Thursday, me and the guitar and the computer and a few other things make the trip down to Medford. And then, like the Good Book says, a little while you shall not see me, and in a little while you shall see me. Gots to get the ‘puter hooked up in the new place.
Reference tracks are done (my part, anyway) for the Pineyfest Demo Derby. They are:
DEAD THINGS IN THE SHOWER (me & Bobbie Gallup):
www.soundclick.com/bands/songinfo.cfm?bandID=681142&songID=5384374
SO FAR (Marge McKinnis):
www.soundclick.com/bands/songinfo.cfm?bandID=681142&songID=5384364
ABOUT LOVE (Marge McKinnis):
www.soundclick.com/bands/songinfo.cfm?bandID=703426&songID=5388777
DISTRACTION (Diane Ewing):
www.soundclick.com/bands/songinfo.cfm?bandID=183557&songID=4999695
ALABAMA BLUES (Diane Ewing):
www.soundclick.com/bands/songinfo.cfm?bandID=183557&songID=4889571
TEST TUBE BABY (me):
www.soundclick.com/bands/songinfo.cfm?bandID=681142&songID=5392893
On "Test Tube Baby," the Gemster was going to try to add some magic to make it sound more rock ‘n' roll. Then I'll send the links, and lyric sheets, and agenda to Mike Dunbar in Tennessee for the studio musicians to work with. We will, I understand, have available guitar, bass, drums, keyboard, and a pedal steel player who's able to play either harmonica or clarinet/saxophone. We'll do the recording Patsy Cline style, just like me and The Band did the "Santa's Fallen" CD; this will save time and money.
Joe
Monday, May 28, 2007
Friday, May 25, 2007
PREPARING TO MOVE...
Five days to pack and move... It's not a big move, because I'll be living out of a motel room (with kitchenette) for a while, so there won't be a lot of space. Clothes, minimal kitchen equipment, computer, and (of course) the music stuff is what will go with me. The studio stuff does not take up a lot of space, and can be set up anywhere–when I lived in Union, it was in a corner of the living room. Since the equipment deliberately avoids ambient noise, I could theoretically record in the middle of a busy intersection and get as good a sound as I could in the garage (as long as the traffic gave me a fairly wide berth).
The moving exercise is also an opportunity to review what I'm leaving undone. There are, at this point, a few things:
I still haven't recorded "TUGGA PAW," the Swedish country-music song. That's been one of my longest-running (and most frustrating) projects, tackled on and off for over a year. Part of the problem is I can't stand to listen to spoken Swedish for any length of time–it makes the brain shut down, I guess–and part is that other projects have consistently gotten in the way. I've recorded the guitar part twice now, and each time had to erase it to make space on the Tascam for something else that took priority. I can (just figured this out) dump the guitar part to a CD, so I don't have to keep re-doing it. (I guess that means the CD burner will have to make the trip, too.)
I won't have an alternative to "TURN YOUR RADIO ON" for the Gospel song album, either. I haven't heard back from the publisher doing the album, but from what little I've been able to google on the ‘Net, the song is still under copyright, and can't be used for an all-public domain album. I had suggested as an alternative "Farther Along" (1911), and the Ackermans are back in town and available to be the backup band–but where's the time? This'd have to be to the publisher by the end of May, which is only days away.
And I still don't know what to do about recording "TEST TUBE BABY," my first rock ‘n' roll song (I've only ever written two), which I wanted to get recorded by that good set of Nashville studio musicians they'll have at the Pineyfest Demo Derby. If I record it myself, the dang thing comes out country. I might be able to tap that budding band down in southern Oregon to help with it–there are some good blues musiciazns there, even though they're trying to play bluegrass--but that will mean waiting a good two weeks to send a reference track to Nashville.
For the rest, things are mostly done, and I'm just waiting to hear back from people. I recorded rhythm and lead guitar tracks for Willie Joe's "Country Club Waltz," but he says he's not going to pursue it unless he can find a fiddle player. The "Soupbone" blues is done, except for me adding introductions for the soloists–I've asked for their real names, but again, nobody's responded. I re-recorded Marge McKinnis' "About Love" to have a good reference track for the Pineyfest Demo Derby–and haven't heard what she thinks of it. I haven't heard from Bobbie Gallup or Diane Ewing, either, about the arrangements I spec'd out for their Demo Derby songs.
And I haven't heard from the lady whose dying-friend song got ripped apart and put back together by me. Maybe she doesn't know what to think. At least I have managed to forget the song, so it won't bother me if she doesn't like what I did with it.
More on the Demo Derby next blog.
Joe
The moving exercise is also an opportunity to review what I'm leaving undone. There are, at this point, a few things:
I still haven't recorded "TUGGA PAW," the Swedish country-music song. That's been one of my longest-running (and most frustrating) projects, tackled on and off for over a year. Part of the problem is I can't stand to listen to spoken Swedish for any length of time–it makes the brain shut down, I guess–and part is that other projects have consistently gotten in the way. I've recorded the guitar part twice now, and each time had to erase it to make space on the Tascam for something else that took priority. I can (just figured this out) dump the guitar part to a CD, so I don't have to keep re-doing it. (I guess that means the CD burner will have to make the trip, too.)
I won't have an alternative to "TURN YOUR RADIO ON" for the Gospel song album, either. I haven't heard back from the publisher doing the album, but from what little I've been able to google on the ‘Net, the song is still under copyright, and can't be used for an all-public domain album. I had suggested as an alternative "Farther Along" (1911), and the Ackermans are back in town and available to be the backup band–but where's the time? This'd have to be to the publisher by the end of May, which is only days away.
And I still don't know what to do about recording "TEST TUBE BABY," my first rock ‘n' roll song (I've only ever written two), which I wanted to get recorded by that good set of Nashville studio musicians they'll have at the Pineyfest Demo Derby. If I record it myself, the dang thing comes out country. I might be able to tap that budding band down in southern Oregon to help with it–there are some good blues musiciazns there, even though they're trying to play bluegrass--but that will mean waiting a good two weeks to send a reference track to Nashville.
For the rest, things are mostly done, and I'm just waiting to hear back from people. I recorded rhythm and lead guitar tracks for Willie Joe's "Country Club Waltz," but he says he's not going to pursue it unless he can find a fiddle player. The "Soupbone" blues is done, except for me adding introductions for the soloists–I've asked for their real names, but again, nobody's responded. I re-recorded Marge McKinnis' "About Love" to have a good reference track for the Pineyfest Demo Derby–and haven't heard what she thinks of it. I haven't heard from Bobbie Gallup or Diane Ewing, either, about the arrangements I spec'd out for their Demo Derby songs.
And I haven't heard from the lady whose dying-friend song got ripped apart and put back together by me. Maybe she doesn't know what to think. At least I have managed to forget the song, so it won't bother me if she doesn't like what I did with it.
More on the Demo Derby next blog.
Joe
Tuesday, May 22, 2007
UPDATES...
I promised updates. Here they are. One of the good self-management aspects of doing a regular blog is it forces one to reflect–in this case, weekly–on what one has actually accomplished. A musical instance of the late President Lyndon Johnson's famous retort: "Yes, but what have you done for me LATELY?"
NEW SONG: Well, maybe. It's a collaboration: one of those instances where I contacted somebody who had lyrics, and offered to try to put ‘em to music. In this instance, though, the music kinda took over, and the words got somewhat re-worked. I sent the track to the author, but she hasn't responded yet (she may be waiting to see what the 3-4 other people working on the song came up with). I liked the result I came up with–but it's her call. Her words (even if I did change ‘em a little). Song is basically a goodbye to a friend who's dying. So the music is fairly Gospel-sounding. But upbeat. (Songs about death should always be upbeat.)
BLUES PROJECT: Another multi-musician instrumental, this time with lyrics written and sung by me. My part's done, except for introducing the lead musicians. It's called "There's a Bone in My Soup," after "Soupbone," the fellow who started this train of blues collaborations (and then disappeared).
THE PLAY: Leading role–as a dog–in the Country Rose radio play "The Wedding." Again, something different. One sideline benefit is the Country Rose Show online is playing my song, "Jim the Psychic Dog" (off the first CD)–and it wasn't part of the show. Just carrying on the Dog Theme, I guess.
A MUSICAL TRACK: Again, maybe–just happened today, and I have no feedback yet. I volunteered to play guitar on an instrumental a fellow online had written (he only plays piano). Gave him a simple lead, too.
MUSIC IN THE NEW PLACE: On the visit to Phoenix, Oregon, to tie up a place to live for the New Job, I got to play with a passel of musicians (Southern Oregon is reportedly a hotbed of culture that includes music) that includes another city manager and the owner of a local books-and-music store. Supposedly, they're trying to put together a band. Got to play a few of my songs (and got to play lead on some of theirs). Two of the group have the "Santa's Fallen" CD. New job starts 4 June.
And finally, a couple of odd contacts. One wanting to know where I'm playing (because they apparently want to drive a hundred miles or so to see me). And one interested in covering my song "Rotten Candy"–right on the heels of (but not related to) the rejection of the song by the American Idol song contest.
All in all, not a bad week.
Joe
NEW SONG: Well, maybe. It's a collaboration: one of those instances where I contacted somebody who had lyrics, and offered to try to put ‘em to music. In this instance, though, the music kinda took over, and the words got somewhat re-worked. I sent the track to the author, but she hasn't responded yet (she may be waiting to see what the 3-4 other people working on the song came up with). I liked the result I came up with–but it's her call. Her words (even if I did change ‘em a little). Song is basically a goodbye to a friend who's dying. So the music is fairly Gospel-sounding. But upbeat. (Songs about death should always be upbeat.)
BLUES PROJECT: Another multi-musician instrumental, this time with lyrics written and sung by me. My part's done, except for introducing the lead musicians. It's called "There's a Bone in My Soup," after "Soupbone," the fellow who started this train of blues collaborations (and then disappeared).
THE PLAY: Leading role–as a dog–in the Country Rose radio play "The Wedding." Again, something different. One sideline benefit is the Country Rose Show online is playing my song, "Jim the Psychic Dog" (off the first CD)–and it wasn't part of the show. Just carrying on the Dog Theme, I guess.
A MUSICAL TRACK: Again, maybe–just happened today, and I have no feedback yet. I volunteered to play guitar on an instrumental a fellow online had written (he only plays piano). Gave him a simple lead, too.
MUSIC IN THE NEW PLACE: On the visit to Phoenix, Oregon, to tie up a place to live for the New Job, I got to play with a passel of musicians (Southern Oregon is reportedly a hotbed of culture that includes music) that includes another city manager and the owner of a local books-and-music store. Supposedly, they're trying to put together a band. Got to play a few of my songs (and got to play lead on some of theirs). Two of the group have the "Santa's Fallen" CD. New job starts 4 June.
And finally, a couple of odd contacts. One wanting to know where I'm playing (because they apparently want to drive a hundred miles or so to see me). And one interested in covering my song "Rotten Candy"–right on the heels of (but not related to) the rejection of the song by the American Idol song contest.
All in all, not a bad week.
Joe
Sunday, May 20, 2007
MARKETING...
A good half these blog posts are concerned with PROMOTION. These days, "making it" in music entails more than just good writing–it requires good marketing, too. Used t'be, that was somebody else's job, and there were plenty of somebody-elses to do it. As little as 30 years ago, a band or soloist with some original material could just go down to Mildred's little radio station in Tillamook and play it live on the air. A lot of professional musicians got their start that way. If the DJ thought your stuff was really good, the DJ could connect you with a recording studio (there used to be one of those in Tillamook), and you could cut a record that you and the DJ could shop around to other stations, and if people requested it a lot, and/or the DJs played it a lot, you got famous.
Those days are mostly gone. With very few exceptions (and Mildred's station is one), the stations don't have DJs; they play preset (sometimes pre-recorded) lists of "hits" dictated by somebody in the Corporation on Another Planet that owns the station. Requests? You don't get to request anything that isn't on the "hit" list (if you get to request anything at all). Outsiders mostly don't get into this system, because there aren't the openings any more that outsiders used to be able to get in through.
If the foregoing sounds like a complaint, my apologies. There is no point in complaining–one simply has to deal with Reality as one finds it. And the reality, I think, is that you end up marketing yourself because there isn't anybody else left to do it.
There appear to be two promotional tools the outsider has available. One is LIVE PERFORMANCE; the other, THE INTERNET. No matter how tightly the Powers That Be limit the pressing, distribution, and airplay of songs, they can't control what people play and listen to live. You got something to say, you get out there–everything from street corners to (hopefully) concert halls. Eventually (hopefully) you'll make money at it. It means that the writer has to become a performer, too, even if he didn't want to–and become semi-good at it, because there isn't any other vehicle any more for promoting your material except yourself.
The Internet is the promotion and distribution system the Powers That Be don't control. NOBODY controls it (it's been called the last refuge of anarchy). Anybody can use it; you just have to figure out how. There's no instruction manual, but there are some folks shaping up as good role models–people who are doing things that work.
I've collected probably a couple hundred names and edresses of people over the past couple of years. These are people who've bought CDs, signed sheets asking to know when the next CD is coming out, asked where I'm playing, or sometimes just asked to be "friends" on MySpace. From my end, I'm planning on having another CD out by Christmas, am working up the venue list for Concert Season this summer, and keep putting out new songs. Can the two be melded together?
I asked some folks I "know" online for advice, and got some.
FIRST, I need a "Joe Website." I apparently "own" a domain name already–nakedspacehamsters.com, bought for me by a friend–but haven't done anything with it, because I haven't had (or haven't learned) the tools. I need to upgrade "Alice" the computer with more RAM and Windows XP and a newer version of Adobe Photoshop to do that–but those are planned purchases with the first paycheck from my new job.
The Website will function like a virtual train station, primarily providing links to a bunch of other stuff that already exists: the songs (on Soundclick), the projects with other people (wherever they are), the Concert Season schedule (maybe on MySpace), the blog (currently on MySpace and Google's Blogspot). A "subscribe" button if people want to get e-mails (and an "unsubscribe" button for when they want to stop. A one-paragraph "Breaking News" block I can update constantly–daily, if I want. I have run across one writer who has mostly done this, and I can just imitate her.
The Website is also a "one-stop," like Oregon State Economic Development uses for passeling out grant and loan money. All you have to do is go to this one place and you can get anywhere and anything you want.
I think I just created myself a big pile of work to do–and all I wanted to do was write and play songs. Still, I'm anxious to get started.
This blog has already got a little lengthy–and I was trying to imitate Jonathan "Artist 2.0" Coulter and do shorter blogs. I have updates, but they'll have to wait for next time.
Joe
Those days are mostly gone. With very few exceptions (and Mildred's station is one), the stations don't have DJs; they play preset (sometimes pre-recorded) lists of "hits" dictated by somebody in the Corporation on Another Planet that owns the station. Requests? You don't get to request anything that isn't on the "hit" list (if you get to request anything at all). Outsiders mostly don't get into this system, because there aren't the openings any more that outsiders used to be able to get in through.
If the foregoing sounds like a complaint, my apologies. There is no point in complaining–one simply has to deal with Reality as one finds it. And the reality, I think, is that you end up marketing yourself because there isn't anybody else left to do it.
There appear to be two promotional tools the outsider has available. One is LIVE PERFORMANCE; the other, THE INTERNET. No matter how tightly the Powers That Be limit the pressing, distribution, and airplay of songs, they can't control what people play and listen to live. You got something to say, you get out there–everything from street corners to (hopefully) concert halls. Eventually (hopefully) you'll make money at it. It means that the writer has to become a performer, too, even if he didn't want to–and become semi-good at it, because there isn't any other vehicle any more for promoting your material except yourself.
The Internet is the promotion and distribution system the Powers That Be don't control. NOBODY controls it (it's been called the last refuge of anarchy). Anybody can use it; you just have to figure out how. There's no instruction manual, but there are some folks shaping up as good role models–people who are doing things that work.
I've collected probably a couple hundred names and edresses of people over the past couple of years. These are people who've bought CDs, signed sheets asking to know when the next CD is coming out, asked where I'm playing, or sometimes just asked to be "friends" on MySpace. From my end, I'm planning on having another CD out by Christmas, am working up the venue list for Concert Season this summer, and keep putting out new songs. Can the two be melded together?
I asked some folks I "know" online for advice, and got some.
FIRST, I need a "Joe Website." I apparently "own" a domain name already–nakedspacehamsters.com, bought for me by a friend–but haven't done anything with it, because I haven't had (or haven't learned) the tools. I need to upgrade "Alice" the computer with more RAM and Windows XP and a newer version of Adobe Photoshop to do that–but those are planned purchases with the first paycheck from my new job.
The Website will function like a virtual train station, primarily providing links to a bunch of other stuff that already exists: the songs (on Soundclick), the projects with other people (wherever they are), the Concert Season schedule (maybe on MySpace), the blog (currently on MySpace and Google's Blogspot). A "subscribe" button if people want to get e-mails (and an "unsubscribe" button for when they want to stop. A one-paragraph "Breaking News" block I can update constantly–daily, if I want. I have run across one writer who has mostly done this, and I can just imitate her.
The Website is also a "one-stop," like Oregon State Economic Development uses for passeling out grant and loan money. All you have to do is go to this one place and you can get anywhere and anything you want.
I think I just created myself a big pile of work to do–and all I wanted to do was write and play songs. Still, I'm anxious to get started.
This blog has already got a little lengthy–and I was trying to imitate Jonathan "Artist 2.0" Coulter and do shorter blogs. I have updates, but they'll have to wait for next time.
Joe
Thursday, May 17, 2007
ARTIST 2.0...
The New York Times is calling him "Artist 2.0." A local boy (though there are over 8 million "local boys" in the Big City) who appears to be making a decent living as a songwriter and solo performer without having anything to do with the Big Boys who control every facet of the music industry. If the "A List" in music consists of the Toby Urbans and Britney Spearses (before she lost her hair), then this guy Jonathan Coulter is at or near the top of the "B List." He may even be defining the "B List." A fellow to watch–and imitate, to the extent possible.
So what's he doing? For starters, he's all over the Web; a quick googling brings up over three pages of Websites. He's got his own Website, he's on MySpace, EventFull, and a bunch of others I never heard of. Every one's got a blog (they may be the same blog)–entries are short, but they're added to almost daily. He responds to every e-mail personally. His "schtick"–apparently developed some time ago–is the "Thing a Week": a song, in his case, written, recorded, and ready for download or sale every week. (He has the equipment to do this.) He's got a number of "Thing a Week" albums for sale. He does gigs in various places around the country, apparently in response to demands from fans–and those, too, are posted (of course). He has a lot of fans–which is why he's able to make a living at this.
Replicable? Definitely–and worth a shot doing so. The fan list is keep-trackable with modern computer technology I just happen to have (and haven't used). Responding personally to individual e-mails is also something I can do (and have started doing). Posting the gig schedule for Concert Season is something I've talked about doing this year (and it's time I did). I do a new "Writer's Blog" every week; there's no reason why the entries can't be shorter, and posted every day or so.
Even the "Thing a Week"? Well, I wouldn't want to commit myself to having a new song every week, but a lot of that may stem from a lack of self-confidence. I did do one a week in April (though that could have been a fluke). However, if one defines "thing a week" more loosely, it's possible. I wrote (and sang) lyrics to one of these Soundclick blues collaborations last week, for instance, have music (I think) to the Swedish song "Tugga Paw" (though I still can't sing it yet), have been asked to do music to another song, and may need to record another traditional Gospel song before the end of the month. Presumably, all of that stuff could count. And that still doesn't count the songs in the pipeline that are still waiting on more verses. Yup, ‘sdoable. I may need a longer timeline than Coulterdude, but I can still make things pop out of the pipeline once a week. I think.
And that's why this blog is shorter (and there will be another one sooner than a week). And why if you contact me, you'll get an answer. The bottom line Coulterdude may have found is people want a personal connection with "their" artist. That's something nobody on the "A List" can deliver–they're too big, and too remote, and the prisoners of a system that treats people like statistical masses rather than individuals. The folks on the "B List," however, can deliver the personal connection. And it may be our best hope.
--Joe
So what's he doing? For starters, he's all over the Web; a quick googling brings up over three pages of Websites. He's got his own Website, he's on MySpace, EventFull, and a bunch of others I never heard of. Every one's got a blog (they may be the same blog)–entries are short, but they're added to almost daily. He responds to every e-mail personally. His "schtick"–apparently developed some time ago–is the "Thing a Week": a song, in his case, written, recorded, and ready for download or sale every week. (He has the equipment to do this.) He's got a number of "Thing a Week" albums for sale. He does gigs in various places around the country, apparently in response to demands from fans–and those, too, are posted (of course). He has a lot of fans–which is why he's able to make a living at this.
Replicable? Definitely–and worth a shot doing so. The fan list is keep-trackable with modern computer technology I just happen to have (and haven't used). Responding personally to individual e-mails is also something I can do (and have started doing). Posting the gig schedule for Concert Season is something I've talked about doing this year (and it's time I did). I do a new "Writer's Blog" every week; there's no reason why the entries can't be shorter, and posted every day or so.
Even the "Thing a Week"? Well, I wouldn't want to commit myself to having a new song every week, but a lot of that may stem from a lack of self-confidence. I did do one a week in April (though that could have been a fluke). However, if one defines "thing a week" more loosely, it's possible. I wrote (and sang) lyrics to one of these Soundclick blues collaborations last week, for instance, have music (I think) to the Swedish song "Tugga Paw" (though I still can't sing it yet), have been asked to do music to another song, and may need to record another traditional Gospel song before the end of the month. Presumably, all of that stuff could count. And that still doesn't count the songs in the pipeline that are still waiting on more verses. Yup, ‘sdoable. I may need a longer timeline than Coulterdude, but I can still make things pop out of the pipeline once a week. I think.
And that's why this blog is shorter (and there will be another one sooner than a week). And why if you contact me, you'll get an answer. The bottom line Coulterdude may have found is people want a personal connection with "their" artist. That's something nobody on the "A List" can deliver–they're too big, and too remote, and the prisoners of a system that treats people like statistical masses rather than individuals. The folks on the "B List," however, can deliver the personal connection. And it may be our best hope.
--Joe
Sunday, May 13, 2007
MOVING...
Getting a new job (I'll be interim city manager in Phoenix, Oregon, starting in June) isn't exactly music-related news, but moving is. I'll be in southern Oregon for 3-4 months minimum, and alone–my family will still be 300 miles away up on the northern Oregon Coast. Not much to do except work and play music, in other words.
Southern Oregon is growing fast–it's becoming the medical center for northern California–and consequently there are a lot of resources to go with the growing population. In addition, it's a culturally active area, with a university (in Ashland, Ore.), a renowned Shakespeare Festival (also in Ashland), and an equally-renowned classical music festival (the Britt Festival, in Jacksonville) all within a short distance of where I'll be working. Less well known, probably, is the Spam Festival in Shady Cove, but there's a lot of events like that around, too. Not to mention five (I think) commercial recording studios, and a Songwriters Association–one of only 3 in the state. I've already found out about (and been invited to) a weekly jam session, at a local bookstore. This could be fun.
I have already arranged to take time off from the new job to go to Nashville for Pineyfest at the beginning of August. I didn't mention the Woody Guthrie Festival in mid-July, because I don't know if anything will come of it. Only the grand prize winner really needs to be able to perform on stage, and I'm not expecting that to be me–and the impression I get from their Website is lodging facilities are all full up, and have been for some time. Nobody's been notified yet, and nobody's answered the e-mail I sent them, either.
Depending on how quickly I can put something together, this could be the place to take care of The Next CD. I'd need to find the musicians, get ‘em familiar with the material, and do (again) the Patsy Cline Thing in the studio–record it all live and (hopefully) in one take.
We're probably looking at 12 songs for The Next CD; I don't know (yet) whether it should be an album of all dead-animal songs ("Christmas at the Roadkill Café") or all love songs ("The Heart by the Side of the Road"). Lot of overlap–a lot of my songs would be suitable for either–but I probably do not have enough material to do both. The Christmas album would be fun, because I could probably enlist the Roadkill Café (there are actually several sucn establishments, in various parts of the U.S.) In helping with the marketing–maybe bundle a menu with the CD, and have them sell the CD at the restaurant, for instance.
UPDATES:
No word on "TURN YOUR RADIO ON," but odds are it's not a candidate for inclusion on the gospel album. What research I've been able to do suggests the song is still under copyright. "ROTTEN CANDY" didn't make the American Idol Top Twenty; one outfit is preparing a here's what you missed" album of American Idol rejects, but I don't think my song will make that one, either. They'll want something professionally produced, and I don't have that on this song.
I think I'll consign "DEAD COWS AND THE INTERNET" to the dustbin now–it didn't get much attention, and I haven't been able to play it well. I've still got two more songs that need verses to go with their choruses, and it'd be more productive to work on those.
Southern Oregon is growing fast–it's becoming the medical center for northern California–and consequently there are a lot of resources to go with the growing population. In addition, it's a culturally active area, with a university (in Ashland, Ore.), a renowned Shakespeare Festival (also in Ashland), and an equally-renowned classical music festival (the Britt Festival, in Jacksonville) all within a short distance of where I'll be working. Less well known, probably, is the Spam Festival in Shady Cove, but there's a lot of events like that around, too. Not to mention five (I think) commercial recording studios, and a Songwriters Association–one of only 3 in the state. I've already found out about (and been invited to) a weekly jam session, at a local bookstore. This could be fun.
I have already arranged to take time off from the new job to go to Nashville for Pineyfest at the beginning of August. I didn't mention the Woody Guthrie Festival in mid-July, because I don't know if anything will come of it. Only the grand prize winner really needs to be able to perform on stage, and I'm not expecting that to be me–and the impression I get from their Website is lodging facilities are all full up, and have been for some time. Nobody's been notified yet, and nobody's answered the e-mail I sent them, either.
Depending on how quickly I can put something together, this could be the place to take care of The Next CD. I'd need to find the musicians, get ‘em familiar with the material, and do (again) the Patsy Cline Thing in the studio–record it all live and (hopefully) in one take.
We're probably looking at 12 songs for The Next CD; I don't know (yet) whether it should be an album of all dead-animal songs ("Christmas at the Roadkill Café") or all love songs ("The Heart by the Side of the Road"). Lot of overlap–a lot of my songs would be suitable for either–but I probably do not have enough material to do both. The Christmas album would be fun, because I could probably enlist the Roadkill Café (there are actually several sucn establishments, in various parts of the U.S.) In helping with the marketing–maybe bundle a menu with the CD, and have them sell the CD at the restaurant, for instance.
UPDATES:
No word on "TURN YOUR RADIO ON," but odds are it's not a candidate for inclusion on the gospel album. What research I've been able to do suggests the song is still under copyright. "ROTTEN CANDY" didn't make the American Idol Top Twenty; one outfit is preparing a here's what you missed" album of American Idol rejects, but I don't think my song will make that one, either. They'll want something professionally produced, and I don't have that on this song.
I think I'll consign "DEAD COWS AND THE INTERNET" to the dustbin now–it didn't get much attention, and I haven't been able to play it well. I've still got two more songs that need verses to go with their choruses, and it'd be more productive to work on those.
Wednesday, May 9, 2007
PUBLISHING COMPANY 101...
So. Wants to get played on the radio, does we? And the radio station manager says she can't play anything that isn't registered with one of the performing-rights organizations, so they can pay royalties. Fair enough. This writer wants airplay, but this writer also agrees that writers ought to get paid.
This writer has a CD out, professionally recorded and mastered, and has been selling copies at gigs. This writer can do that, because all of the songs are original (lyrics and music by said writer), and said writer performed them, too. The Radio Station Thing is a new wrinkle. Sounds like writer needs... a PUBLISHER.
Publishers, however, are not easily obtainable. One doesn't just go down to the local Publisher Store and pick one off a shelf. A publisher has to be interested in representing YOU; the publisher is going to be putting out a lot of effort and money marketing your music to record companies, movie and TV producers, and "artists" looking (theoretically) for new material, and won't make any money until and unless something sells. It's very much the same dilemma a real estate agent faces–and the real estate agent isn't interested in having something in the "catalog" that's not going to sell, either.
Rather than trying to get the attention of a publisher (which a lot of other people are trying to do, too), it's always possible to become ONE'S OWN publisher. Doing that does mean you become responsible for your own marketing; then again, if no one else seems to be interested, why not? It is (theoretically) always possible to "assign" (that's what it's called) the "publishing rights" (that's what they're called) to somebody else later. In the meantime, you've got a publisher (even if it is yourself), and you can now deal with the performing rights organization–and the radio station.
So how to go about it? There are plenty of resources on line (that even agree about a lot of things). There are also people on line who are happy to sell books on the subject, and colleges that will sell you courses on it. We'll stick–right now–to the free stuff.
FIRST STEP in becoming a publisher is to register as a publisher with one of the performing rights organizations (PROs). There are 3 in the U.S.–ASCAP, BMI, and SESAC. BMI is a corporation owned by radio stations (I think) and is free. ASCAP is a membership organization and dues are (or were) ten bucks. Don't know much about SESAC, except they're the only one that sent me a letter asking me to join (that's not necessarily a good reason to do so). I'll pick ASCAP, because they reportedly monitor live performances, which is where the majority of my stuff gets played. (BMI only monitors radio stations.)
It's also necessary to join the SAME PRO as a WRITER. If this sounds redundant, remember it wouldn't be if we had a real publisher. Publishers that represent a lot of writers will want to belong to both ASCAP and BMI; we only have to worry about the one our "writer self" belongs to. Rule is that a publisher has to belong to the same PRO as the writer he or she represents. We're both going to join ASCAP–writer and publisher.
When you register with the PRO, they want you to suggest three possible names for your publishing company. They'll pick one. The reason for this is there are a lot of publishers, and you can't have a name somebody else has already claimed. Shouldn't be hard for a creative person to deal with.
SECOND STEP is making sure your paperwork is in order with local, state and Federal regulatory authorities. You need an Employer Identification Number (EIN) from the IRS; you need to file incorporation, partnership, or "doing business as" papers with the state (here in Oregon, that's the Secretary of State's Corporations Division, and we'll do the "doing business as" because we'll be a sole proprietorship); if the town requires business licenses (mine does), you need one of those, too. Note you can't apply for any of those until you have the business name–which is assigned by the PRO.
THIRD STEP. If the songs in the "catalog" aren't copyrighted yet, copyright them in the name of the publisher. If they're already copyrighted by you-the-writer, it's necessary to do an assignment of copyright to the publisher. This is the document (I think) that ensures the publisher is going to get paid. At very least, do this for the songs that are on the existing CD; you'll need to do it later for anything that's going to be on a CD.
FOURTH STEP is for the publisher to register with the Harry Fox Agency. HFA is an outfit that collects "mechanical" royalties whenever somebody cuts a record with your song on it. (I think that includes you cutting your own record, too.) HFA isn't the only outfit that does this, but they are apparently the biggest. Money is paid by a record company to HFA based on how many CDs are MANUFACTURED, not how many are sold, and HFA pays the publisher.
There. Publishing Company 101.
UPDATES:
"There's a Bone in My Soup" (what I've been calling "Blues Number Four") is up on Soundclick for listening; the artists that'll be contributing leads will pick their spots starting next Monday (5/14). I wrote the lyrics (might as well get all these blues out of my system, so I can go back to writing country music), and sang the vocal; music by Richard Bethell.
"Dead Cows and the Internet" (roughly halfway between blues and country music) is going to have to be recorded live. I want Dick Ackerman's blues harp lead on this, but he's not comfortable with a studio environment; I left him a recording of the basics, and we'll do it live when he's ready, using that 6-channel mixer (bought on eBay a couple of years ago and never used) to mix 3 mikes to 2 channels of the Tascam. Then I'll add my lead guitar afterwards.
This writer has a CD out, professionally recorded and mastered, and has been selling copies at gigs. This writer can do that, because all of the songs are original (lyrics and music by said writer), and said writer performed them, too. The Radio Station Thing is a new wrinkle. Sounds like writer needs... a PUBLISHER.
Publishers, however, are not easily obtainable. One doesn't just go down to the local Publisher Store and pick one off a shelf. A publisher has to be interested in representing YOU; the publisher is going to be putting out a lot of effort and money marketing your music to record companies, movie and TV producers, and "artists" looking (theoretically) for new material, and won't make any money until and unless something sells. It's very much the same dilemma a real estate agent faces–and the real estate agent isn't interested in having something in the "catalog" that's not going to sell, either.
Rather than trying to get the attention of a publisher (which a lot of other people are trying to do, too), it's always possible to become ONE'S OWN publisher. Doing that does mean you become responsible for your own marketing; then again, if no one else seems to be interested, why not? It is (theoretically) always possible to "assign" (that's what it's called) the "publishing rights" (that's what they're called) to somebody else later. In the meantime, you've got a publisher (even if it is yourself), and you can now deal with the performing rights organization–and the radio station.
So how to go about it? There are plenty of resources on line (that even agree about a lot of things). There are also people on line who are happy to sell books on the subject, and colleges that will sell you courses on it. We'll stick–right now–to the free stuff.
FIRST STEP in becoming a publisher is to register as a publisher with one of the performing rights organizations (PROs). There are 3 in the U.S.–ASCAP, BMI, and SESAC. BMI is a corporation owned by radio stations (I think) and is free. ASCAP is a membership organization and dues are (or were) ten bucks. Don't know much about SESAC, except they're the only one that sent me a letter asking me to join (that's not necessarily a good reason to do so). I'll pick ASCAP, because they reportedly monitor live performances, which is where the majority of my stuff gets played. (BMI only monitors radio stations.)
It's also necessary to join the SAME PRO as a WRITER. If this sounds redundant, remember it wouldn't be if we had a real publisher. Publishers that represent a lot of writers will want to belong to both ASCAP and BMI; we only have to worry about the one our "writer self" belongs to. Rule is that a publisher has to belong to the same PRO as the writer he or she represents. We're both going to join ASCAP–writer and publisher.
When you register with the PRO, they want you to suggest three possible names for your publishing company. They'll pick one. The reason for this is there are a lot of publishers, and you can't have a name somebody else has already claimed. Shouldn't be hard for a creative person to deal with.
SECOND STEP is making sure your paperwork is in order with local, state and Federal regulatory authorities. You need an Employer Identification Number (EIN) from the IRS; you need to file incorporation, partnership, or "doing business as" papers with the state (here in Oregon, that's the Secretary of State's Corporations Division, and we'll do the "doing business as" because we'll be a sole proprietorship); if the town requires business licenses (mine does), you need one of those, too. Note you can't apply for any of those until you have the business name–which is assigned by the PRO.
THIRD STEP. If the songs in the "catalog" aren't copyrighted yet, copyright them in the name of the publisher. If they're already copyrighted by you-the-writer, it's necessary to do an assignment of copyright to the publisher. This is the document (I think) that ensures the publisher is going to get paid. At very least, do this for the songs that are on the existing CD; you'll need to do it later for anything that's going to be on a CD.
FOURTH STEP is for the publisher to register with the Harry Fox Agency. HFA is an outfit that collects "mechanical" royalties whenever somebody cuts a record with your song on it. (I think that includes you cutting your own record, too.) HFA isn't the only outfit that does this, but they are apparently the biggest. Money is paid by a record company to HFA based on how many CDs are MANUFACTURED, not how many are sold, and HFA pays the publisher.
There. Publishing Company 101.
UPDATES:
"There's a Bone in My Soup" (what I've been calling "Blues Number Four") is up on Soundclick for listening; the artists that'll be contributing leads will pick their spots starting next Monday (5/14). I wrote the lyrics (might as well get all these blues out of my system, so I can go back to writing country music), and sang the vocal; music by Richard Bethell.
"Dead Cows and the Internet" (roughly halfway between blues and country music) is going to have to be recorded live. I want Dick Ackerman's blues harp lead on this, but he's not comfortable with a studio environment; I left him a recording of the basics, and we'll do it live when he's ready, using that 6-channel mixer (bought on eBay a couple of years ago and never used) to mix 3 mikes to 2 channels of the Tascam. Then I'll add my lead guitar afterwards.
Sunday, May 6, 2007
THE LATEST SONG...
Another song to talk about... It's been roughly one a week for the past month. I know it can't last, but it is satisfying as long as it does last.
Most of my songs are actually inspired by someone else. This one was in response to another one of these online challenges–this time, asking for songs about the Internet. I've gotten a song out of each of the four challenges I've seen over then past couple of months–not necessarily following the rules, of course, but a song nonetheless. There have been country music songs written about the Internet before, of course; mine is deliberately different because it has dead animals in it–a return to my roots, as it were.
It's a blues, because I've had nothing but blues running through my head for a while–but it's a deliberately distorted blues, because I was trying to get back to country music. So this blues has 5 lines in the verses instead of 3, and the second line is twice as long as the first, and the third and fourth lines (which are shorter) don't rhyme with the other three, but do rhyme with each other. No chorus–blues songs don't usually have a chorus–but the last lines of the verses are almost identical, and that's the hook, too.
It's been vetted by the other writers at Just Plain Folks, and played in public with the Friday Night Group, and nobody's had any nits to speak of, so it may be okay. It'll probably be played again next Friday, because people will tell Wayne, one of the FNG lead guitarists, that the verse about getting ripped off by online dating girls was inspired by him, so he'll (reluctantly) want to hear it.
Recording it's been more difficult, because I wanted a harmonica lead, and neighbor Dick Ackerman, who plays harmonica, is back now from snowbirding. I recorded the song on the Tascam, leaving a track open for him to record–but it's not going to work. Like the FNG folks who performed on the "Turn Your Radio On" recording, "performing" to a microphone instead of an audience is a new and strange thing, and the reaction is to be tentative in one's playing.
What we'll do is try to record it live instead, using the Tascam and that 6-channel mixer I bought over a year ago (and haven't used yet). We'll run 3 mikes off the mixer (vocal, my guitar, and Dick's harmonica) and record it live to 2 channels of the Tascam. Then I can add a lead guitar (or banjo–I've thought about a lead banjo for this song) on a third track later. New stuff–but it's good to learn new things.
UPDATES: "Rotten Candy" did not make the Top Twenty in American Idol's song contest (I was not surprised one bit). The music publisher is still looking at "Turn Your Radio On"; there's a question about copyright–the song might actually be public domain which would make it useable. If she can use it, we will need to re-record it so that it's "radio-ready."
And the next Soundclick blues collaboration I wrote the lyrics for–words are my strong suit, after all, and I'd rather do that than try to play lead guitar–and will try to sing. Should be fun.
Most of my songs are actually inspired by someone else. This one was in response to another one of these online challenges–this time, asking for songs about the Internet. I've gotten a song out of each of the four challenges I've seen over then past couple of months–not necessarily following the rules, of course, but a song nonetheless. There have been country music songs written about the Internet before, of course; mine is deliberately different because it has dead animals in it–a return to my roots, as it were.
It's a blues, because I've had nothing but blues running through my head for a while–but it's a deliberately distorted blues, because I was trying to get back to country music. So this blues has 5 lines in the verses instead of 3, and the second line is twice as long as the first, and the third and fourth lines (which are shorter) don't rhyme with the other three, but do rhyme with each other. No chorus–blues songs don't usually have a chorus–but the last lines of the verses are almost identical, and that's the hook, too.
It's been vetted by the other writers at Just Plain Folks, and played in public with the Friday Night Group, and nobody's had any nits to speak of, so it may be okay. It'll probably be played again next Friday, because people will tell Wayne, one of the FNG lead guitarists, that the verse about getting ripped off by online dating girls was inspired by him, so he'll (reluctantly) want to hear it.
Recording it's been more difficult, because I wanted a harmonica lead, and neighbor Dick Ackerman, who plays harmonica, is back now from snowbirding. I recorded the song on the Tascam, leaving a track open for him to record–but it's not going to work. Like the FNG folks who performed on the "Turn Your Radio On" recording, "performing" to a microphone instead of an audience is a new and strange thing, and the reaction is to be tentative in one's playing.
What we'll do is try to record it live instead, using the Tascam and that 6-channel mixer I bought over a year ago (and haven't used yet). We'll run 3 mikes off the mixer (vocal, my guitar, and Dick's harmonica) and record it live to 2 channels of the Tascam. Then I can add a lead guitar (or banjo–I've thought about a lead banjo for this song) on a third track later. New stuff–but it's good to learn new things.
UPDATES: "Rotten Candy" did not make the Top Twenty in American Idol's song contest (I was not surprised one bit). The music publisher is still looking at "Turn Your Radio On"; there's a question about copyright–the song might actually be public domain which would make it useable. If she can use it, we will need to re-record it so that it's "radio-ready."
And the next Soundclick blues collaboration I wrote the lyrics for–words are my strong suit, after all, and I'd rather do that than try to play lead guitar–and will try to sing. Should be fun.
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