have to have confidence or people will walk all over you.  I am delighted with the success of the Gershwin records set. ----------------------------------------------------------------- * Q * Here in America there are so many different formats of radio and of music and I feel that by having these pidgeon-holed formats, it takes the creativity away from the artist. ----------------------------------------------------------------- It is pretty horrific that with the format of radio today, that if you have a band with a certain style, it just doesn't get played.  If you don't fit in, you don't get played.  For the creative point of view, it does get you to channel what you want to do. I've never done that. I've always made different records from rock to spoken word and it's all music and it makes life interesting doing more than one thing.  I would be bored stiff if I made records in only one format.  The old mix and match is gone. You have to listen to a specific category.  And that's not very good.  But you have to do what you do and maybe the people will like it.  I think that the key things are the artist and the song. The producer is important in getting it right when the raw material is right. The most important person is the songwriter. And the second most important person is the artist who performs it and way down the line is the producer. ----------------------------------------------------------------- * Q * But you have a tremendous ability of getting the best out of people. And in the case like the The Beatles I find it difficult to imagine what a song like "Strawberry Fields Forever" would have sounded like without you as the producer? ----------------------------------------------------------------- It was a great song and it would have been a great record. ****** Steven J. Zuckerman is an executive producer of music and entertainment events focusing on helping artists promote themselves while maintaining creative control. He has helped hundreds of nationally recognized performing artists secure press and radio prior to their fame. Some of these artists include Bon Jovi, Meat Loaf, Foreigner, Bryan Adams and INXS....Most of the artists he has worked with are still successful.  He is also a producer of music television programs and creative director of numerous projects. Back to Menu ================================================================= M u s e ' s C l u e s : Web Site Reviews by Jeff Mallett ----------------------------------------------------------------- I just finished watching the movie "Antz" on video tonight. The film finishes with that optimistic tune, "High Hopes", which still brings back a flood of youthful memories ...of watching "Laverne & Shirley" on T.V. Okay, okay, so I wasn't yet born when Sinatra's rendition won an Oscar. In any case, this was Doris Day's version and I am more interested in who wrote it. Where do you go when you want to hunt for more information about a song? One good place to start is on the sites of the big U.S. performance rights organizations. They have online search engines that work very similarly, down to the total disclaimer of any responsibility for damages the data may cause! Our first stop (sound of coin flipping here) is ASCAP: http://www.ascap.com/ace/ACE.html ASCAP created a dial-up database called ACE in 1993. It is now maintained with weekly updates on the web. You can search by title, writer, performer, or publisher. I'll search by title and check the performer and writer(s) checkboxes to see that information in the results. *click* Wow! Look at all these titles. I don't see Doris Day listed as a performer anywhere, but did you know that Sammy Hagar (Van Halen) also wrote a song called "High Hopes"? The next stop would be BMI: http://www.bmi.com/repertoire/database.html Their "hyperrepertoire" database has millions (literally) of songs licensed by BMI searchable in the same four categories. Check all the boxes and...*click* Wow! Again, no Doris Day, but did you know that David Gilmour (Pink Floyd) also wrote a song called "High Hopes"? Our journey might continue on to the SESAC Repository Online (SRO): http://www.sesac.com/repertory1.htm but then again, maybe I should just put in the video again and watch the credits! --Jeff Mallett ****** Jeff Mallett is the man behind LYRICIST.COM, an extensive, "no ads" website devoted to helping songwriters find and learn what they need to know about songwriting. Jeff writes, plays, and sings his songs from the bay area of California. http://www.lyricist.com Back to Menu =============================================================== " O N S I T E " F E A T U R E D A R T I C L E : NATIONAL DISTRIBUTION by Kenny Love http://www.musesmuse.com/kenny4.html Get national sales without a distributor. Also addresses Internet sales and distribution. Back to Menu ================================================================= C l a s s i f i e d s & U s e f u l S e r v i c e s : ----------------------------------------------------------------- HART SEEKS RODGERS BMI-member lyricist with two completed scripts seeks Broadway-style composer to make them sing. Or let's do a new show. allroypro@aol.com ----------------------------------------------------------------- ATTENTION BANDS & SINGER-SONGWRITERS: I am currently booking acts here in new orleans send press kit to Chip Waguespack @ Monarch Productions 6138 Stratford Pl Nola 70131. E-mail at monarchp@bellsouth.net. ----------------------------------------------------------------- RECORDING ARTIST VERNA CHARLTON Canadian Country recording artist Verna Charlton has had five albums, 15 single releases, and three top ten Canadian hits. Looking for strong country and trad/bluegrass material for upcoming recording projects. Details at http://members.tripod.com/~musicmart/index.html musicMART: musicmart@sprint.ca ----------------------------------------------------------------- LOOKING FOR GROUPS & SONGS Lulu Records is currently looking for one or two good groups to add to it's label. We are interested in rockabilly, swing, and retro 50's and 60's sounding bands. We are also looking for original songs in these styles. Contact Paul Barry at lulurec@execpc.com ~ http://www.execpc.com/~lulurec/index.htm ================================================================= CLASSIFIED RATES: US$2/line/issue. Min. 2 lines, max. 10 lines, where a line = 65 characters including spaces and punctuation. All contracts must be prepaid. Write to: editor@musesmuse.com Back to Menu ================================================================= C o n t a c t I n f o & C r e d i t s : ----------------------------------------------------------------- Jodi Krangle editor@musesmuse.com..................... EDITOR Kathryn Obenshain kobensha@runet.edu.....GRACIOUS PROOFREADER Bryan Fullerton bryanf@samurai.com.......SYSTEM ADMINISTRATOR ----------------------------------------------------------------- The Muse's News is a free monthly newsletter for and about songwriters. Subscribers are welcome to recirculate or reprint 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: ----------------------------------------------------------------- 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 =================================================================
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