A selection of some of our newsletter feature articles:
I've got to tell you a songwriting story
By Bill Byron
I was born and raised as an American overseas. After college, I found myself back home working living in the laconic isles of Bermuda. I used to drive a lorry, a van, up and down the island for a linen shop, The Irish Linen Shop. As I came into the main shop of the three shops of the Irish Linen stores located on Front Street, Hamilton, the elderly sales ladies handed me a package to take to the post office...and, on the front it said, to: Mrs. John Yoko Lennon (New York address). Well I thought the staff at the shop were foolin' with me, pullin' my leg, since, they knew I was a hotel musician/entertainer at the Elbow Beach Hotel. They also knew I was a songwriter and was making my first record. They didn't know I took the job SO I COULD WRITE songs in the van. So I went back into the quaint, and small main floor of the shop, and joked around with them...and, they looked confused!!! They had no idea who John Lennon was! When I saw their baffled expressions, I urgently shouted: "was it a man, with some sort of glasses and hair down to about here." When they said yes I gasped: "Where did he go?!" They said that he just went out the door and around the corner. I rushed out on the busy Hamilton sidewalk, looking everywhere, but did not spot him. He was gone. I had no idea he was in Bermuda...until later. Then, I learned he was visiting and eventually writing a few of the Double Fantasy songs in Bermuda. I learned he had even created the LP Title from the name of a flower in the Botanical Gardens in Bermuda. I went back in to the Irish Linen Shop and sat down mumbling. They asked me what was the matter. I said: "You know I am a Bermuda songwriter, right?!" They said yes. "Well... I just missed meeting one of the best songwriters in the world!! John Lennon of the Beatles!" A few months later, the world... missed him. At the sad, sad news, I held my own private, silent vigil. I stood outside the gates of the harbor-side house in Pembroke, Bermuda where John stayed. I placed some island hibiscus flowers and some Bermuda ferns on the pastel-colored, concrete gate posts. That was my goodbye to John Lennon.
A brief coda: Recently I visited my relatives in Bermuda and the bass guitarist from my old Top 40 cover band invited me to a jam with six of his musician friends out on an island...Agars Island. An abandoned underground aquarium on the island had been renovated by the new owner and we were invited over to jam, as loud as we wanted, in this perfect practice place. As the boat carrying me and my friends, now aging but spirit-filled musicians, in front of the dock near the old aquarium entrance, I looked back behind the boat across a few hundred yards of waves, and there was the very house on the harbor that Lennon visited. On this sunny December day in 2004, with salty air and a sea breeze, I mentioned to the disembarking musicians, that we may have been inspired to pick up a guitar, struggle with new chords, and form bands by the exciting music and stories of the Beatles. I looked across the tourquoise, blue-green water and I could see the painted gate pillars of that house where the former leader of the Beatles, retreated and wrote starting-over songs. This was the same stone gate where, on December 8, 1980, I held my little vigil to John Lennon.
http://songramp.com/BillyByron
bermudabillbyron@hotmail.com
YOUR BEST BET FOR A #1 SONG
By Ralph Murphy
Vice President, ASCAP
Many of our members already know ASCAP Vice President Ralph Murphy because he's a fixture at our annual convention, The Road Rally. Above all else, Ralph is the living embodiment of every songwriter's soul. If Albert Einstein and Jed Clampett were to mate and bear fruit, Ralph would be their progeny--part genius, part country gentleman, all heart.
At last year's Road Rally, Ralph did a presentation based on his study that was done in conjunction with Belmont University. What follows is the written version of Ralph's presentation. I hope you find it as enlightening as we have. Enjoy. --Michael
For a small business owner such as a songwriter/publisher, knowing the market is vital. Budgeting for success means looking at income (when it decides to come in!) and making informed decisions about how to spend it most effectively. Up near the top of the list of expenditures (almost right next to eating) are demo costs. The financial outlay for demonstration recordings has risen to $750 - $1,000 per song. So, if you write 30 songs a year and only have $10,000 in your demo budget, you're going to have to make some hard choices.
Let's say you've written this song about a Chicken. You love it! Your mom loves it! The special person in your life loves it! However . . . Radio is only playing Dog songs. Fortunately, you've also written four Dog songs, which everybody loves. Your dilemma? You only have enough money to produce a three-song demo, but you have five songs (four Dog songs and one Chicken song). What do you do? Now, unfortunately, I have suitcases full of demoed Chicken songs, so I know what the songwriter side of me says; however, I noticed early on in life that food is a good thing and that eating makes me happy. So, while grumbling and complaining about how radio should be playing more Chicken songs, I demo three of my four Dog songs so I can continue to support my nasty food habit! In the frustrating war between art and commerce, commerce wins.
Let's be honest. Though it shouldn't, radio drives the "commercial" aspect of the songwriting process. (Did I already mention that I like to eat?) It affects just about every decision we make creatively. In March, 1999, country radio did something seismic in nature, which impacted songwriters and publishers dramatically. As an experiment to maintain listenership, Country radio decided to slow the progress of records going up and down the charts in hopes of breeding the kind of familiarity that keeps listeners coming back for more--commercials, that is. As a result, I became curious and decided to try an experiment of my own. I started by researching the Billboard Country chart for 1999 and found that a total of 18 songs reached #1. Taking a closer look, I began to wonder: what type of song is reaching the top in this brave new world of radio? A world in which, through yet another ripple effect of deregulation, big radio chains have been allowed to buy up and homogenize most of the "mom and pop" country stations resulting in:
- Country songs being slotted between jingles and musical links that sound like they're written and performed by Metallica;
- on-air personalities who, with rare exceptions, really don't know (or care) about country music, and
- an increase in the amount of commercial time that effectively gets rid of two or three records per hour.
But, I digress! What we began to see on the chart before March is that records did indeed start taking longer to climb and began to linger longer, that is, taking longer to fall off completely. Before March, the total average time a song spent on the chart was 26.5 weeks. After the March changeover, that time increased to 32 weeks -- adding more than a month to the life of a song! (In fact, Lonestar's "Amazed" was on the chart for more than a year.) What kinds of songs enjoyed success? Let's look at a few dynamics . . .
Anything in common?
Common characteristics for the 18 #1s were that all of them were contemporary pop/country; 4/4 in tempo; romantic, primarily humorous, sad, and heartfelt. Half were stories; half were conversations. The average intro was 13.2 seconds.
Tempo
Let's examine the producer/A&R, mantra--"We are looking for mid to up-tempo positive love songs." Yes, you can say it in your sleep! Surprisingly, though, ballads accounted for 50% of 1999's chart toppers, followed by up-tempos at 33% and mid-tempos at 17%. Now, before you crown ballads king, let's look at the amount of time spent at #1. Even though more ballads made it to #1, they tended to fall off quicker. In fact, up-tempos spent 49% of the year at #1, followed by ballads at 31% and mid-tempos at 20%. So, even though mid- and up-tempos combined accounted for only half of the #1s, they spent a combined 69% of the year in the top spot. Strangely enough, you had a slightly better chance of having a #1 with a ballad, but spent significantly less time at #1 and on the chart.
Melody
75% of up-tempos went from a linear melody in the verse to a soaring melody in the chorus. Which means, basically, the listener got a story [linear--very little motion, few chord changes] and something to hum at the supermarket [soaring - significant motion and chord changes] in the same song and apparently liked that a lot! It is almost impossible to tell a story over a soaring melody because the human animal can only hear one moving part at a time and, given choice, will always defer to melody. So, wherever the writer wants to tell a story, the melody is kept to a minimum. As for ballads, five of the nine went from linear to soaring.
Form
Since you were born, radio has given you songs in any one of six variations. As the writer leads listeners through a song, he or she creates an expectation in the audience's mind that they are being led through the story to a hook (conclusion) in a way that they are familiar with. The writer can alter the format slightly only as long as the listeners feel informed, included and satisfied (once delivered to the hook/conclusion). If that effect is not achieved, the listeners simply reach for the dial and tune out. The writer has failed structurally. That being said, the 18 #1 records in 1999 used only three of the six forms:
2nd Form: Verse-(Verse Opt.)-Chorus-Verse-Chorus-Instrument-Chorus-Etc.
3rd Form: Verse-(Verse Opt.)-Chorus-Verse-Chorus-Bridge-Instrument-Chorus-Out
4th Form: Verse-Lift-Chorus-Verse-Lift-Chorus-Instrumental-(Lift Opt.)-Chorus
Five of the six up-tempos and 50% of all #1s were written in 3rd form. The exception to this in up-tempo was Terri Clark's "You're Easy On The Eyes," which was in 2nd form. This is significant because 3rd form is known as the most forgiving form because you can have a weak line or two in a verse but still have a huge chorus to save you. Plus, there's a bridge to add information or show the listener the other side of the coin. With mid-tempos, all the forms were equally represented. As far as ballads go, we find that four of the nine ballads were 3rd Form, followed by three in 2nd Form and two in 4th Form.
Person & tense
100% of up-tempos were written in first person (I/Me/My). Additionally, 72% included the second person (You/Your) and 39% used the third person, generally as a device for conflict. As far as tense goes, 83% of up-tempos were set in the present, with 27% in the past and only 15% in the future. As for ballads, 89% used the first person, 89% included the 2nd, and 33% added the third person.
The artist
Let's add one more dynamic to this mix. Six of the 18 #1s were written or co-written by the artist, with five of the six being ballads. So the old A&R belief that ballads are artist-driven gains some credence given this information.
Your best shot
So. you have Dog songs and you have Chicken songs. Where do you spend your demo dollar? Your best shot for getting a #1 record is to write:
- mid- to up-tempo
- romantic/humorous or sad/heartfelt theme
- 4/4 time
- contemporary pop/country style
- story or conversation
- 1st person or 2nd person
- 3rd form
- linear melody with a story to a soaring chorus
- 13 second intro
So much for Chicken song
COPYRIGHT REGISTRATION
By Geoffrey Keith (the Best of Geoff)
The 1976 Copyright Act give the owner of a copyrighted work these exclusive rights:
As the owner of a copyright, you retain these rights until you agree to give any of them away. In the case of a record deal, you would actually want to sign over some of the rights--such as the song's mechanical rights so that the record label would be able to legally distribute your CD. By law, your song is copyrighted the moment it is "fixed in some tangible means of expression." Still, copyright registration is a good idea. It establishes a "public record of the copyright claim." The length of the copyright is the life of the author plus fifty years. Note that you can't copyright "titles, names, short phrases, or slogans."
- To reproduce the work in copies or phonorecords
- To prepare derivative works based upon the work
- To distribute copies or phonorecords of the work to the public by sale or other transfer of ownership, or by the rental, lease, or lending
- To perform the work publicly
- To display the work publicly...in the case of sound recordings, to perform the work publicly by means of digital audio transmission.
So you want to register your music with the copyright office, and you want to know how you go about it. There are three things that you need to send to them in a single envelope. You need a completed application form, a filing fee of $30 (the fee changes periodically, so call the copyright office or check their web site before you drop your package in the mail), and a non-returnable deposit (i.e., the CD with your song on it). The copyright office asks that you allow 120 days to receive confirmation of your copyright. In other words, don't bug them with calls until four months has passed since you sent in your song. If you don't hear from them in four months, give them a call.
For registering a song you'll need Form PA or Short Form PA. You can use Short Form PA if you are the only author, if the music was not done as "work for hire," if the work is totally new, and if the work is not audiovisual. If you have to say "no" to any of these conditions, then you will have to use Form PA. For registering sound recordings, use Form SR. You don't have to wait for your confirmation letter to publish a work, nor do you need permission from the copyright office to put the copyright notice on your work. Even though you don't technically need to have a copyright notice appear on your tape or CD, it is still a good idea to have it there anyway. There are three elements that go into the copyright notice: the symbol (the letter C in a circle), or the word "Copyright," or "Copr."' the year of publication of your song; and your name. It is no longer necessary to include the words "All Rights Reserved." When the copyright notice is done correctly, it should look something like this: Copr. 2000 Joe Songwriter.
Similarly, it is not necessary to have your work published to register it with the copyright office, but like with the copyright notice, it's a good idea (if you can). Publication can help prove copyright infringement. In other words, if you've kept your song at home in your filing cabinet and have never shown it to anyone else, it's going to be hard to prove that a big name artist had access to your song. If they haven't heard it you can't prove they stole it. This is why so many artists and record label executives have "no unsolicited submission" policies. They're afraid that songwriters will try to sue them. Pat and Pete Luboff, the authors of "88 Songwriting Wrongs and How to Right Them," suggest that you have the people at any song critiques you go to sign and date the lyrics sheets that you pass out. This helps to establish that you wrote your song by showing that people witnessed the work in different stages of completion.
You can download forms and information from the web at: www.lcweb.loc.gov/copyright. Read particularly "Copyright Basics," "Frequently Asked Questions," and the "Form PA with instructions" section of "Registration Procedures." You can also request forms and information from the copyright office's 24 hour hotline (202)707-9100, or write them at: Publications Section, LM-455, Copyright Office, Library of Congress, Washington, D.C. 20559-6000. Chapter five of David Baskerville's "The Music Business Handbook & Career Guide" has a good overview of copyright law as it applies to music.
Copr. 2000 Geoffrey Keith
The BILLY BYRON Interview
February 21, 2002
By Maria Hanna Joseph-mhannajo@aol.com
Boston Songwriters Workshop
Source of Inspiration
Is inspiration something born of serendipity? Or is it something more available? A gift for opening our eyes? An illumination that shines through emotional openness? Does inspiration drive creativity? Or does creativity find that which is inspiring? What of that inspiration noted, but unsung? Artist Billy Byron seems to travel along each of these paths between inspiration and creativity. In fact, for him, it's the traveling that has been particularly poignant.
One of Billy's many outstanding accomplishments has come through his song, "Texas," which title punctuates the pivotal place in the odyssey that led Billy to notable songwriting success. "The Texas Campfire Song" began on an Amtrak traveling from Boston to San Antonio in the summer of 1997. While in Texas,it evolved further with artist Sammy Lee Smith at the Kerrville Music Festival. The song was finished in Billy's hometown of Cambridge, 3 blocks from where it came to climactic fruition by virtue of its "live" recording at Club Passim in the winter of 1999.
The Texas song has been sent out to various contests in the world and USA, winning several prizes (visit his website at http://songramp.com/BillyByron In November 2001, "Texas Campfire" won a top prize in the USA International Songwriting Competition (FL). Be it >inspiration's reward, its relation to a divine plan, or just plain irony, the contest promoters plan to have the finalist winners showcase in Club Passim on May 23,2002, 3 blocks from Billy's house.
Billy's artistry also cycles back the inspiration he draws from and responds to. He is heavily involved in community performances that offer entertainment and more. And it's the "more" that Billy seems especially moved by. In hospitals in Somerville and Cambridge, he plays as a therapeutic group coordinator for med-psych patients aged 20-100. He also plays music in many nursing homes where it is used in conjunction with patients' movement therapy, education, memory work, not to mention that the genre-specific/appropriate songs also allow for endorphin-raising reminiscing and joyful participation. He notes that his performances for challenged children and adults offer the opportunity for psychic release, spiritual recovery, sharing, skill development and relationship bonding. Indeed, the artist is sometimes unable to avoid the emotion that flows forth, from and between.
In both traveling geographically, and traveling within the artist circle, Billy's artistry has also been enhanced by the collaborative experiences journeying offers. As a hotel performer in the international seaport of Bermuda for many years, Billy was significantly influenced by visitors to the island which gave him and his music a "world view." "Obviously, sharing songs, asking advice and collaboration all occur when participating in the songwriting artistic community." Billy met engineer Steve Friedman at a Club Passim open mike, and Sammy Lee Smith at an ASCAP song collaboration at the Kerrville Music Festival, among others. Billy also touts "other extra benefits," includingfinding a life partner, a professional long running collaborator, a band mate, a web site designer, a promoter, a manager, a valuable instrument, interstate songwriting friends, and new professional contacts. For example, he says he has met,"professional singer-songwriter insider music biz staff and hot studio musicians who offer information about on-the-road professional management, day planners, and lifestyle organization."
When asked what he seeks most to convey with his inspired music, Billy hopes it creates "an atmosphere of positive regard, openness, acceptance, possible healing ... aware vigilance [and] expanding human potential." "Craft-wise," he " wishes to create what songwriters call ˜evergreens.'"
As beguiling the concept of inspiration is, far more compelling is the sublime power it can hold over us... Billy mentioned that he once was a driver for an Irish Linen Shop in Bermuda. "I took this job driving back and forth across the 21 mile island in order to write songs while driving. Anyway..." He sends his thanks for the support of the BSW and offers to correspond over any questions from readers through e-mail at " bermudabillbyron@hotmail.com " Thank you, Billy. http://songramp.com/BillyByron
By Maria Hannah Joseph, writer-- The Boston Songwriters Workshop Newsletter
MUSIC AND TECHNOLOGY
By Todd Glacy
(Editor's Note: For the 2002 Kickoff Party BSW member Todd Glacy led an energizing discussion about the ongoing questions of using technology to promote our creative musical work. Todd is a tremendous resource for BSW, with his own audio/video production company, Rx Productions at 781-391-0140, rxprod@sprynet.com )^ ^ back to top ^ ^On January 8th I was honored and privileged to be the guest speaker for the first BSW meeting of 2002. When I was originally contacted by Larry Manning to speak again at this years Kickoff Party we discussed what might be most useful to members regarding modern computer and internet music technology. We decided I would present a general format outline of various topics and leave lots of room and encouragement for member's specific questions.
The evening turned out to be a very lively and informative group discussion with everyone asking and helping to answer questions based on their own insights and experiences. The member base of the BSW seems is a rich resource of information that I strongly encourage everyone to use. Topics of particular interest seemed to be MP3 files and the Internet, CD recording and packaging, and basic computer software/hardware requirements. General topics we discussed were as follows:
Basic Computer Setup and Requirements: · Get the best machine you can afford. Processor speed, RAM, large and fast 2nd hard drive, big monitor. · If possible, dedicate machine to audio production only. The less stuff you have loaded the more efficiently it will run. · Decide what your software needs are first, and then buy a system around recommended system requirements. · Get the best audio card / interface you can reasonably afford for your expected needs. · Regularly check websites for updates, tips and information. Hardware: · MIDI PC interface · Audio PC interface · MIDI controller (keyboard, drum pads, guitar) · Monitor System: PC speakers, headphones, external poweramp and/or monitor speakers. · External mixer, microphone preamp, compressor/limiter, etc¦ Software: · Digital audio/MIDI combinations: check out programs by Cakewalk, Cubase, Emagic, Mark Of The Unicorn (MOTU) · Music Notation Software: Finale · Audio editing/mastering: Sound Forge, Cool Edit, Bias Peak (Mac) · CD Burning: CD Architect, EZ CD Creator, Toast (Mac) · MP3 Encoding: Audio Grabber, CD-Ex, · Specialty Software: Acid, Rebirth, Reason, Gigastudio, etc. · Regularly check websites for updates, tips and information. (but remember, if it ain't broke you don't necessarily need to fix it!)
CD Labeling and Packaging: · Memorex CD Labelmaker, Sure Thing CD Labeler, NEATO and Avery labeling products. · Image editing and layout software by companies like Adobe, Ulead, Jassic, Broderbund, etc.¦ · Inkjet Printers: Avoid heavy solid color design as too much ink can cause paper to become soggy and wrinkled.
Music and the Internet: · MP3 files are the current standard in sharing web-based audio. Real Media and Liquid Audio are also popular. · There are literally hundreds (probably even thousands) of music resources available. Spend some time researching your needs and interests. (all public libraries offer internet access). · A personal web site should be a part of your promotional strategy.
Resources: Publications: · Electronic Musician, Recording, EQ, Keyboard, Northeast Performer (free at most music stores), Mix.
World Wide Web: · Log on to any search engine (Yahoo, Google, etc.) and look up the topic of interest. Everything from website design, music recording, promotion, newsgroups, and business resources to help you learn about and promote yourself and your music.
Through all of this techno-talk, the main point that I try to always reiterate is that all of these technologies are merely tools to help you be more productive with your creativity. It is vitally important to know yourself an your personal goals before blindly jumping into the high-tech jungle. Structure your technology around your needs, and not vise-versa. Do a lot of research and ask questions. If you're not particularly comfortable with computer technology, you should enlist the services of people who are, thus freeing yourself to focus on what is most important; making music!