Legendary US Publisher Freddy Bienstock Dead - International ...

OUR 42ND YEAR SERVING SONGWRITERS THROUGHOUT THE WORLD
®
OCTOBER 2009 ISBN 0332-4990 FOUNDED 1967 ISSUE 301
Legendary US Publisher
Freddy Bienstock Dead
Legendary music publisher, Freddy
Bienstock, who served on the NMPA’s
Board of Directors for nearly 20 years, has
died in Switzerland.
“More than an icon and leader in the music
publishing industry, Freddy was a cherished
friend and colleague,” said Irwin Robinson,
NMPA Chairman of the Board. “I was
privileged to serve with him for many years
on our board. He will be dearly missed by all
of us in the music industry.”
Bienstock was the founder of independent
music company Carlin, where he built an
expansive catalogue of more than 100,000 of
America’s best-loved hits, including classics
like “Fever”, “Happy Together”, “The Twist”
and “What a Wonderful World”. Bienstock
began his storied career in the stock room of
publisher Chappell and Company, later
becoming its Chairman.
He served on the NMPA Board from 1989
until 2008. He also served on the board of
ASCAP.
Interview
Sandy Linzer
SongSeller & Trade News
Top Songwriters Tell The Secrets
Behind Their Hits (And Misses)
Songwriters love to say that every song tells a story, but they are usually tight-lipped about the
story behind the song. Was it really scribbled on a napkin? What love interest was the real
inspiration? If we knew the real story behind our favourite songs, would we ever listen to them
the same way again?
Well, now Christina Aguilera, Melissa Etheridge, Lamont Dozier, Paul Anka, Kanye West,
Richie Sambora, and other top songwriters have spilled the beans and told entertainment
veteran Jo-Ann Geffen all about their inspiration and techniques.
Chicken Soup for the Soul(R) has partnered with veteran Hollywood publicist, talent
manager, and celebrity booker Jo-Ann Geffen for the first all-celebrity book from the top-selling
brand.
Geffen peels back the curtain on 101 songs, songwriters, and artists with the upcoming release
of Chicken Soup for the Soul: The Story Behind the Song (Chicken Soup for the Soul, LLC,
November 10, 2009, 978-1-935096-40-5, $14.95). Jo-Ann Geffen is credited as editor along
with Chicken Soup for the Soul co-founders Jack Canfield and Mark Victor Hansen. The
foreword is by Lamont Dozier, who is credited as an architect of the Motown sound.
The book reflects on many of our favourite songs that trace our lives through all genres of
music. Some of those who tell their very personal stories include hitmakers Richie Sambora,
Christina Aguilera, Melissa Etheridge, John Legend, the Backstreet Boys' Howie Dorough,
Kanye West, Jewel and classic rock performer/songwriters like Chicago's Robert Lamm,
Foreigner's Mick Jones, and Daryl Hall and John Oates; and alternative rockers Aaron Lewis of
Staind and Corey Taylor of Slipknot.
Readers will learn the story behind pop classics by Barry Manilow, Hal David, Diane Warren,
and Paul Anka, rockers Jerry Cantrell of Alice In Chains and Joan Jett, as well as from R&B
songmasters including Nathan Morris on the Boyz II Men/Mariah Carey hit "One Sweet Day,"
Walter Orange of the Commodores, Smokey Robinson, and Earth Wind and Fire's Philip Bailey
and country singer/songwriters Tracy Lawrence, Ray Stevens, and Pam Tillis.
IN FUTURE ISSUES OF SONGWRITER MAGAZINE
Exclusive Interviews With Such Million-Selling Songwriters As
Dallas Frazier, Bill Martin, Keith Stegall, Nik Kershaw etc etc!
Obituaries
Waldi Schubert (72), member of the
Advisory Council of the ISA - International
Songwriters Association. On July 14th 2009,
in London, UK, following a short illness.
Deeply regretted by his brothers George and
Arthur, his niece Bridget, his family, the
chairman, staff and members of the
International Songwriters Association, and a
wide circle of friends.
Patrick Swayze (57), actor, songwriter and
singer, whose hits include "She's Like The
Wind". In Los Angeles, California, USA, of
cancer.....Johnny Mullins (86), songwriter
and guitarist whose songs include Emmy Lou
Harris's "Blue Kentucky Girl", Porter
Wagoner's "Company's Comin" and Loretta
Lynn's "Success". In Springfield, Missouri,
USA, of alzheimer's disease....Freddy
Bienstock (81), music publisher, CEO of
Carlin America music publishing, co-founder
of The Hudson Bay Music Company. In
Zurich, Switzerland....Ellie Greenwich (69),
singer, pianist, songwriter and producer,
whose songs included "Then He Kissed Me",
"Leader Of The Pack", "Hanky Panky" and
"Da Doo Ron Ron". She was also a member
of The Jivettes and The Raindrops ("What A
Guy" and "That Boy John") and worked with
Frank Sinatra, Dusty Springfield, Bobby
Darin, Lesley Gore, Desmond Child, Paul
Shaffer, Neil Diamond, Ella Fitzgerald, Nona
Hendryx, Cyndi Lauper and Lou Christie.
Formerly married to songwriter Jeff Barry. In
New York, USA, following a heart
attack....Hugh Hopper (64), songwriter and
bassist, and member of The Wilde Flowers,
Soft Machine, Soft Works, Hopper Goes
Dutch which became The Hugh Hopper
Franglo-Dutch Band, Soft Heap and Humi,
and who worked with Syd Barrett ("No Good
Trying" and "Love You"). In London, of
leukaemia....Steve Race (88), pianist and
composer, whose work includes "Nicola" and
"Faraway Music", and who worked with
Harry Leader, The RAF Swing Stars, Lew
Stone and Cyril Stapleton. He was also an
arranger for Ted Heath's band and Judy
Garland, and hosted the radio and TV
programmes, "My Music". In London,
UK....Walter Haynes (81), steel guitarist and
producer who co-wrote, "Girl On The
Billboard" and worked with Jimmy Dickens
("We Could"), Del Reeves, Ferlin Husky,
Webb Pierce, The Everly Brothers, J.J. Cale,
Jeanne Pruett and Patsy Cline ("Walkin' After
Midnight"), as well as producing Marty
Robbins and Bill Monroe and being a staff
musician on The Grand Ole Opry. In Tyler,
Texas, USA....Kenny Rankin (69), singer,
songwriter and guitarist ("In The Name Of
Love" and "Peaceful") whose songs have
been recorded by Peggy Lee, Stephen Bishop,
Carmen McRae, Helen Reddy ("Peaceful")
and Mel Torme. In New York City, USA.
The Songwriter® is published by International Songwriters Association Ltd
PO Box 46, Limerick City, Ireland. Tel 00 353 61- 228 837: E-mail jliddane@songwriter.iol.ie
Managing Editor: Jim Liddane
Contributing Editors: Larry Wayne Clark, Patricia Knapton, Jim Birmingham Songwriter and Harvey Magazine RachlinPage 1

STACE JAMES
Anatomy Of A Hit -
“Everybody In Love”
PERFORMER JLS
WRITERS Wayne Hector (Nicole
Scherzinger, Craig David)
The Hooks
Winning isn’t everything. Of course it never
feels that way in the heat of the moment, but it’s
so often proved to be true. On Saturday 13th
December 2008, coming second in the X Factor
final to eventual winner Alexandra Burke, to
tell the four JLS members that winning wasn’t
everything would no doubt have been met with
blank, disbelieving expressions. But, as it turns
out, unbeknownst to JLS, their supporters, and
the best part of the music industry at the time, it
was probably the best thing that could have
happened to them. Signed by Sony/Epic within
weeks of the final, JLS have made huge gains
very, very quickly – they’ve bagged a hit single
(two by the time you read this), book, album
and sold out a 2010 tour all within a year of
“losing” to Miss Burke. And all from second
place?! Two words. Not. Bad. Had they won,
they may not have even have had their first
“proper” single out by now, and it would’ve
probably been a ballad, most likely a cover of a
cover of a cover. Formulaic. Safe. Westlife
MkII. I repeat - winning isn’t everything.
And so to their second single Everybody In
Love, the follow-up to their summer smash and
debut single Beat Again.
When George Martin suggested to The
Beatles that they re-arrange the structure of
their hit Can’t Buy Me Love so that it opens
with the song’s biggest hook, he wasn’t just
saying it to feel “involved”. It’s a longestablished
tried and tested hit songwriting
device – if you’ve got a killer hook, don’t bury
it halfway through your song, put it out front!
Holding it back and slowly bringing it to the
boil is all well and good when you’re preaching
to the converted, but when it’s new recruits
you’re looking for (and this should always be
the case irrespective of the size of your
fanbase), get those killer hooks in bright and
early!
Everybody In Love sticks like glue to this
proven device, beginning as it does with the
“Everybody in love, go put your hands up”
refrain - arguably the song’s most memorable
section. Little time is spent on the opening
verse that follows – it’s a pleasant enough
section but is little more than a short breather
for the listener before being pummelled with the
other of the song’s hooks – the main chorus.
Melodically, the chorus is very close to the
aforementioned opening chant, and that’s no
bad thing. Essentially a development of the
opening refrain, the chorus works brilliantly in
hitting home it’s simple, catchy melody, while
simultaneously adding deeper lyrical content
and meaning, and a couple of new melodic
deviations and hooks to boot. Wisely, the song
sticks to the all-chorus tactic, even the middle
eight section is a reprise of the intro refrain. It’s
relentless, but never boring - a one-listen-andyou’re-hooked
piece of pop magic.
The Lyric
Simple, but effective.
Songwriter Magazine Page 2
The sing-along style
chorus benefits from its lyrical simplicity.
Everybody In Love was clearly written and
produced as a lighters-aloft audience
participation type song, and lyrical complexity
is the enemy of such beasts. In this respect, the
lyric ticks all the boxes – it’s unambiguous and
direct. Thematically it’s hard to think of
anything more universal – how many of us can
honestly claim to have never missed someone so
much that “every hour’s like a day”?
Song or Track?
As with most big boyband hits, the song itself is
– and has to be – king. The hard-core fanbases
of boybands are surprisingly unforgiving. The
media, and especially music journalists at the
top end of the broadsheet market, often paint
the screaming teenage-girl dominated fanbase
of popular boybands as deluded, clueless,
oestrogen-fuelled lemmings. Wrong! They’re
loyal, yes, but not stupid. Westlife, for
example, released ropey self-penned song Bop
Bop Baby (against the recommendation of
record label and management) at the height of
their popularity when they could seemingly do
no wrong, but it’s no coincidence that it still
stands as their biggest (relative) chart flop! It
doesn’t matter who you are, if there ain’t a
killer topline, they ain’t gonna buy it!
That’s not to say that production can be
relegated to an afterthought. In fact, songs with
multiple lead vocals actually require special
attention in production terms.
JLS, comprising of four strong and
distinctive voices have the potential to be both a
production dream, and a production nightmare.
Getting it right, by paying care and attention to
things like the vocal range of (and contrast
between) each individual voice and how best to
organise line-splitting and harmony
arrangements, can yield truly sublime results –
done well, and with the right song, it’s possible
to achieve a kind of sonic diversity and colour
that’s near impossible to achieve with a soloist.
But ignorance of such seemingly trivial issues
can and do mean the difference between a
polished and engaging recording and an
amateurish, garish mess. Such is the potential
for disaster when working with multiple
vocalists, even an amazing song can’t always
redeem poor planning at this stage.
Pitfalls a-plenty, then. Fortunately,
Everybody In Love effortlessly dances around
them all. The vocal arrangement is expertly
executed to utilise the best of individual and
combined voices.
Too often boybands sound like a group of
soloists trying too hard to work together. JLS
are unique. Long before X-Factor they had
something that can’t be manufactured. They
have strong individual talent, but far more
importantly, they have an even stronger
collective talent. The total is greater than the
sum of the parts, and their natural and
harmonious democracy - so crucial to
development and longevity - will no doubt serve
them well in the future.
Winning isn’t everything.
Copyright Stace James & “Songwriter
Magazine”. All Rights Reserved: Printed By
Permission
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DEBBIE RIAL
Songwriter Profile -
Franceska Aeschlimann
Successful songwriter - lyricist -
publisher Franceska Aeschlimann has
written with and for an eclectic range of
artists such as Jermaine Jackson, Petula
Clark and more recently the highly
acclaimed tenor Mario Frangoulis along
with the Number 1 Russian artist
Valeriya. She has her own publishing
company Franamusic Publishing based
in Switzerland and her tri-lingual
abilities have allowed her to adapt lyrics
from French or Greek into English and
from English into French for many
international artists.
You have a formal musical
background and played classical piano
from an early age, what made you take
the leap from performing into
songwriting?
From a young age, lyrics were my
speciality, I wrote a lot of poetry and won
prizes for it, so playing classical music
was not enough. I needed songs with
lyrics.
Do you still play and do you have any
hidden desires to take centre stage?
I very rarely play the piano now, but the
classical background has helped me
enormously in writing songs. No, I really
have no desire at all to take centre stage.
Although in a way, I do become part of
that centre stage, for when an artist sings
my songs, the song becomes centre stage
itself with the artist. So there is a part of
me there.
What first inspired you to write songs,
was there a defining moment?
What first inspired me to write songs - it
was a necessity! It was something I had to
do. Nothing to explain, it was passion and
a way to express myself and find myself in
every way.
How old were you when you wrote
your first song?
I was eight years old when I wrote my
first "song" per se, in class. It was when
the teacher was reading about the life of
Hans Christian Andersonn. I wrote down
some notes and created a little jingle on it
and the teacher was so proud of me.
Which first, lyrics or melody?
I prefer lyrics first. But I do get many
tracks, into which I put lyrics into the
music. It depends with whom I am
writing. The classical/pop songs, the lyric
comes first. On the more commercial
tracks, I put lyrics into the melody.
Which of your songs are you most
proud of?
I am proud of all of my songs, for each
one is special at a given time in my life.
We get different inspiration at different
times, or have gone through certain
experiences that make that song special at
that time. You can almost say that each
song is like a memory of something or
other at a certain point in my life.
What were your musical influences
growing up? Do you have an all-time
favourite song and is there a song that
you wished you had written and why?
Growing up in the States, I loved the
Afro/American music and artists such as
Marvin Gaye, Diana Ross, Barry White,
Ray Charles, Stevie Wonder, etc. But my
top favourites were Bob Dylan, Janis
Joplin and Jimi Hendrix very, very much!
Today, my all around favourite artist,
musician and songwriter is Prince. For
me, his Purple Rain album is an album I
would have loved to have written, songs
like "When Doves Cry" for example. Also
I would have loved to have written the
Janis Joplin tracks, "Take a Little Piece of
My Heart" and "Cry Baby". Tracks like
this are so full of passion, that they just
take you away. There are no words to
express when I hear songs like this.
You’re now based in Switzerland but
grew up in the USA and have a Greek
background. Where do you feel your
roots are? With such a cosmopolitan
upbringing, do you think your
songwriting has been influenced and
how?
Being multi/cultural was and is a great
influence. USA is the groove, the soul,
Switzerland is the structure and Greece is
the passion! UK writers have told me that
when I write, that the passion in my Greek
blood comes out. Plus this multi-ethnic
upbringing has given me the possibility to
work with artists from different countries
and backgrounds, to understand them and
thus to write for them.
Because you write in such an
international arena do you find yourself
a frequent flier or can you do most of
your collaborations via the internet?
I am both a frequent flyer and also write
by communicating through phone and
internet. With the USA, I communicate
through the internet. In Europe, if I write
with a new writer for the first time, I travel.
Also again, with classical/pop, I meet with
the writers. From the USA, they send me a
track first, if I like it, the melody is put to it
and last, but not least, the lyric.
Do you write a song and then think
who it would suit or do you write in an
appropriate style for a specific artist?
I write with an artist in mind, for now I
write when I know a specific artist is
looking for songs, but if it turns out to be a
great song, it can really suit a variety of
artists. Keeping an artist in mind helps to
focus sometimes on one specific style and
makes things easier.
If you could work with anyone, who
would it be?
If I could write with anyone today, it
would be Prince.
So what’s next?
Already working on Valeriya's new
album and we've got some great hits. Also
developing a new Middle Eastern artist,
Abir Nehme for her new English album,
working on new songs for Mario
Frangoulis and co-writing with Steve
Balsamo. I am also doing English
adaptations for two other Russian artistes’
English albums and writing with multiplatinum
USA producer / writer Rob
Fusari, who has hits with artists such as
Whitney Houston, Destiny's Child, Will
Smith, Beyonce, Britney Spears, etc.
Finally, what advice would you give to
other songwriters?
My advice would be to just keep on
writing songs, writing means learning and
the more we write, the more we learn, and
the better chance we have of getting
something covered. Also I would advise
them to not forget the contacts in the music
industry, for the more people we know, the
more a door can be opened at the right
time and place to get a song placed.
Copyright Debbie Rial & Songwriter
Magazine: All Rights Reserved: Printed
By Permission
Songwriter Magazine Page 3

debbie rial
As front man with Dr Hook, Dennis
Locorriere enjoyed huge international
success with over 60 gold and platinum
albums, sell out tours and no 1 hits in over
42 countries with the likes of “Sylvia‘s
Mother” and “When You‘re In Love With
A Beautiful Woman“. Famous for their
long gruelling tours, performing up to 300
shows a year, Dr Hook is undoubtedly one
of America’s most successful acts of the
1970’s and early 80’s. Dennis has
gone on to have highly acclaimed solo
success and continues to wow
audiences with his spine-tingling, sexy
vocals. A notable songwriter, he has
had songs recorded by Bob Dylan,
Southside Johnny and Willie Nelson,
to name but three. Still “hooked” on
performing, Dennis had just come off
a tour but found time to answer a few
questions for us.
At what age did you first realise
that music was important to you?
I can't remember a time in my life
when music wasn't there in a big way.
My mother was very young, 19 years
old when I was born and she liked her
music. Mostly great singers like Dinah
Washington, Nat King Cole, Chet
Baker, Sarah Vaughn and later, Sam
Cooke.
It probably helped that I grew up
across the river from New York City,
home of some of the coolest, most
powerful radio stations in the country,
playing all the hippest records. My little
transistor radio was always glued to my
ear.
Even in bed, I'd have it on really low, under
my pillow, so only I could hear it. I always
figured I'd be a music 'fan' for life. It wasn't
until I was 14 years old and The Beatles
came to America that I started banging and
plonking on things, trying to make a similar
noise. It felt good to me. Natural. Right.
I never really thought about music as a
career. It just sort of happened. Probably a
good thing. I didn't have anything else in
mind at that point...or at this one either.
Who were your early influences?
My mom and her records were what peaked
my interest. All her favourite singers had
such unique voices. Unmistakable from the
first word. Sam Cooke was a major influence
on so many vocalists, including me. But, The
Beatles will always stand as my single
biggest motivator because they were the ones
that made me wanna do it and not just listen
to it.
Songwriter Magazine Page 4
Songwriter Profile -
Dennis Locorriere
How old were you when you wrote your
first song?
It was sometime shortly after the British
Invasion started, so 14-15. I can't remember
exactly what it sounded like, or what it was
about, but I do recall the deflating moment
that I realised it was pretty much Tommy
Roe's “Sheila“, almost note for note. But,
hey! I'll bet a lot of the great artists began
with a touch of plagiarism. You have to start
somewhere. The trick is to move into your
own thing.
Do you write all the time, do you set time
apart for writing, what’s your process?
I have absolutely no process, technique or
method that I could tell you about. I write
when an idea hits me. The best ones are the
ones that hit me hard enough to sit down
right then, pick up my guitar and try and find
my way into it a little.
Of course, that's not always possible, so I
do carry a notebook and a pen (usually!), but
that's about it.
I'm not methodical. I probably forget more
ideas than I'll ever follow thru on. I tried
co-writing in the past and some nice songs
have come of it.
But, I've also had a few of what I thought
were good ideas taken in the wrong direction
by someone else and I, in the spirit of
collaboration, just let it happen. I don't do
that anymore. I mostly write alone these
days.
It’s a great accolade to have had songs
recorded by two of the greatest
songwriters in the world, Willie Nelson
and Bob Dylan. How did they come to
record one of your songs?
Both of those artists recorded the same
song, 'A Couple More Years'. That song is
down in the books as a co-write between me
and my late, great friend, Shel Silverstein,
and, I supposed, technically, that's true. The
real story is that when I was in the studio,
recording the vocal on Hook's version of
the song, it was sounding strangely
familiar to me. One of my bandmates
pointed out to me that the melody was
very reminiscent of a song I had written
called 'Moon Tune'. I don't think Shel
was too happy to hear that and who could
blame him? And, let's face it, it is a pretty
standard country melody that we'd both
used in our respective songs, but Shel did
what he thought was the right thing and
made me co-writer on his song. It's been
wonderful for me to be associated with
the song and, yes, it's been recorded a
zillion times. The latest cut was Jerry Lee
Lewis and Willie Nelson on Jerry Lee's
comeback album, “Last Man Standing“.
So, Willie recorded the song twice.
Wonder if he even knows that?
Which of your many hits are you
most proud of?
It was never about 'the hits', to tell you
the truth. There are some far better songs
on the albums. Don't get me wrong,
without the radio records Hook might not
have had the opportunity to show so many
people, all over the world what a great 'live'
act we were. And, that's what it was always
about for us. The shows. The 'hits' were just
like far-reaching explosions that drew the
crowds in. Luckily, we had a bunch of them.
But, to sort of answer your question, I'm
kinda partial to the Shel penned ones, like
Sylvia's Mother, Lucy Jordan, More Like
The Movies. Very cinematic. Great for a
singer to chew on.
You’ve always spent so much time on the
road, including almost year long tours
during your time with Dr Hook. What is it
about live gigs that appeals to you?
The worst part of this business to me is
having to solicit the opinions of other
professional people and then wait for their
responses. Sometimes you can wait forever.
You write a song, you wonder if it's any
good. You record it, present to the label and
wait for their opinion...and the song plugger's
opinion...and radio's opinion. And, these

opinions are usually based on a whole lot
more than whether they liked your song or
not. You walk out on a stage and play that
song for the people and, immediately, you
know what you have...or not. It's right there,
right then. 'Live' performance is really the
only thing that makes me feel like I'm still
viable in this business.
Was a busy touring schedule behind the
long gap between the release of your first
solo album “Out of the Dark” in 2000 and
its follow up “One of the Lucky Ones” in
2005?
The long gap - four years or more -
between albums had more to do with trying
to define myself between albums than
anything else. “Out Of The Dark” was
recorded bit by bit, song by song, just to be
doing something with all the songs I was
writing. They weren't intended for an album.
I hadn't looked for a label before that. Most
of the tracks on OOTD were released a
couple years prior as “Running With
Scissors“, on a small Norwegian dance label.
It soon folded and so did the album. When
the opportunity arose to rework it a bit and
get it out as a proper release I jumped at it
and “Out Of The Dark” saw daylight. “One
Of The Lucky Ones” was actually recorded
and scheduled to be released on a UK label
that got weird and dodgy just as I was
finishing it. They, without any warning to
me, went bust and left me with a bunch of
studio bills that I couldn't pay, including
several musicians who were friends of mine.
Needless to say I felt like a fucking deadbeat!
The album remained in the studio vaults for
quite awhile until I could work and raise the
money to pay them all, players and studio,
what I owed them. But, even tho I had
possession of the master tapes again, they
still sat in the drawer next to my bed for a
year or so until we could find a home for it.
Turned out we went back to Track Records,
who had put out OOTD.
Your musical career has successfully
spanned the decades and you’ve worked or
guested with many stars including your
recent stint with Bill Wyman and The
Rhythm Kings. Is there anyone you would
like to guest on one of your tours?
Now, there's a question I've never been
asked and something I've never really
thought about. Not who I'd like to guest with
but who I'd like to have guest with me. Well,
off the top of my head, Billy Preston would
have upped the soul factor of anybody's
band. He played an organ solo on “Isn't It A
Pity” at the Concert for George (Harrison)
that makes my eyes well up every time I hear
it. The two fellas with Was (Not Was), 'Sweet
Pea' Atkinson and Sir Harry Bowens, would
be a kick to sing with. I'll stop there or be
forced to go through my entire record
collection for more ideas. But, you have me
thinking about it now.
Anyone who appreciates song writing
can’t help but be a Beatles fan. In your list
of ten all time fave songs there are three
Beatles songs. What is it about their song
writing that makes them so special to you?
The only reason there aren't ten Beatle
songs on the list is because I didn't wanna
seem too monotone about it all. But, then,
again, you could pick ten of their songs and
hit on as many different styles of music,
couldn't you? The Beatles had and did it all
and changed the landscape forever. The way
artists think, sing, write, dress, look, sound,
and on and on. I'm so glad I was 14 when
they arrived. It was the perfect age to take it
all in. To really 'get it'.
What song do you wish you’d written?
Any and every Paul Simon song. The man
is an artistic treasure.
Do you follow the current music scene
and if so who do you rate?
I listen to lots of different types of music.
Today's manufactured pop music doesn't
speak to me at all. It all sounds the same on
purpose. It's a shame, really. I still love a
great voice, but I'm talking more about the
way that voice communicates with you rather
than trying to dazzle you with technique and
range and a million notes per syllable. An
expressive singer doesn't have to hit lots of
notes or land every one right on the money
on to make you pay attention. Take Jagger,
Lennon, Costello. These are not pitch perfect
singers (though Elvis might disagree), but
they are three of the most distinctive, emotive
voices there have ever been. I love to listen to
new bands with great songs and nice
harmonies too. I rate anyone that sounds like
they know how they want to sound.
What’s your connection with McFly?
My only connection with McFly is that I
have known Tom Fletcher and his lovely
family since he was about five. They came to
a solo show of mine and young Tom asked if
he could come up and sing something with
me. Did I say he was only five??? We did
“Cover Of Rolling Stone” together and he
was sensational. Knew every word and every
note of melody. It sounds very storefront
Nostradamus now to say this but I just knew
the lad was gonna amount to something. He
just had it.
I love the success he and the band are
having. He deserves it and his family are
some of the nicest people I've ever met.
McFly is only the beginning for young Tom.
Watch out for Carrie Fletcher next. Tom's
little sister. Another extremely talented
young person.
Any tips for aspiring songwriters?
It's so hard for me to give anybody advice
because, as I said, I really don't have a
process or particular technique. I'm the most
unorganised, undisciplined person when it
comes to writing. As I said, I write alone
these days. I'm not saying I'm not open to
collaboration with the right person. I just
spend a lot of time alone. I live alone.
Usually tour alone. I find myself with my
guitar on my knee more often when no one
else is around. The only 'tip' I can give
anyone about anything is: Don't do things
that keep you awake at night. If you find
yourself lying on your back one too many
nights, looking at the ceiling, wondering if
you're doing the right thing, you probably
aren't. Hopefully it's not too late to say 'No
thanks!' and move on. As far as content,
sometimes you write 'what is', sometimes it's
about 'what you wish was' and other times
you just make it up. As I get older I find I
have to make it up less and less.
And finally, what are you up to at the
moment?
I'm going through the opening stages of
preparing to record my next album. The first
step was to play songs for my co-producer. I
had specific things I wanted to show him,
but, after awhile, I started playing songs that
I'd never shown anyone. Songs that were
written over the last 25 years of my life. It
turned out that he really liked a lot of the
ones I hadn't intended to play and it took my
head and the album in a totally different
direction. The next step will be to decide on
a cohesive sound for it all. Then, to find the
musicians we think can help us get that
sound, and rehearse with them for a few days.
After that, it's studio time! If I know me, I
will want to do a bit of 'live' playing before
too long. Maybe a few smaller venues, here
and there. I'm not a big fan of doing clubs as
part of a tour, but they're useful to break in
new material and, generally, keep my hand
in, between tours. I don't like to leave it too
long without some 'live' activity. The nice
thing these days is that I'm never quite sure
what will come up. A good example would
be the shows with Bill Wyman's band. An
unscheduled detour that I really enjoyed.
Sometimes the blank page is more exciting
than the full one. As long as it doesn't stay
blank for too long.
Copyright Debbie Rial & Songwriter
Magazine: All Rights Reserved: Printed
By Permission
Songwriter Magazine Page 5

SONGSELLER® NOTICEbOARD
BandIt Newsletter, Songbird,
Anna Livingstone & David P
BANDIT NEWSLETTER
I am offering a great deal at the moment
where if ISA members sign up to a quarterly
email subscription to BandIt, they get the
four latest issues and the next issue free
before any payment is taken from their card.
The link for this deal is
http://www.banditnewsletter.com/5freeissues
To qualify they should enter ISA in the
promo code box.
John Waterman, BandIt, 68-70 Lugley
Street, Newport PO30 5ET, UK
Phone +44 1983 524110
Email bandit@banditnewsletter.com
YOUMUSIC
The New Music Discovery Site. Upload your
music videos & audios from all genres to
expose your music to a world-wide audience
where fans can discover your music. Enter
our quarterly Music Contest to win prizes.
Features include: Music Video Charts, Audio
Charts, Post Gigs, CD Releases, Classifieds,
Create Groups, Channels, and Post Blogs.
http://www.YouMusic.com/
SONGBIRD
This is a monthly ongoing song competition
with a cash prize and podcast feature. One
winner is chosen with two honourable
mentions. All genres accepted. Songs can be
submitted directly through the site ($1) or
through Sonicbids ($2).
http://www.lobcede.be
Email: info@lobcede.be
+32 (0)9/342 81 93
CD single Michael Fall Feat DJ Falcon -
"The Beach"
Michael Brandt
Multimediastore L'ObCéDé Zelzate
P De Colvenaerplein 1 B-9060 Zelzate
Belgium
ANNA LIVINGSTONE
Singer Anna Livingstone urgently requires a
song in the Country/Folk music genre -
preferably a ballad. Martina McBride/Eva
Cassidy style.
Website http://www.banditnewsletter.com
DAVID P
Singer David P. urgently requires a song in
the uptempo Michael Jackson / Justin
Timberlake style, for demo and possible
record release. Words must suit male vocalist
in his teens. Will provide a copy of any demo
made and will return unsuitable material.
Write to:
Andy Piskoulian at 16866 Kingsbury Court
#201, Granada Hills, CA 91344, USA
Tel 818-642-3034
E-mail andypiskoulia@yahoo.com
MEGAN LONG
Megan Long is looking for an uptempo pop
Lady GaGa-sounding songs and r&b jazz
Amy Winehouse type songs, We are looking
for a hit song but very picky. Using song to
start a possible long relationship with
songwriter and to further advance my career.
I will return anything unsuitable that I cannot
use.
Megan Lauren Long
9125 Wibdrush Dr. S Apt#1311
Fort Worth, TX 76116, USA
Tel 817-420-9486
Email xomeganlaurenxo@ymail.com
RACE KNOWER
I am an independent UK-based music
producer and I am looking for a young
female vocalist to demo a dance track. The
lyrics speak of the end of a love affair so
delivering the emotional content in the
context of the lyrics is paramount. No
previous experience required, but you must
have a sense of rhythm, a high voice, type
and be able to sing in key!
Please contact Race at
soulmemories@aol.com
http://www.songbirdcontest.com/
SHANE PALIAN
Needs a Ne Yo or Daniel Merriweather or
Chris Brown or Lemar style song (whichever
is possible), for demo and a possible record
words/lyrics must suit a male vocalist. Will
provide a demo (if made) and will return
unsuitable material.
Shane Palian, 12 Walton Way, Mitcham,
Surrey CR4 1HQ, UK
Email: skpalian@hotmail.com
RAMONA COOK
Our name is UnderThePeir. We are a young
band in age, and are looking for song(s) that
can be sung by female/male vocals
independent or duet,since we have both.
Material must be relevant to our age group
(younger generation) and genre. The theme
our music should represent....good times, hot
guys/girls, summer surfing/boarding,
football,hookups, in and out of love, we are a
little crazy..etc... Our music is similar to:
Alltimelow, Greenday, The Maine, Mayday
Parade, Paramore, HeyMonday, and Fall Out
Boy. We are looking for someone who we
can develop a good relationship with.
Any questions? Contact us.
Ramona Cook
318 North Seymour Street, Mesa, Az 85207,
USA
underthepeir@yahoo.com Tel 480-363-0747
MICHAEL BRANDT
I’m a Belgium producer of Dance Music with
two hits at the moment. I’m looking for a
lyric writer who can write lyrics for both
male and female singers. Right now, I’m
looking for lyrics in the David Guetta style.
My Facebook Page:
http://www.facebook.com/home.php#/
group.php?gid=101791049203&ref=ts
Song is required for demo and website
purposes only. Words must suit a female
vocalist.
Will always provide a copy of any demo
made and will willingly return any unsuitable
material immediately.
Phone 07827913317
E Mail annastix@hotmail.co.uk
Write 79 Queens Drive, West Derby,
Liverpool L13 0AB, UK
SEAN DOUGAN
Singer Sean Dougan urgently requires a song
in the Indie/Oasis style, for demo and
possible record release.
Words must suit male vocalist.
Will provide a copy of any demo made and
will return any unsuitable material.
Write to:
Sean Dougan
8 Minto Park, Coltness, Wishaw, North
Lanarkshire, Scotland ML2 8SJ
Tel 044 7716860635,
or e-mail:
Ifishouldfallfromgracewithgod@live.co.uk
SMILODON
Smilodon is an independent Swedish music
publisher and record label owned by Eva
Karman Reinhold.
Before sending anything, check out
http://www.smilodon.se/Demopolicy
Send a CD with 3-5 songs.
Songwriter Magazine Page 6

Smilodon is a division of
Karman Innovative Consulting
Länna Hammarby 6945
SE-761 93 Norrtälje, Sweden
Tel/Fax: +46-(0)176-26 60 40
E-mail: info@smilodon.se
http://www.smilodon.se
OAK APPLE RECORDS
We are a record label which accepts music
from any genre.
Oak Apple Records
8155 80th Avenue
Edmonton
AB T6C 0S7
Canada
Email: oakapplerecords@hotmail.com
Website: http://www.oakapplerecords.com
LAZY POETS
We offer a place to showcase your talents and
find collaborators. We welcome poets
looking for music for their poems, and
musicians seeking lyrics. You can also
showcase your completed songs, poems and
videos.
Join now and get your own profile page, start
your own blog and upload your songs and
videos!
http://www.LazyPoets.com
Contact Signe Miranda
email@signemiranda.com
MUSIC SUBMIT
We can promote your music to the decision
makers at internet radio stations, music
blogs, online music magazines and more.
We also give you a full report of everything
we do for you!
MusicSUBMIT
34 East 23rd Street
6th Floor
New York
NY 10029
USA
http://www.MusicSUBMIT.com
Tel: 917-512-2958
Contact Michael at
support@musicsubmit.com
CENT RECORDS
CENT Records accepts demos of up to three
tracks preferably in the form of a CDR.
We will not accept mp3s.
Please include with your CDR the following
information:
1) Full track listing
2) Basic biog (band line-up, origins and pics
if you can)
3) Contact information (including; email,
mailing address and telephone number)
All demos are listened to and if we are
interested we will contact you.
Do not chase the A&R department by phone.
They are very busy and this will only annoy
them.
All music should be sent to:
A&R Department
CENT Records, Melbourne House,
Chamberlain Street, Wells, Somerset BA5
2PJ, UK
Before submitting, re-check submission
policy at
h t t p : / / w w w . c e n t r e c o r d s . c o m /
demoPolicy.php
LOVECAT MUSIC
Do you have great songs? We are always
looking for original music and would love to
hear yours. We're interested in high-quality
recordings where both the masters and the
publishing are available. If you are a
publisher, musician, manager, or record
company rep with original music that you'd
like to submit, please send us your demo CD
or finished product.
Send all submissions to:
LoveCat Music
PO Box 548, Ansonia Station, New York,
NY 10023, USA
We are looking for Reggaeton, Latin Hip
Hop and rap in Spanish and/or English,
Salsa, mambo, merengue, bachata. Rap, Hip
Hop and R&B. No samples.
SHIZZLE RECORDS
We have incredibly eclectic taste enjoying
everything from "out there" indie music to
heavy metal, hip hop, electronica, punk and
mainstream pop. The only area in which we
don't have an interest at this time is country.
We prefer a link to a website where we can
listen to your music.
If you don't have that, then send us your
favourite mp3 - just one! Send a link or mp3
to
newmusic@shizzlerecords.com
If you want to post a CD, then please send it
to:
New Music
Shizzle Records, 551 W. Cordova Road,
Suite 6, Santa Fe, New Mexico 87505, USA
SME PUBLISHING
SME Publishing Group is an established
publishing company with cuts on several
major Christian labels. We represent
anointed, gifted songwriters who write about
the saving grace of Jesus Christ. If you are a
songwriter in need of a publisher to get your
music to the right people, we will be glad to
review your material.
Please send us an e-mail briefly describing
your songwriting accomplishments,
including the styles of gospel music you
write. Let us know who is performing your
music, and whether or not your songs have
ever been commercially recorded.
Last of all, we would like to know if you
have ever been signed with a publisher, and
if you are a member of BMI, ASCAP, or
SESAC.
SME Publishing Group
PO Box 1150
Tuttle, OK 73089, USA
(405) 381-3754
UNSIGNED ARTISTS RADIO
Our primary goal to provide you with a new
revenue and distribution model for your
music. You will also be featured on our
internet radio station which is broadcast
globally.
Julian Bankston
Unsigned Artists Radio
Email: julian@uaradio.net
Web: http://www.uaradio.net
MULLY RADIO
I own and operate mullyradio.com.
I would like to invite you to help us spread
the world's best music. We are hosting a
national songwriting contest with thousands
in cash possible for the winner. Enter today
for your shot at cash and prizes.
Enter the contest at
http://photos.mullyradio.com/gallery/
8856211_9zV4m
Main Site: http://www.mullyradio.com
Tel: 1 (512) 501-6615
306 RECORDS
2007 CCMA "Record Company of the Year"
and multiple CCMA and SCMA nominees
and winners. We accept unsolicited
materials, including song pitch demos and
artist press kits. Replies only if interested in
material. Reviews mostly Country /Pop - all
tempos.
306 Records and O'Reilly International
Entertainment Management,
Attn.: Louis O'Reilly, P.O. Box 8085,
Saskatoon, S7K 4R7 Canada
Phone: 1 306 955 4976 Fax: 1 866 881 5450
E-mail: info@306records.com
MYMUSICSITE.COM
We are an online music community helping
independent artists sell, promote and create
ringtones with their music.
Brad Turk, MyMusicSite.com, 339 5th
Avenue #405, New York, NY 10016, USA
Telephone 646-670-6611
Email Brad Turk bturk@mymusicsite.com
http://www.mymusicsite.com
LILY McELWAINE
I would like an up-tempo song in the style on
Esmee Denters - "Get Me Outta Here" and
various Miley Cyrus and Britney Spears
songs.
I would like to play around with the song,
and maybe record it. Anything recorded will
of course, have a copy sent to you. Any
unsuitable material will be returned. Please
contact me via my e-mail
lily_0@hotmail.co.uk
and we can discuss matters further.
Songwriter Magazine Page 7

Jason Kowalchuk
How To Produce A Great
Hip Hop Song
It's probably fair to say that hip-hop has
been the most globally influential style of
music since some young wag stepped on
Elvis's blue suede shoes.
Starting out as a voice for African-
American and Latin communities in the
states, hip-hop soon spread and became the
soundtrack to the 80's, 90's and the new
millennium.
Every year its influence and penetration
increase, from commercials to films, and
from charts to bars.
In this article, I will explain the basics of
hip-hop production as well as 20 must know
tips to make the best hip-hop tracks possible.
BEATS & LOOPS
With hip-hop its all about the beats - so get
inspired!
Beats are the backbone of all hip-hop.
Whether you're into the cheeky one-two of
Dre's Eminem productions or the juddering
steps of Dj Premier, you need to make sure
that if nothing else is playing, your beat still
stands up to scrutiny. As US comic Chris
Rock put it: "If the beat's alright, they'll
dance all night."
As we've already seen, hip-hop beats
started out as breaks from records, beatboxes
and sampling drum machines, so its very
easy for hip-hop produced on a computer to
sound a little lifeless.
Live playing and clever quantisation can
fix this, though. The main trick is to keep it
sparse and once you have a basic groove
going, try taking out different percussive hits
before adding more.
Also, its important to keep it simple. If you
listen to professional hip-hop productions,
you'll notice that its rare for two different
percussive elements to play at the same time
- unless its a layered clap and snare, and even
then they'll alternate over a bar or two
between both playing and then only one or
the other.
You'll also hear many parts were an
instrument like a shaker only plays for a
small and specific section of a looped bar,
almost as if the different percussive elements
are taking turns. This is no coincidence, as
hip-hop culture is all about this kind of
connection.
Whether its DJs, MCs or breakdancers,
hip-hop is, at its core, about this type of back
and forth interaction, and this transfers to
every single production element including
beats.
STEP BY STEP The drums
1-The first thing I do when working on
beats is lay down a hi-hat pattern. Usually , I
do an eighth-note pattern and then go back
and change it if necessary after I've laid down
the other parts.
2-Next up is the kick and snare . I keep
them simple at first because I know that I'll
be using a drum loop underneath. I start with
a drum loop and add extra kicks and snares to
reinforce it. The kick and snare are both
sounds that I re-use on many tracks.
3-Next I'll add a sampled kick and snare to
Songwriter Magazine Page 8
reinforce the stock kick and snare sounds.
This makes the beat sound a bit thicker and
grimier. I also leave a bit of 'air' on the tail
end - this acts like 'sonic glue', giving the
beat a more sampled feel.
4-The basic beat is now complete and
ready to send into the arrange screen, later on
I'll use this pattern as a template for other
sections of the song, were I'll add snare fills
and rolls.
STEP BY STEP The loop
1-When using sampled breaks, I always
make sure they're either royalty-free, original
or so obscure they wont be recognised. That
way I don't have to worry about sample
clearance. I'm a fan of busy drums so I'll
usually choose an action packed two-bar
drum break.
2-Now you must match the tempo of the
drum break to the tempo of your song. You
can do this with any beat-slicing program.
3-Later on, after you've added vocals and
such you can use this drum break, were its
needed throughout your song.
MELODIES, STABS, SAMPLES &
SYNTHS
Just like every other style of music, hiphop's
gotta have hooks
Melody or bass: it's hard to say which one
you should start work on first, because hiphop
is at its best when its simple - great
tracks often have a bassline but no melody or
vice versa. And sometimes the bassline is the
melody.
Most hip-hop is still created using samples
as the main musical hooks, but while these
samples were, for a long time, almost always
sections from classic records, these days
they're usually far more obscure, edited and
processed. Its no longer enough to sample a
section off an 80's rare groove hit and whack
it over a beat.
While hip-hop is still very much a samplebased
discipline, there are plenty of excellent
synth-hop tracks out there. If you've heard
Kelis' milkshake, you'll know how funky a
good synth line can sound with the right tight
beats.
The critical thing to remember is not to
over-egg your production pudding. If you
take away one thing from these lessons, its
that hip-hop is meant to be simple but
effective, so always try taking out sections or
notes before you start adding more. And
remember hip-hop is all about bringing
seemingly disparate elements together -
Run DMC's sampling of Aerosmith on
Walk This Way, for example - so don't be
afraid to experiment. Even harp solos and
steal band recordings make excellent
melodies in the right hands. Finally keep in
mind that in hip-hop you can never go to far
wrong if your riff plays on the first beat of a
bar, is quickly muted, and then picks up
again from around the third beat. Seriously,
this is a winning formula - try it out!
BASS,BASS,BASS
Busy, bouncing or not at all... its up to you!
While most other kinds of electronic music
are all about the highs and lows (well, in
frequency terms, anyway), hip-hop definitely
works from the waist down, and is all about
punchy mids and heavy bass.
When you listen to a well produced hip-hip
tracks in a club, the bass will shake the room
to its core, often even more than much harder
dance styles.
There are three main reasons why hip-hop
can get away with having such heavy
frequencies without it sounding like a muddy
mess.
First, the tempo is quite slow, giving much
more room for individual notes to breath.
Second, the make up of hip-hop is much
sparser, often with only a simple beat and
bassline throughout.
And third, the bass patterns are generally
not as busy as other genres and are often
played so low that the pitch of individual
notes are not easy to recognise.
Naturally, there are a variety of b-line
flavours in hip-hop, but these days basslines
are often just used to reinforce the beats,
layered underneath, or at the end of every
couple of bars, creating yet another groove
under that of the beats.
The golden rule of thumb for hip-hop
basslines is to treat them as another percussive
element, rather than a melodic one. And as
with any drum pattern, what you leave out is
usually far more important than what you
leave in.
WHAT KIND OF BASS?
The question of whether or not to keep your
bassline simple or funky is a tricky one, and
depends largely on what style of hip-hop
you're making fast and funky Pharcyde-style
tunes than you can get away with much more
bouncy basslines.
Similarly, if you're sampling a huge of a
famous record, then you can take your lead
from that.
But for most other kinds of contemporary
hip-hop, the bassline is a much more simple
affair. If there's some kind of sampled or
played melody, then the bassline will often
play in accompanying bursts. Another widely
used trick is to have simple sub-bass stabs
every couple of bars, and then a full on
bassline in the chorus. In fact, sometimes
there isn't even any bassline in a track at all.
Finally, for all you smokers out there,
Cypress Hill and other similiar artists were
pioneers of the deep, slow and easy rolling
bassline. Definitely one to consider. In short,
the key with hip-hop bass is almost always to
keep it very sub-bass oriented and simple.
VOCAL TECHNIQUES
Once the groove is done, its time to start
rapping.
If the key to good hip-hop is getting a good
groove, the second most important
consideration is matching your grooves to the
right vocalist.
There are countless styles of rapping,
ranging from the intricate and melodic rhymes
of Common and lyrics born to the aggressive

growling of Lil' Jon. And different styles suit
different vocalists. That's not to say that if
your lead is a picked harp loop you shouldn't
have an aggressive street vocal on top,
sometimes that type of contrast works
incredibly well and can be used to great
effect, but if your beats are really tough and
the samples dark, a mellow rap over top will
tend not to work so well, so choose your
contrasts carefully!
The MC's timing too, can have a massive
impact on your track. If possible, try to get
your vocalist to write or improvise their
rhymes over the beats you have. Add a few
percussion drops and edits in the beats you
give them, and try dropping elements and
then putting them back in as the MC rhymes
to encourage their performance.
Good MC's will use these edits to add
emphasis on clever lyrical flourishes, and by
the same token, truly skilled MC's will use
will often use long periods of beats to fire out
relentless and pounding deliveries.
The important thing to remember is that
hip-hop is all about performance, as much as
any live rock show, from the evolving beats
and edits to the constantly changing styles.
Your beats and grooves are the stage and set,
so it follows that if you edit the set, the
performance will adapt and follow it.
SCRATCHING SKILLZ!
Bring the art of turntablism to your tracks.
Scratching is actually not scratching at all. It
is, in fact, the first type of hands-on sample
manipulation the world ever saw. When DJs
scratch, they're simply playing specific
sounds backwards and forwards at different
speeds, and controlling the output with either
a volume slider, crossfader or switch, thereby
creating those unique effects.
Over the years, these techniques have
become more and more intricate, and today
the worlds top scratch DJs are capable of
feats that can only be described as mind
blowing - even if your not that interested in
scratching. They can create sounds, patterns
and tunes that make it hard to believe there's
nothing more involved than the interaction of
a needle on a record in one hand and an
on-off switch for the audio in the other.
Since the earliest days of hip-hop, DJs have
been adding scratches to records, and
nothings changed. Whether it's inserted loud
scratches to obscure cursing in a radio mix,
short kick drum scratches on a beat as an
intro or percussive variation, or scratching a
snippet of an acappella to create or enhance a
chorus, scratching is an invaluable tool.
So give it a try, even if you don't have
decks, you can use software. Just be sure to
get sample clearance for any vocals you use!
STEPS FOR PLACING THE
SCRATCHES
1-If your going to include scratching, I'd
look for an area in your song that needs some
kind of hyping. This would usually take
place after the second verse or during the
chorus, I use scratches as a type of rhythm
instrument, kind of like a rhythm guitar track.
2-When you use more than one scratch
track in your song, arrangement becomes
very important. It's all too easy to keep piling
on scratch tracks until the whole song gets
bogged down and cluttered. Sometimes less
is more. Remember that!
3-When arranging scratch tracks, panning
is an effective tool for separating the action
and providing the illusion of movement. This
ensures that each scratch doesn't get lost in
the mix and provides a level of hectic
anxiety.
HIP-HOP ARRANGEMENTS
A simple, tight arrangement is essential in
hip-hop.
As a rule of thumb, hip-hop arrangements
are simple! Intro, verse, chorus, verse,
chorus, verse, chorus, chorus, outro, and
maybe a break or middle eight, depending on
the song.
Occasionally, you'll hear tracks that kick
strait in, but usually there will be a brief
intro, with vocalists introducing themselves
or telling you why this track is the $hit or
anything else to hype the track up, and it
works well. Always remember the word 'MC'
is an acronym for Master of the Ceremonies,
its their job to get the crowd excited and keep
them interested. Remember this when you
make your own songs.
Other variations include intro and outro
skits, a lot of songs just fade out at the end,
use your creativity to invent unique ends to
your songs.
EDITS
One of the most effective tricks in hip-hop
arrangements is dropping elements in and out
for the last bar or beat of a section. This gives
emphasis to the vocals, and can often be used
to highlight a funny or particularly good
lyric.
The history of this type of choppy editing
can be traced back to the time when hip-hop
was made live on two turntables and a mixer.
As with all hip-hop production techniques,
these arrangement tricks are used to highlight
the groove and overall vibe of the track.
The elements dropped can be anything
from the bass to the samples, the beats, or
even everything except one of those. The
goal is to build excitement and keep people
interested. This trick works particularly well
on the dance floor, getting the crowd dancing
to the drops and singing along with the
corresponding vocals.
MIXING HIP-HOP
If you want bangin tracks, you better get
that mix right.
Common sense suggests that more
complicated tracks with lots of elements
require greater mixing skill, but that's not
necessarily true.
Minimal mixes run the risk of sounding
empty or thin.
With hip-hop the problem is compounded
by the fact that excessive delay or reverb
often swamps mixes and interferes with your
carefully crafted grooves, so its usually best
avoided.Make sure you layer up your kick
drums so that they have both weight and
punch.
If your bassline is rockin but you can't hear
the kicks, try turning up the punchy kick first
before before reducing the bass or swamping
the mix with a heavier kick.
Next, try nudging out a few decibels from
the frequencies occupied by your vocals,
typically in the 300Hz-3kHz range.
You'll find that by cutting some
frequencies slightly in this range on your lead
sounds, you'll actually make them sound
louder and more distinct.
And finally, the most obvious of all - if you
can't get a sound to sit right in the mix,
replace it!
Copyright Jason Kowalchuk: All Rights
Reserved: Printed By Permission
For more, visit Computer Music Man
http://computermusicman.blogspot.com/
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Songwriter Magazine Page 9

Emma C. Schweizer & Harvey Rachlin
Songwriter Profile -
Sandy Linzer
Tunesmiths will tell you there is no
formula for writing a great song, but they
may agree that it takes some kind of
alchemy comprising talent, inspiration,
and other intangible factors. For some
writers, knowledge of musical history
may also contribute. In the mid-1960s,
songwriters Sandy Linzer and Denny
Randell mined the eighteenth century
and extracted a delectable melody,
Bach’s “Minuet in G Major,” for which
they fashioned enchanting lyrics to come
up with one of the decade’s biggest pop
hits: “A Lover’s Concerto,” recorded by
the Toys.
As a songwriter, Sandy Linzer has done
quite well in his own time without
reaching back through time to find
material. With contemporary
collaborators ­­ he has written a boatload
of hits, among them “Dawn (Go Away),”
“Let’s Hang On (to What We Got),”
“Workin’ My Way Back to You,” and
“Opus #17 (Don’t You
Worry ‘Bout Me),” all
recorded by the Four
Seasons; “Keep the
Ball Rollin’,” recorded
by Jay and the
Techniques; “Native
New Yorker,” recorded
by Odyssey; and “I
Believe in You and
Me,” recorded by The
Four Tops and later
covered by Whitney
Houston, and "Fresh"
by Kool and The Gang.
Other artists who have
dipped into his
infectious song
catalogue include
Diana Ross and the
Supremes, Tony
Orlando and Dawn, P.
Diddy and Busta
Rhymes, Ronnie
Milsap, Juice Newton,
N-Sync, Olivia
Newton-John, Smash Mouth, Sarah
Vaughn, Barry Manilow, the Spinners,
Samantha Sang, The Monkees, Michael
Bolton, Baha Men, and the Backstreet
Boys.
Sandy Linzer has had an astounding
five Number One songs in the United
States and eight Number One songs in
the U.K. His tunes have appeared in
several movies, including Mr. Holland’s
Opus, Can’t Hardly Wait, The
Preacher’s Wife, 54, and Donnie Brasco.
An affiliate of the U.S. performing rights
organisation, BMI, he’s had numerous
songs qualify for “million performance,”
Songwriter Magazine Page 10
“two million performance,” and “three
million performance” status. Linzer also
wears a producer’s cap, and in this
capacity he has also had hits, including
“Brandy” by the group Looking Glass.
Writer, producer, artist developer,
collaborator with composer-ghosts of
long ago, Linzer is a veritable Harry
Potter of musical alchemy.
Talk about your background and how
you got started in writing songs.
I was born December 8, 1941, the day
after Pearl Harbor. My mom, Pearl, was a
very charismatic lady and a very talented
piano player. She had never studied music
but could play any song she heard in an
instant. She loved to entertain us. There
was always music in the house. My sister,
Caryl, and I were exposed to classical,
Broadway show tunes, and the pop hits of
the day by the radio in the kitchen and
records that my mom would play on our
Victrola record player. At age six I took
piano lessons for about a year or so and I
played in a couple of local recitals. We got
our first television in 1948. I soon lost
interest in practising piano as I became
addicted to television. My mom, too, was
fascinated and we watched together all the
time… a lot of musicals, the Jolson story,
the Tommy and Jimmy Dorsey story, Fred
Astaire movies, Mickey Rooney and Judy
Garland. They were my early teachers. I
was fascinated, couldn’t get enough.
My mom would ride the bus with my
sister and me to Lippel’s Dancing School
in downtown Newark. I studied tap
dancing and my sister learned ballet. She
was amazing. How she could fly in those
toe shoes. We performed in shows together
at the Mosque Theatre. It was an old,
beautiful theatre.
At age twelve we moved from Newark to
Hillside, New Jersey. Caryl eventually gave
up her dreams of being a prima ballerina,
married “Uncle” Bernie and raised her
beautiful family. I lost interest in
performing on stage. Playing baseball in the
major leagues was my dream for as long as
I can remember and I participated in all
sports through grammar school and high
school.
I was awarded an MVP honour my senior
year in high school and it’s still my most
prized trophy.
That was my life until after my second
year in college when I decided I was not
destined to find my way in life studying
about things that didn’t interest me.
Then, late one night, in 1962, very
accidentally, I was
at a party. Most of
the people had left
but an old friend of
mine was still there
from high school
who was a
musician and
performer. His
name was Sal
Russo. He was
strumming on his
guitar and I thought
he was playing a
song that I knew
and I said “What is
that song?” and he
said, “It’s nothing.
I’m just strumming
on my guitar,
why”? I said
“Really? I hear a
song in my head.”
And he said “What
is it?” and when I
sang it to him it
changed my life forever. I became a
songwriter that night.
Had you written songs before that
time?
No, never.
Did you sing at that time also?
I did a little singing at Lippel’s. They
thought I had a lot of talent. They actually
gave me a solo to sing in a show.
Did you play any instruments in high
school?
No, I was not involved in music on any

level. After I wrote about a half dozen
songs with Sal Russo, I could see that it
was becoming more difficult for him to put
in the time because he was busy playing in
a band and I was at it morning, noon
and night. I couldn’t stop. I dropped out
of sight. Lost touch with my friends for
almost a year. With Sal not around
anymore I started writing alone but it
was difficult because the only way I
could start writing a song was actually
to just start screaming in a mirror or hit
a note on the piano- something-anything
to get started. Sal returned one weekend
and I asked him, “What should we do
with those songs we wrote?” and he
said his trumpet teacher, Pat Calello,
had a son, Charlie Calello, who was an
arranger for the Four Seasons and I said,
“Well, can we get to see him?” and he
said he would call him.
Charlie was very receptive. We hit it
off immediately. He was such a giving
guy from day one. He loved the songs.
He became my mentor and still is one of
my closest and dearest friends. Sal soon
returned to the road and I went back to
writing alone. I heard from Charlie one
day. He asked what I was up to. I told him
I was frustrated not having Sal with me to
write and he suggested that I play him my
new songs. So I went to see him, sang him
the songs, and he put chords to them.
Those early songs were written a cappella
and hearing Charlie put chords to them
made me realise what a genius he was.
When he played them I could hear the
finished record in my head.
Were you writing melody and lyrics?
Yeah, melody and lyrics and again, I was
writing a cappella. Charlie would put
chords to them and after a while he said to
me “You know what? You’re ready to
write with a professional song writer. I
want to introduce you to Bob Gaudio. I
played him your songs and he was
impressed.”
I had no idea who Bob Gaudio was, and
was not very familiar with the Four
Seasons music.
What year was this?
Late 1962 or early ‘63. Bob told
me that he was thinking of
leaving the Four Seasons
eventually to pursue writing and
producing for other artists
because the group at that point
had three number one records in a
row (unprecedented up to that
time)and he said “Things like this
don’t last very long.” He said he
wanted to start a company and
sign other artists and have me
write for them. Initially he took
the songs I started and finished
them, and then we started writing
some songs from scratch. We
wrote maybe 4 or 5 songs. A
couple of them he tried out with
these artists and they sounded ok
and the routine that we were
getting into after a while was that
he would call every now and then
and ask me if I started anything or if I had
any ideas for songs. There was one song
that I had started for my niece, Marcie, and
after Bob and I finished it Frankie Valli
vowed to record it. Then a long period
went by where I didn't hear from Gaudio
and I thought maybe he had lost interest,
and then, he called. My sister had called
the day before to see if I was still
alive and we were talking. I said
“By the way, Frankie Valli really
loved “Marcie.”’ Did you have
any other names in mind for her?”
and she said “Well, our second
choice was Dawn” and I said
“Dawn? Is that a name? Because I
have never heard that name
before,” and she said, “Yeah, it’s
a name,” and I thought to myself,
that would make an unbelievable
song.”
After we hung up I started
working on it and sure enough
Gaudio called. “What you
working on?” And I said, “You
know, I have a title I am trying to
put something to it, but to be
honest with you I really don't hear
it for what we are doing. I hear it
for the Four Seasons. I know we can’t write
for them because you write everything with
Crewe.” He said “No, that's changed. Bob
and I are on the outs.” He asked what the
title was and I said, “Dawn.” He said , “I
love that. I wanted to write something for
us with a bigger sound, can you come over
now?” I said “Yeah,” and within a few
hours it was done. I remember going home
after writing it and thinking about the song.
Now for me a good song has never
changed. If it sounds good just singing it
without any instruments playing or without
hearing a recording of it then I know it’s
got something. I remember thinking that I
really couldn’t get this one out of my head,
but then I thought, you know… on the
piano it sounds like a country song. I had
no clue. I was just becoming friendly with
Frankie Valli. He mentioned “Dawn” a
couple of times. He said, “I heard that song
“Dawn,” it’s a great song.” Of all the hits
that I was fortunate enough to be a part of
“Dawn (Go Away)” is still my favourite.
And after that you cut the demo for
“Let’s Hang On”?
No. After that an old girl friend,
Gayle Marcus, after hearing that I
wrote, Dawn, called to congratulate
me, and in a heartbeat we fell madly
deeply in love, got married (Soupy
Sales, who I wrote “Hey, Do the
Mouse” for showed up to surprise us at
the reception) raised three amazing
children, Stefanie, Bobby, and Jennifer
and settled into a great life in New
Jersey.
And no, we didn’t demo anything in
those days. The way we made a record
was to first sing it for the artist and/or
producer, and if they liked it they
called in an arranger, booked a band
and studio, and recorded the song.
You mean you would just sing it?
Just sing it around the piano. Frankie
would sing the song. Charlie would
hear the song and he would start
writing the arrangement. When the
arrangement was done we went into the
studio there was usually a rhythm section of
four or five people and the parts were given
Songwriter Magazine Page 11

to everyone. The musicians were
incredibly talented, the best in the world.
With “A Lover’s Concerto,” did
songwriter Denny Randell intend to use
this as a public domain melody?
Yeah, it was a public domain melody.
The way he envisioned it when he first
played it for me was slower. It worked like
that, too, but I didn’t think it sounded like
a hit so we put it aside for a while. I went
back to it when I was trying to find a verse
for “Working My Way Back To You”. I
asked Denny to play it in the same groove
as “Stop in The Name Of Love”-we knew
that wasn’t going to work for “Workin’”
but we immediately knew that that
classical melody played in the Motown
style was awesome.
And then basically the two of you
came up with a lyric to kind of frame it?
No, I wrote the lyric, the entire
lyric.
So putting on your lyricist hat,
when you hear a melody, how do
you get into that melody to come
up with a perfectly wedded lyric
to it?
Don’t know, It just comes to me.
So quickly?
Yeah, very quickly, …sometimes
not so quickly.
You don’t have to live with that
melody?
No, not at all. The ones I live with
for a long time never seem to turn
out like the ones that write
themselves.
Can you go into more detail and
finish up on how you wrote the
tune “Working My Way Back To You”?
We were trying to write a song to follow
“Let’s hang On” and Denny saw the title in
my title book where I would jot down
ideas for songs. It was a line for a song or
an angle for a song, and we were sitting at
the piano and he started playing. I don't
remember if he sang it or if I sang it, but
we had the beginning of the chorus and put
it aside for a while as we were having a
difficult time trying to finish it. We took a
clue from “Stop in the Name Of Love” and
came up with “…With a Burning Love
Inside” and we knew we were on to
something great.
Could you go into some detail about
how you wrote some of your other great
hits?
Sure. I think one of the interesting ones
was “Opus 17” which was the fourth big
hit for me for the Seasons. Denny and I
were trying to write a follow-up to “A
Lover’s Concerto.” I noticed that “Where
Did Our Love Go” had the exact same
chord changes as “I Can’t Help Myself” by
the 4 Tops. It was actually the same
progression with a different song over it.
So I said to Denny “Let’s write another
song over the same chord progression as
Songwriter Magazine Page 12
“A Lover’s Concerto” and that will be the
follow up.” So we started to do that and we
fell into singing “I can see there ain’t no
room for me”- and that was “Opus 17”.
And we were thinking “Working My Way
Back to You” was going to be the follow
up to “A Lover’s Concerto” until Frankie
came in to see us one day and heard it and
said,”No it’s not, that’s mine!” go argue
with him.
The thing about Frankie Valli that people
don’t know is that he was deeply involved
in the production of his records.The
consummate artist. He has the mind of a
great producer. He was responsible for a
lot of the music that went on around him
and because when he walked into a room
you were at your best.
Did he help select the songs he would
record or was it all up to the producer?
The roles again were really defined, so it
was the producer’s call. But I can tell you
that Frankie has a great ear.
Was it exciting to you? I mean you had
this monster hit with “Dawn” but still
you were kind of a newcomer and here
you are, hanging around with Frankie
Valli, a big star. How did that impact
you? Did you find it totally exciting and
great at that time?
No, I did not. I was totally panic-stricken
that I would never write like that again but
I must say one of the things that always
gave me a great feeling was having
confidence in the co-writers I had. They
had patience, they indulged me. Denny
was a real musician who knew I didn’t
have any formal training but he trusted my
instincts and respected me as I did him.
We would spend hours upon hours just
staring at the walls until we came up with
something, but we had the faith in each
other that we would come up with
something.
In terms of your publishing rights
back then, how did it work with starting
from “Dawn” through all these great
songs?
“Dawn” and the early songs initially were
published by Saturday Music and The Four
Seasons. “A Lover’s Concerto” was one
hundred percent Saturday Music.
Whose company is that?
Saturday Music is Bob Crewe’s company.
Were you signed to him as a writer
then?
It’s a very cryptic story. It ended in a
lawsuit. I am not at liberty to discuss it. At
the end of the day I ended up with owning
part of those songs, part of those early
catalogue songs.
Have you worked on any other major
projects in recent years?
Yes, I produced two Billy Gillman
albums. I wrote one song for the Backstreet
Boys’ Millennium album called “Spanish
Eyes” and an *NSYNC holiday
song “I Don’t Want To Spend One
More Christmas Without You.” I
also write jingles that are always
being recorded and I write for
movies and I sign artists who I
produce.
Can you talk about your
method of collaboration? You
seem to collaborate a lot. How
does that work?
It depends on who you are
collaborating with. Each
relationship is different. The only
first-time, one-time thing that ever
worked was “Fresh” for Kool and
the Gang. I mean you could have
written 20 songs over their tracks
and they would all be hits. Their
stuff was all so good. But other
than Kool and the Gang I needed to
have a relationship with somebody.
I usually had to write three or four songs
with them before we would get into a
groove because it is an emotional
experience. And before you can really let it
all out and everybody gets comfortable, it
takes writing a few songs. And these days I
find that when someone recommends me to
write with someone or I call BMI and say “I
need someone to write with,” when I go to
write with that person it’s more a curiosity
factor than it is really somebody who really
wants to be my equal and sit down and try
to write a bunch of songs.
What do you mean exactly when you
say “curiosity factor”?
I think because I’ve had a lot of hits it’s
like “Well, what is this guy all about?”
But when you collaborate with
somebody, even though there is no hard
and fast rules, do you sit down together
with the person and try to come up with
a complete song, or do you take parts of
it and go and then come back and work
that way?
Yeah, all of the above, sometimes
because I’m looking for a certain style.
In general when it comes to

songwriting, do you write with a specific
artist in mind or do you just try to craft
the best song you can?
That's a good question. I usually write
with an artist in mind. I think it’s very
important for me to do that.
When you have a specific artist in
mind do you hear that person’s voice?
Yeah, I do because I am a good mimic. I
kind of know if they are going to sound
good on it and I know what kind of thing
they should be doing. I think that is one of
the talents I have.
Then how does it work once you
complete the song? Do you have
personal access to that artist?
I generally write for artists that I am
producing. It is rare for me to get a
recording from a demo that I submit for an
artist I don’t know.
Do you present your tune to them live
or do you send a demo?
It could be either. Sometimes I’ll go to a
small recording studio and make a demo
and send it to them if I like how it comes
out.
How do you think the music business
has changed since
you got into it and
what can writers do
to get their songs cut
today?
Well if you are
talking about
t r a d i t i o n a l
w r i t e r s … t h e
traditional writer is a
different kind of guy
now. Most of the
writers who do well
today
are
p r o g r a m m e r s ,
arrangers, producers,
etc. and they really
demonstrate what they
do. I think
instinctively, not
consciously, I became
a record producer after
I was only in the
business for a year.
But what about the
writer today, if that
kind of writer still exists, who just
knocks out tunes at the piano, kind of
like the old Rodgers and Hammerstein.
You want to know something? I don’t
know any. None of my peers are doing it
anymore. I don't find it threatening either
because I have always had a knack for
staying current. I look at the market, and if
I don't think I can do what they are doing,
I just won’t do it anymore.
But I listen to music that is going on
today and I know I can do it. So many of
the guys I grew up with don’t do it
anymore. I mean, I can tell you so many
great songwriters who just don’t write
songs anymore.
Is it because they are not current with
today’s sound?
You don’t lose your talent, but you need
to adapt. You have to keep up.
Does it ever bother you the way the
music business has changed?
It has never changed for me. The
dynamic is still the same. I have such a
wonderful family life. I never got caught
up in the hoopla. It was always just work
for me to support my family. I have three
children and a wife who I adore. I have
four grandchildren now. I have a wealth of
friends and none of them are in the music
business. I’m very fortunate.
If you get a rejection today how does it
affect you?
I think when it comes to rejection, if
you’re talking about playing a song for
someone where they say “I’m not
interested,” it just doesn’t faze me at all.
When Tommy Mottola heard “Native New
Yorker” he called me from Los Angeles
(he was with the head of RCA at the time)
and said, “Sandy, take this piece of
garbage off the record; it’s embarrassing to
your career.” I’m so used to that; it just
means absolutely nothing to me. Sure, you
don’t like it when somebody hears your
song and goes, “You know, that really
doesn’t kill me.” But at the end of the day,
I know deep down in my gut the ones that
are good and I say to myself, “Maybe the
demo stinks, but he doesn’t get it…” or, “I
agree with him, this is the wrong artist…”
or something. But I run my ship, I control
my own destiny. I’ve been very fortunate.
How did “Native New Yorker” come
about?
When I was working on Dr. Buzzard’s
Original Savannah Band album the title
just popped into my head. When I hear
music I hear words and I felt like I wanted
to write a song called “Native New
Yorker.” After the Savannah Band album
hit, I got a call from Denny and he asked
me if I’d write with him again, and I said,
“Of course I’ll write with you again. As a
matter of fact, I just signed a group called
Odyssey… why don’t you come and write
the whole album with me.” He came over
my house in Livingston [New Jersey], and
we started writing, and then I started
writing at his house. I said “I want to write
a song called ‘Native New Yorker’ and he
didn’t quite know what to make of that. He
said, “How do you hear it?” and I said, “I’m
not sure, maybe something like ‘Papa Was
A Rolling Stone.’” So we worked on it for
a day or two and it just didn’t come
together. And then we were into the fifth or
sixth song for that album. We had a couple
we liked. I walked into his house one day
and he was playing something on the piano
and I said, “I don’t know what that is, but
that’s ‘Native New Yorker.’” We wrote the
song in about an hour, and we were literally
laughing our asses off, rolling on the floor
after the song was done. We couldn’t
believe how good it was.
In your home, do you have recording
studio equipment?
No, I don’t have anything. I wake up in
the morning about 6 or 7 o’clock. I have
breakfast while I’m
listening to music,
watching television,
or listening to
something, and I’ll
start hearing lyrics
or melodies and I’ll
put them on a microcassette
and either
finish the song
myself, or wait until
I’m writing with
someone else to
finish them. That’s
pretty much my
routine.
And how long
does this go on
during the day?
Until the phone
starts ringing or I
start doing the other
thing, which is
business. That
usually comes
around 10 o’clock in
the morning. So, for about three hours in
the morning I write, and then sometimes if
I’m working on projects I’ll write at night.
Not a good idea anymore it wears me out. I
try not to because it is hard for me to shut it
off and go to sleep. I can do it now but I
still try not to write past the 6 o’clock news.
It’s kind of a little rule.
Are there any artists who have not
recorded your songs who you would love
to have recorded them?
All of them.
But if you had to pick, the top ones,
could you do that?
Songwriter Magazine Page 13

Rod Stewart is one.
He’s never recorded any of your
tunes?
Not that I know of although I heard from
someone who’s close to him that after his
shows when he’s just sitting around
singing, one of the songs he sings
is “Can’t We Talk It Over In Bed.”
Brandy… talk about your role
in that song.
I was signed to Epic at that time
as a staff producer and I was just
having a terrible time. It was the
only time in my career for two
years that I didn’t have any
success. It just kept getting worse
and worse. Then someone who
worked for Epic found a band
called Looking Glass and they had
this one song “Brandy” that
everybody liked. And he asked me
if I’d listen to it and I did. And he
asked if I would produce it and I
said “Trust me, they won’t let me
produce it.” And he said “You’re
right, they want Steve Cropper to
do it.” So I said, “Well, he’s
phenomenal,” and he said “But I
want you to do it.” It turned out
Steve did do it, and they didn’t like
it at all. He tried to do it like a
Rolling Stones record.
Songwriter Magazine Page 14
So the Epic guy said “What
would you do with it?” and I
said “This is a great pop
song. It needs to be a clean
record. It should be modelled
after the Rascals, but it
shouldn’t be anything like
what they’re doing.” He said,
“I’m going to get you to
produce it.” So he convinced
Don Ellis, who was the head
of A&R, to let me do it and
Ellis said “This could be your
last shot, but go ahead.” I
produced the record, and they
absolutely hated it. I think
they kind of gave up on the
band. The band finished the
record with somebody else.
The record came out, I got
fired. And then I was with
Gayle, driving through
Newark and I hear it on the radio. I said,
“Gayle, that’s my record, that’s the record
I did with those kids!”
I called my manager at that time, Stan
Polly. We had started a
company called Five Arts, and
I said, “Stan, you’re not going
to believe this, but I think I got
a hit record.”
He said, “What record?” I
said, “Brandy,” the Looking
Glass record. I know it’s going
to be number one. I just heard it
on the radio, it sounds
unbelievable.” And he said, “Is
your name on it?” and I said,
“Of course.” As it turned out, it
was not.
We went to Epic and they
said my name would be put on
as producer but it never was. So
I wound up receiving a gold
record with a big apology letter
from the company. Now I’m
listed, I think on the Internet, as
the producer of the record.
Of your 300-plus songs, what would
you say are your five or so favourites?
Well “Dawn” certainly is my most
favourite. Probably because it was
the first one, but it also… it just kills
me, that song. Another one is “I
Believe in You and Me”. “Workin’
My Way Back to You,” of course
and “You Can Do Magic” which
was a number one record in
England. I would also say “Let’s
Hang On To What We Got”. My
favourites are a lot of those big
songs and of course that includes “A
Lover’s Concerto.”
What do you think of today’s
music business?
The record companies right now
are not supporting bands the way
they used to years ago. I remember
when Fleetwood Mac was signed to
Epic and it took them several
albums before they really clicked.
There’s not this support of an
artist’s career anymore. But if you
want to do it as a producer you need
to have that rare resolve to grow
with the artist, develop that artist,
and then walk into a record company with a
finished product that they can listen to and
where they can say ‘yay’ or ‘nay’. Of
course I’m not talking about P. Diddy or
artists on that level who do whatever they
want.
But for guys like me, we have to do it all.
So right now I’m developing several artists.
Some of them are very young, and I know
it’ll be three years later before they ever see
the light of day. Because today, even when
the album’s done, just the set-up time [for
release and promotion] is nine months.
So I guess you obviously prefer those
earlier days?
Oh my God, yes. You have no idea how
different it was. Yeah, it was just
unbelievable.
Copyright Emma C. Schweizer and
Harvey Rachlin & Songwriter
Magazine: All Rights Reserved: Printed
By Permission

KEN CAVALIER
Eight Essential Tips To Viral
Internet Music Promotion
Ken Cavalier is a music business consultant,
artist manager, speaker, and author. He is
widely considered an expert the area of online
music promotion and viral Internet music
marketing. His focus is the advancement of
his independent musician's and artist's
careers. Ken is also the founder of Allure
Media Entertainment, an artist management
& consulting firm in Philadelphia, PA
managing the music careers of signed and
unsigned artists and Allure Media
Entertainment, a music marketing and online
publicity company. As a voting member of
The National Academy of Recording Arts and
Sciences (The Grammy Association) and
other distinguished music industry
organisations, Ken has authored many
informative guides on music promotion and
music marketing. His widely popular Music
Business Tip Sheet "The Unstoppable Indie"
is published and distributed monthly to
thousands of independent artists and bands.
As an independent musician you probably all
ready know it, if you do not, you better get with
it. Marketing and promoting your music online
is the way to go today. Even major signed artists
are going this route, some major players even
going to the extent of releasing a new album in
digital download format only.
In a pretty detailed telephone conversation
with a good friend and associate who is the
president of a pretty big independent record
label he reports that digital music sales or
digital music downloads has now reached the
50% point of all music sold. That means that
pretty soon there may not even be a need to have
a physical product. Needless to say it will sure
beef up the budget for independent artists not
having to put out for CD pressing and
manufacturing. Not to mention how much
easier it will make your music distribution
initiatives.
So, long story short, where am I going with
this? What I am saying is that you should be
putting the majority of time, effort, and money,
into promoting your music and project online.
You should seek Internet music publicity in a
larger proportion over traditional print
publicity. After all, look at all the print
newspapers and magazines going out of
business today or transferring all their
publications to a strictly online version. Yep,
we should face it,; If you are not not on the
Internet band wagon yet for promoting and
marketing your music, you better get there
quickly. Keeping in touch with your fans in as
many ways as you can is the way go today. Do
not make them come to you, reach out to them.
To briefly summarise, here are a few of the
methods you should be employing as an
independent artist in order to promote your
music and music career, and stay in touch with
your fans in the today digital age.
Para Social Relationships Online
You should be setting up a presence for you
or you band on as many social networking
websites as you can. Surely you have a myspace
website, which we all know is important, but
today, that is just not enough. You should be
keeping your fans and potential fans informed
constantly by using social websites such as
Twitter, Facebook, iLike, Squidoo, iMeens,
Reverbnation, and there are many more.
Socialising in music forums specific to your
music genre is another thing you should be
doing a lot of. Setting up meet and greets via
these Internet portals is also quickly becoming
a new way to keep interactive with your fans.
Official Band or Artist Website and Blog
Your official band or artist website is
important as well. It should be as professionally
designed as possible and be consistent with
your artist image. This is your home on the web
and should be updated and kept fresh
constantly. It should have a news page, a press
page, and audio page which should be kept
fresh with new news, press clips, and music.
You should also have some interactive
functionality going on at your home page so
fans can get involved, place comments, and
interact with you. A blog is another great way to
keep fans informed provided you keep it fresh
and updated as well. With a blog, fans can
subscribe via RSS Feed, and everything you
post will be delivered instantly to their desktop.
Very powerful.
Online Press Kit and Publicity
An online press kit, also known as an EPK
(Electronic Press Kit) is a promotional tool that
every artist or band should have, even if you
have a print or digital press kit. The online EPK
allows you to quickly send out your bands
information and music samples to venues,
labels, agents, and even fans for the purpose of
music promotion.
Widgets - A Big One
Widgets, as I write this article, are a relatively
new form of online music promotion but if used
properly are an extremely powerful method of
viral Internet marketing. Essentially a widget is
a digital screenshot of your profile and can
contain streaming or downloadable music, bio,
publicity, etc. It also enables you to gather fans
email addresses. The widget code should be
placed on each and every website from the
official, to as many social sites, including your
myspace site as possible. The beauty of widgets
is that they enable fans to actually grab the
widget from your website and place the code on
their own website, hence spreading the word to
eventually thousands of new fans. You can get
your widgets free just by signing up for an
account on a place like reverbnation.com. Are
you starting to get the meaning of Viral Music
Marketing?
Digital Mailing List
I should not have to mention it but
unfortunately most new artists at early stages of
development I take on still do not get it. That is,
the vital importance of a digital email sign up
module on all websites. Gathering your fans and
potential fans email address and storing it in a
database for distribution is crucial. What you
can do with that mailing list is amazing.
Announce all show details; hence bringing out
more fans, send out a new news or publicity
announcement, broadcast a contest, and
announce new CD releases; hence more record
sales. A digital mailing list is something no
artist, either independent or major should be
without.
Advertising on Genre Specific Web Portals
Another good online idea, if it fits your budget,
is to consider banner advertising on music
portals that are within your music genre. You
can advertise a new release, a tour, or a new deal
of some sort. Some music portals get many
thousands of visitors a month and this can
definitely increase your exposure. Make sure
however, that the banner is professionally
designed and animated if possible. Some of the
genre specific music portals I speak of will only
charge twenty to thirty bucks a month to
advertise your brand. As I mentioned, if you
have disposable money in your budget, it sure
cannot hurt.
Search Engine Marketing, Drive the Traffic
to all of Your Websites
Needless to say, you can have the most
professionally design, stunning, and functional
websites online but if no one visits them they are
not much good, are they? So you want to take
some time and effort to explore search engine
optimisation. Find out all the techniques search
engine savvy techies use to get ranked high in all
of the search engines and especially in music
related results. Search engine optimisation, done
right, is not easy if you do not know much about
it. Again, if you have a few extra bucks in your
budget you may want to consider hiring a search
engine optimisation expert. Getting your band
found in the search engines can be an awesome
boost to your awareness.
Digital Distribution
Distributing your music online is key. As I
mentioned in the first or second paragraph of this
article, digital downloads now hold 50% of all
worldwide music sales. It will very soon be
exceeding physical CD sales completely, never
to turn around again. You should make your
music available for digital download on as many
digital distribution portals available. Some of
these include iTunes, Napster, Rhapsody, and
there are a ton more. When making your product
available online for digital download make sure
to include a profile on each portal. Also find out
how they do their sales stat reporting. You want
to make sure you are getting the proper credit for
sales in the industry as on sound scan and sound
exchange for your downloadable sales.
These are only 8 tips and suggestions for
marketing your music online. There is a great
deal of other methods as well. The way to gain
exposure for your music on the Internet is
exploding with new strategies everyday. Make
sure to keep up with this and use every possible
technique at your disposal for a greater chance of
music success. Good luck!
Ken is available for independent artist
consultations (First consultation free) on an
hourly basis or on a short term managementconsulting
basis and he also provides music
publicity and copywriting services. You can
visit Ken's Website for more information:
http://www.music-promotion.name
Songwriter Magazine Page 15

International Songwriters Association
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