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The Muse's News |
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Issue 3.2 - May 2000
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
@-- Songwriting Book Review - by Jodi Krangle
@-- Featured Article - A MUSE ZING by Danny McBride
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - by Irene Jackson
@-- Songwriter In Spotlight - UK Singer/Songwriter, Shann Lee Parker
@-- On Site Featured Article - An article already online for your
viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
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ISSN 1480-6975. Copyright 1998 - Jodi Krangle. For more contact
information, see end of issue.
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E d i t o r ' s M u s i n g s :
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Hi everyone. Once again, I'm going to keep this musing fairly
short. There's a fantastic interview with UK Singer/Songwriter,
Shann Lee Parker in this issue that I didn't want to chop up. She
was a great deal of fun to talk with. :-) Lots of other updates
have been added to The Muse's Muse throughout the month. You can
see http://www.musesmuse.com/whatsnew.html for more details on
that. And of course, the columnists are still going strong.
http://www.musesmuse.com/menu-columnists.html if you'd like to see
what they have to offer.
Big news of the month is that Access Magazine, a popular magazine
supplement in many of the major newspapers across the US, did a
review on The Muse's Muse that was quite favourable. In fact, a
few of you may have subscribed to this newsletter as a result of
that. Thank you! Good press is invaluable, of course. Good press
with national distribution, can't be beat. ;-) I've seen a few
copies of Access Magazine since the review, and I have to say that
it's an excellent magazine. Have a look at
http://www.accessmagazine.com/ if you get a chance.
The winner of this month's book give-away, is George ElKoura of
Waterloo, Ontario Canada. George has won himself a copy of
BOOKING, PROMOTING & MARKETING YOUR MUSIC: A complete guide for
bands and solo artists by Nyree Belleville. Congratulations! For a
full review of this book, see below.
And that's everything for now. I hope you all have a wonderful
May! What do you think the chances are that the weather might
actually approach being spring-like in Toronto?? Naww...
Take care!
--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: I'm a singer/songwriter and I am working with a couple of
different musicians, separately, writing and singing to music
they've already written. One of them is via the internet because we
are in two different states. The other is in the same state as I am
but won't be soon because I'm moving. I wanted to know if I could
copyright my lyrics separately from the song as a whole or if we'd
have to copyright the songs together. Also, if we copyright the
music and lyrics together, does that mean I won't be able to use
the lyrics outside of that project?
--CC
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A: It is a good idea to talk about this with your co-writers. It
needs to be clear if you are collaborating and if so, what
percentages you are willing to agree upon. It should be clear to
all participants if you are getting or giving assistance on
creating a derivative work of an original already secured under its
own copyright.
If you co-own the copyright then the registration would indicate
that and both of you would have administrative ability, unless you
indicated otherwise in writing with each other.
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Q: Hi Nancy.
I have really enjoyed your column. It always seems that you answer
one of my own questions just when I have them. Now I have a few
more though. I'm wondering how much information is necessary in
preparing a lead sheet to copyright. Just a melody line, words,
and chord symbols? What about an introduction to the song or an
instumental that may occur? Include harmonies? What about if the
melody of your second verse varies slightly from the first? What
if the hook lies in the bass cleff? And what if the song has no
lyrics, then what is essential? Anything else that I missed that
I should know? Thank you so much, I hope to hear back from you.
--Ryan
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A: Lead sheets. Wow, you know I hardly ever see lead sheets
anymore. I should refer you to the copyright office web site
(http://www.loc.gov/copyright/) to get a list from them as to the
acceptable format. We always send in a recorded version of the
work(s). The arrangement is a separate issue from the "underlying
work". If you like, you could register the main work and then
submit the arrangement's lead sheet as a derivative work to show
you have ownership in it as well.
--Nancy
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New Questions & Answers for April 2000 can be found at:
http://www.musesmuse.com/pub-april00.html
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*****
Carpe Diem's owner and president, Nancy A. Reece has been
involved in the music business since 1983. She was the president
of an independent advertising agency for eight years as well as a
successful personal artist manager for nine years. She
represented the careers of several recording artists and
songwriters including those with EMI, Zomba and Liberty Records
as well as Benson, Starsong, WoodBridge, Temple Hall and N'Soul
Records. She also represented, for a number of years, a Grammy
and Dove nominated record producer. Reece has won awards of
excellence in print magazine advertising and has been named as
one of 2,000 Notable American Women (1995) as well as being
listed in the International Who's Who of Professional and
Business Women (1993). She was also named Cashbox Magazine's
Promoter of the Year (1989).
**If you would like to ask Nancy a copyright or publishing
question for our continuing Q&A section, please send your e-mail
to nreece@musesmuse.com. She can't guarantee she'll get to all of
the questions, but she'll certainly try.**
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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Will Makower - Only Human
Simple pop songs a bit on the dark side, like Sting in the Police
years with guitar and a slower speed lane. 'Falling Into You' might
be the most pleasant tune, with thick, interesting backing vocals
underlining a few moods. 3 songs, penned by Will, with a jazz
underlying theme, complete with sax, sexy female vocals and just
enough keyboard programming to keep it updated. A good teaser for
things yet to come.
http://www.carrerarecordings.com/
---------------
OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE:
Make Lisa Rich - http://www.musesmuse.com/mrev-mlr.html
Brown 25 Lunar Modular Unit -
http://www.musesmuse.com/mrev-b25lmu.html
Burnside Project - http://www.musesmuse.com/mrev-burnside.html
Cupid Cramp Music - http://www.musesmuse.com/mrev-ccm.html
Jennifer Rade - http://www.musesmuse.com/mrev-rade.html
Jack Saunders - http://www.musesmuse.com/mrev-saunders.html
Beth Singer - http://www.musesmuse.com/mrev-singer.html
Ric Sven - http://www.musesmuse.com/mrev-sven.html
Bob Janis - http://www.musesmuse.com/mrev-janis.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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S p o n s o r M e s s a g e :
(Please support the sponsors that support this newsletter! Thanks!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
STEPMAGAZINE.COM
Stepmagazine.com is a publication for the sophisticated and
cutting-edge mainstream, focusing on e-music, e-film,
e-entertainment, and more. Articles on music on-line, interviews
with up and coming and established artists, music and concert
reviews. Also offering MP3 and short film postings. Visit us at
http://www.stepmagazine.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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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 s : by Jodi Krangle
BOOKING, PROMOTING & MARKETING YOUR MUSIC:
A complete guide for bands and solo artists
http://www.amazon.com/exec/obidos/ISBN=0872887391/themusesmuseA/
by Nyree Belleville (nyree@nyree.com if you have questions)
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Nyree has really created something fantastic here. Not only is
there tons of information about how to "do it yourself", but
there's a large dose of *encouragement* included as well. It's
easy to find books that will tell you how horrible the music
industry is - how everyone's after a piece of you - how you can
lose your integrity in the blink of an eye. It's not so easy to
have someone patiently tell you that it's all *worth* it. We're all
writing songs for a reason. That reason is generally because we
love it, far and above the prospects of possibly "making it". But
Nyree's book encourages you to go after your own brand of success -
to take matters into your own hands. She has an easy-to-read
writing style, and the book itself is cleverly divided and
organized so that it's easy to find just the part that interests
you most just by flipping through it. She takes you through a Q&A
at the very beginning about figuring out what you really want from
your career (one of the most useful parts of this book, too! Make
sure you take the test!). There's information on how to build up
your performance and songwriting skills, venue options, booking
yourself concerts, merchandising, building a fan base, promotional
tips and even information on how best to take advantage of the
internet. She has also patiently recorded a checklist of questions
you should ask yourself as your own manager, booking agent,
publicist, etc. Roles are clearly defined. Even if you're taking
care of all of them at once, these things are still very important
to know. There's advice from the pros, and a handy appendix in the
back that has a list of useful web sites (unfortunately, The Muse's
Muse is not included among them :-)), songwriting
organizations, contests and showcases as well as contact
information for a whole host of other useful organizations you
should know about. As a reference book, BOOKING, PROMOTING &
MARKETING YOUR MUSIC is an invaluable resource and I highly
recommend it to all of you. As encouragement, it's also
invaluable. You CAN do it all if you really want to. It's
possible - and nothing can stop you from going after your dreams.
This book can help make that dream come true for you.
Happy learning!
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F e a t u r e d A r t i c l e : A MUSE ZING by Danny McBride
© 2000, Danny McBride. All Rights Reserved. Used By Permission.
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I haven't written a song all week. In fact I haven't written more
than a couple of lyric lines all month, and THEY won't be working
together in the same song. Well, I do have to confess that I did
find two unique chords that sound good together when I dropped my
guitar, but that's about it. The first chord was an attempt to
catch the guitar before it hit the floor, and the second chord was
when it actually DID hit the floor. I've been trying to re-create
them all day with the guitar in my lap, but I can't seem to get the
fingering. (Martin lovers, do not fret (sorry)...It was my
Tele...I once knew a guy whose apartment building caught fire and
he saved his Tele by throwing it out of the third story window.
When he got down to the street, it was lying on the sidewalk, still
in tune.)
So why haven't I been able to create anything of note (sorry again)
all month? Because I have been overwhelmed with songwriting help.
I made the mistake of going to the library and getting one of those
"helpful" songwriting books. After I read it- -many days later- -I
had to go and get all the other publications listed at the back of
the book. And, of course, click on all of the web sites, and read
them, and subscribe to more stuff, and read that, and now I'm so
inundated with help, I can't seem to write anything.
I'll get over it, as soon as I can get some of the "help" out of my
head: "The Key of E and You"..."Write What You Know Even If You
Don't Know Anything"..."Words and Lyrics- -How To Tell Them
Apart"...and my personal favorite..."Hooks, Lines, and Clinkers-
-How To Know If Your Writing Really Sucks As Bad As You Think It
Does".
Now, more than any time in the past, there is so much "help" for
songwriters. If you read it all, you'll never have time to do any
writing. In fact, stop reading this right now, and go try
something out...I'll wait. Good. How was it?
See, there's lots of formulaic suggestions- -come up with a title
that's catchy, then write the song- -that if you follow too many of
these suggestions, what you write may be very well crafted, but
won't necessarily be anything your friends and family begin humming
around the house. And that's when you know you REALLY have
something...when the people around you that hear your "work in
progress" started humming or whistling or singing unconsciously
that very ditty you've been slaving over. This is a key (sorry)
factor ESPECIALLY if they are not musicians or songwriters. When
civilians start singing or remembering fragments of what you're
working on, you know you've hit (sorry) on something.
Remember the most important axiom in show business: Nobody Knows
Nothing. If they did, why would so much dreck see the light of
day, not just in music, but in film, television- -you name it. We
all have a long list of "stuff we can't believe got financial
backing and got made and released"....How long is YOUR list?
Stick to your gut feelings and and don't get too bogged down in
what other people think you ought to be writing. Only YOU write
what you write (one would hope). Take all the suggestions you can,
and then throw out what isn't you.
And remember this other show business axiom: Never Form A Trio
With A Married Couple.
******
Danny McBride is a singer/songwriter/musician who will be appearing
at NEMO in Boston April 14, 2000, at COPPERFIELD'S DOWN UNDER in
Kenmore Square at 9:00 PM, with his great new band. Visit
www.nemoboston.com to learn more. Danny has played guitar with
dozens of well known acts such as ShaNaNa, including the TV series
and movie GREASE, as well as Freddy Fender, Mary Wells, Chuck
Berry, Delaney and Bonnie, Bo Diddley, Conway Twitty, Roger Miller,
Bobby Day, and many, many more. Visit him at www.dannymcbride.com
Danny's C D "16 TUNES...and whaddaya get...A Songwriter's
Portfolio" is available from www.Amazon.com and other music sites.
He lives in Los Angeles. Visit The Boston Rock & Roll Museum at
www.dirtywater.com (Danny is originally from Boston.)
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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SONGSCOPE.COM OFFERS INDUSTRY EXPOSURE TO SONGWRITERS WORLDWIDE
Despite the huge growth of the internet, it has always been
difficult for songwriters and independent musicians to get
themselves heard by industry professionals. SongScope.com offers a
service that will change all that. SongScope.com was created by
industry professionals in need of fresh, new material that was
often difficult to find. Until only recently, the majority of
songwriters had only been able to "shop" their songs by virtue of
limited trips to LA, New York or Nashville. Listing songs with
SongScope.com means that those songs are automatically considered
"solicited material" by the music industry, eliminating the need
for travel or time consuming scheduling. This leaves songwriters
with more time to do what they do best - write songs.
World-renowned producer Barry Beckett, having newly joined up with
the SongScope team, says, "I have to spend a huge amount of time
searching for material. With the SongScope.com application, I can
listen to twice as much material in half the time. I wish there was
something like SongScope ten years ago!"
The cost of listing on SongScope.com is $49/song per year - and
those who join through this mention on The Muse's Muse will receive
25% off all their listings - both at SongScope.com and at the
sister site to SongScope, Vision Music Group Inc.
(http://www.visionmusicgroup.com/). For more information or sign up
details, visit http://www.songscope.com/musesmuse.cfm.
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THE 3RD ANNUAL KRCL PERFORMING SONGWRITER SHOWCASE CONTEST
is now seeking entrants. The Showcase is on Saturday, August 12th,
as part of the Deer Valley Folk & Bluegrass Festival in Park City,
Utah. Each entry should include a rewound cassette recording of
two original acoustic vocal songs, along with a $10 entry fee
(checks payable to IAMA, the Intermountain Acoustic Music
Association). Send entries to KRCL Showcase c/o IAMA, PO Box
2187, Salt Lake City, Utah 84110-2187, postmarked by June 15, 2000.
15 finalists will be chosen by a committee of judges; prizes will
be awarded for the first five places, and the winner also earns a
spot opening next year's Festival.
For details, check out http://www.iamaweb.org/ or call
(801)532-5218.
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LAUNCH OF FOOM 2000 SONG COMPETITION
SCALA (Songwriters, Composers And Lyricists Association) has
launched its seventh annual Song Competition, the Festival of
Original Music Song Competition (FOOM 2000). SCALA’s FOOM Song
Competition has helped launch the careers of many songwriters
attracting entrants worldwide in the previous 3 years. Winning
songs have been recorded and released on SCALA’s annual CD series,
the fifth of which is nearing completion for a June 2000 release.
SCALA has released 7 other albums. Previous SCALA Song Competition
winners have come from as far afield as New South Wales, Victoria,
Tasmania and South Australia as well as New Zealand, Singapore and
the USA. This year's Song Competition includes Live, Demo, Master
and Lyrics sections and it adds a Master (instrumental) section
specifically for composers of any style or genre. Last year the
value of prizes offered, including professional recording and CD
release, was over $4,000 and FOOM 2000 expects to exceed this prize
value.
Entry forms and rules for FOOM 2000 can be obtained from SCALA at:
PO Box 228,
Kensington Park,
South Australia 5068
by phoning
(08) 8431 4063 (Australia),
+618 8431 4063 (International),
faxing
(08) 8332 1013 (Australia),
+618 8332 1013 (International),
emailing
scala@senet.com.au
or they can be downloaded from SCALA’s website at:
http://www.senet.com.au/~scala
Closing date is Friday, 9th June 2000.
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THE CANADIAN MUSIC INDUSTRY ONLINE DIRECTORY IS NOW COMPLETE!
The directory is part of a much larger worldwide online project
being built for aspiring and professional musicians, actors, models
and related companies. Located at
http://www.musicmoviemodelling.com/ the website provides links that
lead to helpful sources including services that allow musicians to
upload song demos or actors and models to post bios and pictures.
From their community page you can network in the chat room, forum
or guestbook. Sign up for their upcoming Musicmoviemodelling
Connections E-Newsletter and stay up to date on what's new on the
web for aspiring talent and related companies! "Connections R What
U need 2 Succeed" (tm)
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Back to Menu
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M u s e ' s C l u e s : by Irene Jackson
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One of my favourite things to do is sit down and come up with
articles for my songwriting tips webpage. In researching the
internet, sometimes I come across other sites that have songwriting
articles...the most interesting are always from established writers
such as Pat Pattison and Harriet Shock.
But recently I stumbled across another webpage by Marc Kuchner, who
is actually working at his PhD at Caltech in the Astronomy
Department. He started out writing a songwriting "essay" in 1996
and ended up getting quite a response to it. But Marc is not only
a hobbyist when it comes to writing...he has studied music
seriously and was a pro member of NAS before it joined forces
with the Songwriters' Guild of America.
His series of short articles are definitely written by someone who
knows what he's talking about...and who else but a songwriter would
write so concisely about each element without wasting any time
going into long detail?? He covers everything from singability to
structure and form. My personal favourite is the "Titles"
section...oh, and "furniture". Never heard of that term? Check it
out, and you'll see what I mean:
http://www.marcjason.net/
Another interesting section is "Forms and Historical Trends" where
he discusses what he calls classic forms such as the blues, and
gets into the Tin Pan Alley Form comparing it to Beatles hits from
1962 to 1965!
This series of articles is short and sweet, and easy for a
songwriter to consume on your lunch hour at work while the boss
isn't looking...so surf on over there and tell Marc the Muse's Muse
sent you :-)
******
Irene Jackson is a performing songwriter from Victoria, BC in
Canada. Aside from writing, recording and performing, she also
maintains a website for songwriters that includes tips, articles
and more links of interest. Her latest CD "Motor Scooter" has
had attention everywhere from Japan to South America, and a new
release is due out sometime in 1999.
Songwriting Tips: 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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S O N G W R I T E R I N S P O T L I G H T : Shann Lee Parker
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This dynamic singer/songwriter from the UK speaks out about
songwriting - the process, the business, and how she's managed to
keep her cool during some difficult times.
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Q: What made you start writing songs in the first place?
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A: I actually came to songwriting at a late point in my career. My
husband Clem was always the songwriter, but I was always ready
with a suggestion or two whenever he was short of inspiration. I
would find tunes coming to me in the middle of the night (not
always, but sometimes..!!) and being far too lazy to get up in the
early hours, I'd do the usual thing of trying to remember them the
next morning... It didn't work, come the morning, I would have
totally forgotten everything.
I swear this next bit is perfectly true..!! It would have been
about two o'clock in the morning, and I was drifting on the borders
of consciousness, when a GREAT! tune sprang into my head. It wasn't
going to get away this time..!! I dragged myself from my bed, and
half asleep, crawled along to the kitchen, where an old cassette
recorder sat on top of the fridge. Hitting 'record' I whistled my
hit onto the cassette tape. Feeling pleased with myself for finally
having captured a midnight idea on tape, I returned to bed. The
next morning I couldn't wait to hear the nights recording and get
on with making it into a fully fledged song. At the breakfast
table, I triumphantly played my song to Clem..... Oh! oh!... Damn!!
Instead of a hit song, all that emerged, was the sound of me,
BLOWING! into the microphone. I could have sworn that I had
whistled a tune into the tape... Chorus, verse, middle eight.. It
was all there last night... Wasn't it..?? Clem nearly choked with
laughter! It was at this point that I decided not to wait for
bedtime inspiration, but to start working hard (in daylight hours)
on my 'songwriting'.
We, (Clem and I) mainly collaborate on songs, and we have no fixed
structure. Sometimes I will write the lyrics, sometimes the tune.
On occasions, Clem might simply play a chord progression that
instantly gives me an idea, and that suggests a melody line
straight away. I have 'written' quite a few songs myself, and this
usually takes form by my vocalizing a melody line using any old
made up words, and after I am reasonably satisfied with the feel,
emotion, and colour of the tune, I then get an idea of what the
song should be about - the melody will suggest what the song
should be about. That's how I sometimes arrive at the lyrics. Yeah!
I realize it's a clumsy way of doing things, but it works for me.
Believe it or not, I very rarely set out to write a specific song
about a specific subject. On the last rare occasion I did that, a
song called "Think It Over" came out. It was about the terrible
violence that we see all around us today. It was a subject that I
felt, and still feel very strongly about. After it was recorded, I
took a step back and thought Whooo!! that doesn't sound like me,
where did that come from. I do remember sweating blood, trying to
put into that song exactly how I felt at the time.
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Q: Can you tell us a little bit about your musical background? Was
your family musical? Did you just get inspired at school? Was
there someone in particular who inspired you?
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A: Whenever I'm asked about my musical background, I always reply
with the same answer; I somehow always knew, even from being a
small child that I would be a singer. That's what I'd be when I
grew up... I simply knew..!! I started singing at a very early age
(four or five years old) singing songs that I'd heard on the
radio, and performing for my parents, friends, relations... just
about anyone who would listen. My Father, had, as I remember, a
loud, strong forceful singing voice, and along with his piano
accordion he would entertain in the pubs and clubs of the town
where I was born. These are some of my earliest recollections. My
Dad was a semi-pro, and for most of his early life, managed several
night-clubs. This is where I think I got the idea of being a
performer. I can remember playing on a Saturday afternoon in my
Fathers club, standing on a huge stage pretending to sing into a
microphone, with my older brother and the cleaners for an audience.
At school I was always at the front of the line to be picked
(hopefully) for school productions. The few names I can remember
from those days are Dionne Warwick, Dusty Springfield, even Cilla
Black, but my eyes were well and truly opened when I first heard
Aretha Franklin...!! "Woo! Hoo! that's for me" I said. I guess
Aretha, along with most of the other black soul artists were my
love and inspiration - along with a bit of Janice Joplin thrown in
for good measure. I also had every Joe Cocker album in record my
collection. I suppose that gives you some idea of the kind of thing
I was into.... Still am..!!
I still enjoy listening to the more 'raspier' throated performers
today. I myself, was once accused by a radio DJ, of having a voice
that sometimes sounds like broken glass being scraped across
sandpaper... Hmm!! I just realized... Maybe I shouldn't have taken
that as a compliment...!!! .
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Q: How do you feel about collaborating when songwriting? Pros &
cons? (People or situations you enjoyed the process with the most?
Or the least?)
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For the answer to this and many other questions, please go to
http://www.musesmuse.com/int-shannlee.html#newsletter
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Back to Menu
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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 :
The Muse In Oz
by Shaman Sean
http://www.musesmuse.com/shaman-3.html
Are you a "good witch" or a "bad witch"? How do you handle a "bad
witch" if you find you need to work with one? Shaman Sean's
regular column this month discusses the idea that "what goes
around, comes around".
Back to Menu
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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 :
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USA INTERNATIONAL SONGWRITING COMPETITION
Gain music industry exposure! Win a grand prize of US$50,000 in
cash and merchandise! This marks the largest prize ever to be
awarded to a winner in any songwriting competition. Judges include
representatives from Warner/Reprise Records and SONY Music.
Visit: http://www.songwriting.net/mm
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MUSIC BUSINESS SOFTWARE FOR THE MUSIC PROFESSIONAL
Music Business Contracts (100 music industry contracts), Record
Company in a Box (complete record company management software),
Tour Manager (manage gigs, and complete tours, financial reports,
itineraries, etc.), and more! All software Mac & Windows
compatible. 2-3 day priority mail shipping!
http://www.neonflame.com/musicbiz
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GO GLOBAL WITH CDSTREET.COM
CDstreet.com is your secure source for credit card music ordering
in your own website. As a member of the CDstreet network, you will
have access to the most cost-effective, secure transaction
processing for global music merchandise distribution. Plus, no
setup fee and no sales equals no cost!
Check it out - http://www.cdstreet.com/
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THE SONGWRITING EDUCATION RESOURCE
Stop by the educational songwriting website run by professional
songwriters Danny Arena & Sara Light. Features include, numerous
songwriting articles, songwriting courses, discussion board, free
classifieds, email and much more. Coming soon: our web classroom
where you'll be able to take our songwriting courses over the
Internet! - http://www.craftofsongwriting.com/
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MIDNIGHT TAPE AND DISC, AND TAXI
offer the best bulk blank tapes made at great prices: Maxell Tapes
in Shape Notch Shells with Azimuth Bridges C-10, C-20, C-30, C-60
and C-90 from $.60 to $1.38 each. BASF Chrome in Notch Shell C-10,
C-20, C-30, C-60 and C-90 from $.48 to $1.26. These are the best
tapes available anywhere and they are guaranteed! Prices are in
U.S. funds. Call Ian at 1(800) 732-6770 or e-mail at:
MidnightTape@Earthlink.net. Look for complete information on
Taxi¹s website at: http://www.taxi.com/.
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DISCOVER SHAREWARE MUSIC MACHINE and explore the a world of
software which will help make writing and recording your songs a
breeze! Featuring over 2100 software titles to freely download as
well as more than 2000 discussion forums, Shareware Music Machine
has software for musicians of all kinds. For MIDI sequencers to
guitar effects to hard disc recording to the latest sound
players, head to http://www.hitsquad.com/smm/?muse
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CLASSIFIED RATES: US$25 Max. 7 lines, where a line =
65 characters including spaces and punctuation. All contracts
must be prepaid. Write to: editor@musesmuse.comBack to Menu
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C o n t a c t I n f o & C r e d i t s :
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Jodi Krangle ............................................. EDITOR
Kathryn Obenshain ...........................GRACIOUS PROOFREADER
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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
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Back to Menu [ Back to The Muse's News Index ] [ Home ]
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