Never stop dreaming, never stop learning, laughter is a cure ... - APRA

Editor’s Wrap
It’s telling that this year’s APRA Song
of the Year and Breakthrough Awards
were won by Missy Higgins.
Sebastian Chase, one of the
interviewees in our feature article
this issue (You can go your own
way, page 8), would recognise
her story immediately as one of
evolving partnerships. Chase says
all artists start out independent
– as Missy did till her discovery
on Triple J Unearthed. He says the
artist’s journey is one from self-belief to success. Independent
or major doesn’t matter: what matters is the partnerships you
make to promote your music along the way.
WHAT’S MY SCENE
GOING GLOBAL: THE CAT EMPIRE
AUSTRALIAN MUSIC ONLINE, IN TIME
2 4 6 8 10 12 14 16 18 20 22
Contents>>
>> Photo by: Bridget Elliot
Missy’s story fits this plotline perfectly. From independent
roots her partnerships evolved: a partnership with John
Watson of John Watson Management, a record deal with local
label Eleven (backed by the significant distribution engine of
Virgin/EMI), to the 2002 international deal with Warner Bros
Records.
The route from self-belief to success is one that interests a
lot of members – more than 500 people attended APRA’s
recent Indie Roadshow in Melbourne. You can read what our
panelists said on page 8.
Also this issue, a beautiful tribute on Paul Hester, of Crowded
House, by Deborah Conway (page 10); a wrap up of the
APRA Awards, courtesy of the inimitable Jonathan Biggins
(page 12); an update on APRA’s background music licence
negotiations (page 15) and Scot Morris’s promised follow up
on the FTA (page 13) – this time focusing on new performer’s
rights and moral rights. And all the other usual suspects.
Enjoy – we’ll be back again in December.
Kirti Jacobs
PDA POSTCARDS
YOU CAN GO YOUR OWN WAY
REMEMBERING PAUL HESTER
2005 APRA MUSIC AWARDS WINNERS
THE VIEW FROM THE STAGE
To The Point
APRA honoured the songwriters and publishers whose works
were most performed over the previous year at the recent
APRA Music Awards held in Sydney. We extend our sincere
congratulations to all the winners and nominees and thanks
to the organisers and participants for delivering a most
memorable evening. We now look forward to honouring
our classical composers at the Classical Music Awards to be
presented by APRA and the Australian Music Centre on 18
July at the Sydney Conservatorium.
While the art and business of music continues unabated,
there’s a new development on the legal front which poses
serious questions for copyright owners. The Government has
called for submissions on the proposed inclusion of US-style
Fair Use exemptions in the Australian Copyright Act. Their
discussion paper raises the possibility of the introduction of
a royalty-based licence for private copying.
It’s timely to be looking at this issue because with the
proliferation of devices such as iPods and Foxtel’s PVR in
the market, private copying of music is as widespread as
it ever was. Everyone agrees that it’s ridiculous to have a
law which makes an infringer out of anyone who copies into
another device a piece of music they’ve already bought as
a CD, for example. What’s uncertain is to what extent that
private copying should be free or
renumerated.
APRA’s view is that there is a
clear and compelling moral case
for access to be accompanied
by compensation. A broad-based
licence for private copying is a
workable solution that will benefit
the composer and the music user.
In the months ahead, APRA will be
strongly arguing this case on behalf
of its songwriter, composer and
publisher members.
Brett Cottle, CEO APRA
INTERNATIONAL NOTES
MEMBER NEWS
BACKGROUND MUSIC: WHAT’S IT WORTH
PUBLISHER NEWS
SCREENRAP
MUSIC TO WATCH PICTURES BY
SONGWRITERS SPEAK
WHAT’S HAPPENING
APRA NZ
FOCUS ON TAS MUSIC
>> Photo by: Bridget Elliot
JIM KEAYS >> The Mustangs >> Masters Apprentices >> Cotton Keays & Morris
What are you currently working on?
I’m working with Russell Morris on material for our live
shows with Cotton Keays & Morris. One song, Hard To Take
It Easy, is already included in the set. I have also just written
Melbourne Victory’s new soccer anthem. I’m also about to
finish the last couple of songs for my new album, Caledonia.
What are you listening to?
Some new stuff, some old stuff and stuff in between. The
new stuff includes Audioslave, Evermore and Powderfinger.
The old stuff includes Little Feat, Dylan, Muddy Waters and
Elmore James. The stuff in between includes Willie De Ville,
and Paul Rodgers (Tribute to Muddy Waters).
What is your favourite book about music?
Ian McFarlane’s Encyclopedia of Australian Rock & Pop.
John Lennon’s Spaniard in the Works, and In His Own Write
and my own, His Master’s Voice.
What is your favourite film that is about music or is it a
musical?
Spinal Tap. Everything in it has happened to me at some
time. Hard Day’s Night & Leningrad Cowboys Do America.
What is your favourite music website?
Don’t do websites except for music memorabilia on ebay.
What is the best live gig you’ve ever been to, whether you
were on the bill or not?
Lots! Beatles at Centennial Hall, Adelaide 1964; Stones at
Centennial Hall, Adelaide 1965; Free at Lyceum, London 1970;
Pink Floyd at Hyde Park, London 1970; Jethro Tull at Festival
Hall, Melbourne 1972. Plus honorable mentions to Bob Dylan,
Who, Easybeats, Tom Waites, Yes, Yardbirds & Warren Zevon.
What is the quickest song you have written and which song
took the longest to write?
Turn Up Your Radio. It only took about 20 minutes. The slowest
was This Song which took about three years.
Who have been your greatest musical influences?
Early rock & roll performers Little Richard, Jerry Lee Lewis,
Eddie Cochrane, Fats Domino, Buddy Holly, Elvis, etc. Then
Beatles, Stones, Dylan... the usual suspects.
What do you enjoy the most about co-writing?
It takes the song away from your singular point of view and
transports it to places you never think of on your own.
Who would you most like to collaborate with and why?
I’m fundamentally a lyricist so I’d prefer to collaborate with a
guitar player or keyboard player – someone like Pete Townsend
or Eric Clapton. But Nic Cester from Jet would be cool, too.
What’s your favourite song (that you’ve written)?
Because I Love You – it has become an evergreen / classic.
Waiting For The Big One – many people comment that it sounds
familiar despite having never heard it before; and Love Is, an
overlooked Masters song from the Panama Red album.
What song written by another writer do you wish you had
written, and why?
Like A Rolling Stone – spoke to a generation of kids trying
to find their way in a whole new post-war world.
What lyric can’t you get out of your head?
“Do what you wanna do, be what you wanna be, yea”.
What is the best career advice you were ever given?
Being a rock musician was definitely not seen as a career
so there was nobody before me to get advice from!! But
my advice to others is to WRITE SONGS. The songwriter
supports the entire music industry despite what record
companies, managers, agents, etc. may tell you.
If you were not a songwriter, what might you have ended
up doing?
Probably a painter. I still love painting and try to do it
whenever I get a break from gigging. If it wasn’t for music
and art, I’d probably be in jail!!
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