Songwriting & Composing 4th
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The Guild of International Songwriters and Composers Songwriting & Composing Guild Member Profile Duncan Hopper Songwriter, author, film financier, movie producer, writer of screen plays,books and documentaries 4th Quarter 2020 The magazine for International Songwriters Lyricists & Composers NEW Songwriter Challenge for Lyricists , Songwriters & Composers + Results of the second competition
Transcript of Songwriting & Composing 4th
The Guild of International Songwriters and Composers
Songwriting & Composing
Guild Member ProfileDuncan Hopper
Songwriter, author,film financier, movie
producer, writer ofscreen plays,books and documentaries
4thQuarter
2020
T h e m a g a z i n e f o rInternational SongwritersLyricists & Composers
NEWSongwriter Challenge forLyricists , Songwriters &Composers + Results ofthe second competition
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SONGWRITING AND COMPOSING
Is the Magazine for International Songwriters andComposers, is published by The Guild ofInternational Songwriters and Composers. Therange of services available to Guild members,being amateur and professional songwriters,composers, lyricists, artistes, singer /songwriters,offers an exciting opportunity to enable theprogression of the songwriters’, composers’ andperformers’ craft, to assist with the placement ofthe songwriters’, composers’ and performers’works and recordings and any necessaryinformation required regarding the music industry.
COPYRIGHT SERVICEThe Copyright Service, which was established in1986, provides the opportunity for members toregister their rights of ownership and copyrightworks FREE of charge, therefore, safeguarding theGuild members’ copyright. A Copyright Certificateis issued to the Guild member outlining details ofthe copyrights registered on that specific date. TheCopyright Service can be used for the registrationof songs, instrumental themes, manuscripts, lyricsheets, paper documents, poetry, traditionalarrangements of songs/ instrumentals, musicals,poetic, dramatic, recorded works. Full details aregiven in the membership pack upon joining.
TOPICS, NEWS AND SONGSEARCH
Part of the Guild’s magazine, which containsinformation outlining the requirements and musicalstyles of publishers, record companies, artistes,managers, producers, etc seeking songs andartistes.
SONG ASSESSMENT SERVICEMembers may have their songs, lyrics,instrumental themes, performances, productions,etc assessed and analysed. The Guild givesopinions as to the quality and commercial value ofsongs, performances, lyrics and manuscripts. Allsongs/performances sent by email to the Guild’sAssessment Department at [email protected] will be analysed free of charge.
QUARTERLY SONGWRITING CHALLENGEFOR LYRICISTS, SONGWRITERS &
MUSIC COMPOSERSThe Guild’s quarterly songwriting challenge, for lyricists,songwriters and music composers to enter free of
charge to members, with some valuable and uniqueprizes to be won in each section. The song writingchallenge is ‘specifically themed’ every quarter andthere will a winner in each category of best lyric, bestsong and best instrumental composition.
INTERNATIONAL SONGWRITERS ANDCOMPOSERS COLLABORATION
REGISTER
If you are unable to write melodies or lyrics then youmay need a partner with whom to collaborate. TheGuild’s Collaboration Department can put you in touchwith other members seeking to collaborate. Guildmembers who wish to be included on the CollaborationRegister should notify the Guild. This service is freeof charge to all members and most GISC members,normally, give full particulars for inclusion on the registerwhen applying for membership.
MUSIC BUSINESS CONSULTANCYAND ADVISORY SERVICE
The Guild offers free advice to its members with regardto problems that may exist within the music industry orwith any difficulties a member is experiencing. Legaldocuments and contracts can be examined as to theirvalidity and fairness and the Guild can also advisemembers on their right to receive royalty payments.Contact info for publishers, artistes, record companies,management companies, etc and much more. Again,this is a free service to all Guild members.
INVESTIGATION SERVICEThe Guild assists, free of charge to members, withinformation on the business or company with which themember intends to deal. The Guild can act as arbitratorbetween members and other parties and can advise onmany aspects of the music industry.
DEMONSTRATION RECORDINGSERVICE
The Guild works in association with Songwriting,Composing and Musical Productions (S.C.A.M.P.)recording studio and members who wish to have demosproduced may submit their songs for recording throughthe Guild.
WHILST EVERY EFFORTHas been made to ensure the accuracy of theinformation in this publication, no responsibility can beaccepted by the publishers for any errors or omissionsor for the return of promotional material.NEW
Duncan HopperGuild Member Profile
Duncan Hopper is a Londoner who has lived in Brightonfor over 30 years. A Film Financier and Producer for
MagicHour Media he is also author of “Stopover Stories”,has written for trade magazines and national newspaperssuch as The Independent and is a credited screenwriter fortwo documentaries.
He was Executive Producer on "A Good Woman" the screenadaptation of Oscar Wilde's Lady Windemere's Fan starringHelen Hunt and Scarlett Johannsson and is currentlyworking on “Travels with my DNA” short stories from aroundthe world.
A GOOD WOMANSet in the 1930’s on the beautifulAmalfi coastline. A GOODWOMAN is an elegant, wittyromantic comedy based on LadyWindermere's fan by OscarWilde.A tangled web of intrigueemerges as a young couplesmarriage is put in jeopardy. Adark family secret lies beneaththe surface. Directed by MikeBarker award winning g directorfor the Handmaids Tale. It stars
Helen Hunt, Scarlett Johansson and Tom Wilkinson.Duncan Hopper Executive producer for Magichour Media.A worldwide release which did well in the US, Japan,Australia and Europe.
Documentaries
THE RIVER SEINE - PARISA film by Mark Nelson for First LightFilms. Original music by MarkNelson. 30 Minutes. The majesticSeine flows through Paris the capitalof France. The ancient river bearswitness to the history of thismagnificent City.The Seine and Parishas seen the early French Kings andthe first Paris tribe that inhabited itsbanks. The rise of the Sun King, theturbulence of the French revolution
and Foreign Invaders. A spiritual journey, from the Arc DeTriomphe to the Eiffel tower and the modern miracle of LesArcs.Script research by Nadia Hopper. Script by DuncanHopper. Voice over Michael Jayston. Available by enquiry.Available on Amazon. Duncan Hopper is author of"Whatever Happened to Lyn Roe?”
As a prolific writer, Duncan has written numerous highlyacclaimed books, the majority of them are available topurchase on Amazon Books. We recently received fromDuncan, a review copy of his latest book entitled ‘TheCanterbury Lockdown Tales’ and we thoroughly enjoyedreading it and would highly recommend it.
Songwriter, author, film financier, movie producer, writer of screen plays, boks and documentaries.
In early 2020 a group ofpilgrims is meeting at aBlackfriars Hotel on theThames to walk toCanterbury. They are a mixedbunch of characters all, someEnglish and some fromoverseas. They assemble inthe morning when they areinformed the walk has beencancelled due to thelockdown. The book tells theirstories.Available on Amazon Books
Additional books written by Duncan include
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Musicals written by Duncan include
Kinnimont, successful West End producers, and adaptedby Tom with a score from Marilyn’s films and a plotfeaturing the character of Billy Wilder as the narrator.This was performed at RADA in London starring TomConte.
Marilyn - A Musical Drama & Whatever Happened ToMarilyn? Two separate productions, Marilyn - A MusicalDrama, and the play, Whatever Happened to Marilyn?Both by Duncan Hopper, Presented by MagicHourTheatre.
Marilyn The StarIt is 2006. An old woman may hold the key to a darksecret about Marilyn Monroe. In her memory, her carersbecome characters from Marilyn's life, as she relives thestars triumphs and tragedies. But is she blurring fantasyand reality?
Marilyn Monroe personified Hollywood glamour with anunparalleled glow and energy that enamoured the world.Although she was an alluring beauty with voluptuouscurves and a generous pout, Marilyn was more than a'50s sex goddess. Her apparent vulnerability andinnocence, in combination with an innate sensuality, hasendeared her to the global consciousness. Shedominated the age of movie stars to become, withoutquestion, the most famous woman of the 20th century.
In this new production experience Marilyn's rise to fame;combining dutiful biography and speculation, thisengaging drama is an incisive take on the life of MarilynMonroe.
On a script writing study programme, Duncan met LiamBadger a Film producer. They pooled their resourcesand launched Magichour Media, which with its syndicateof investors, produced “Ashes and Sand“ with NickMoran and “A Good Woman” with Scarlett Johannsenand Helen Hunt. They both did well at the Film box officein the UK, US, Europe and the Far East.https://duncanhopperwork.wixsite.com/website
MARILYN THEMUSICALOriginal Lyricsby DuncanHopper. Musicby Luca Celano.The originalplay aboutMarilyn Monroewas adaptedand performedat The BrightonFringe Festivalto criticalacclaim. It wasthen taken up ina cooperationwith LaurenceMyers and Tom
Duncan has had adistinguished career inbusiness, however, hisfirst love is writing playsand books. Previousworks such as, LynRoe, I and LadyMontagu and Helen'sShadow, have beenwell received. He hasspecially adapted thisshow for the BrightonFestival.
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Copyright and Music - The Right Way To Protect Your Rights
If you enjoysongwriting and
recording your ownmusic then youprobably just want toconcentrate on that,
but it is worth taking afew steps today that can
save a mountain of trouble later on. Registeryour work:As a songwriter, if you want to get published,or even if you self publish your work, you willbe sending copies to your agents, recordcompanies, or other individuals. Can you trustthose who get hold of your work to respect yourrights, or will you discover one day that yourmusic is being passed off as someone else'swork, while you miss out on the royalties?By registering your copyrights, you place onrecord verifiable proof of your copyright claim.This means that you can prove your claim toa copyright should the person copying yoursongs claims they wrote them first.The Guild of International Songwriters &Composers' www.songwriters-guild.co.ukCopyright Service provides the opportunity forsongwriting and composing members of TheGuild of International Songwriters andComposers to register free with the Guild'sCopyright Registration Centre for copyrightprotection their songwriting and composingcopyrights and ownership of their own andco-written works (songs/instrumentals) withother Guild members copyrights andintellectual property rights FREE of chargewithin their membership, therefore,safeguarding the Guild members' songwritingcopyright and other intellectual copyrights.A Copyright Certificate issued to the Guildmember outlines details of the copyrightsregistered on any specific date to help protectagainst any copyright theft, claim, infringementor dispute. Copyright protection through theGuild's members free Copyright Service canbe used for the registration of songs,instrumental themes, manuscripts, lyric sheets,paper documents, poetry, traditionalarrangements of songs/instrumentals,musicals, advertisements, spoken word,literary (consisting of or occupied with books),musical tutorials, manuals, literature or writtencomposition, artistic, belletristic, poetic,dramatic, recorded works, sound recordingssuch as demos, commercial releases, libraryrecordings, archive recordings, videos, films,mp3s, compact disc CDs, Copyright protectionthrough the Guild's Copyright and Intellectualproperty rights witnessing service is free to allGuild members of The Guild of InternationalSongwriters and Composers who wish toprotect their copyright and intellectual propertyrights.Q. How much does the Guild's CopyrightService cost? The Guild's Copyright service
is only available to Guild members and is freewithin the songwriters and composersmembership How Long does the Guild'sCopyright registration last? Once you haveregistered your copyright (intellectual propertyrights) with the Guild then you do not have toregister the work again (unless there is asignificant change to the work -songs/instrumentals). Your certificate is proofof the registration and your claim is held on ourfiles as evidence of your registration. Don't befooled into paying for further copyrightregistrations after a few years to someorganisations or companies who have set upa fee paying copyright registration service atan expense per song.There is no need to do this. In the UK forinstance your copyright is valid for 70 yearsafter your death where the work then passesinto Public Domain. Your membership to TheGuild entitles you to register as many of yourworks as you wish FREE of charge within yourmembership. The Guild's CopyrightRegistration Centre has operated its copyrightservice for its members for the past 35 years.Q. How do I register my works with theGuild?A. Registration is extremely simple and quick.All the information on how to use the freemembers copyright service is outlined in themembership pack you receive when youbecome a member.Q. Is there any reason for me to register myworks (songs/instrumentals)?A. Absolutely, yes. Registration is evidence ofyour claim to the fact that you wrote the workand that you have taken steps to identifyyourself as the true legitimate owner of thework(s) from a certain date in time. If you havea copyright case to defend where someonehas plagiarised/stolen your work, how are yougoing to prove that you wrote it and that youare the legitimate owner of the work. TheGuild's copyright certificate is evidence thatyou took steps to register the work as your ownand that the intellectual property rights areyours. It is extremely important to protect yourcopyrights which could be a valuable assetwhere royalty income/money is beinggenerated.Q. I have posted a copy of my works tomyself, but have heard this referred to asa poor persons copyright.A. Mailing a copy of the work(s) to yourself isnot a good practice in itself. This type ofevidence is problematic If the packet/envelopeis sealed with sellotape or stapled then it couldbe argued that it has been opened andresealed, and could be fake/corruptedevidence. We strongly advise against this typeof registration as a main registration but isgood as a secondary back up to a mainregistration in support.
Q. At what point should I register my worksfor copyright?A. As soon as you have finished writing /composing your song / instrumental and youare satisfied that the work(s) is finished thenthe moment it is written down (lyrics /manuscript) or recorded then that is the timeto register your copyright. You should do thisas quickly as possible before it is given toanyone for any purpose.Q. When promoting my song /instrumentals should I undertake to doanything to help protect my copyrights?A. The main priority is to ensure that you keepa copy of the letter you have written that youare sending with your demo, and to ensure thatyou get a certificate of posting with the nameof the person/company, to whom you aresending your copyrights. Evidence that yourwork(s) is in circulation is very important.Always use the copyright symbol © or the wordcopyright on your lyric sheets and recordingsalong with your name and the year date.Ensure that you label everything (lyric sheets,manuscripts, recording media i.e cassette, CD,DVD mp3s, Video etc and their cases) withyour name, address, telephone number andemail contact.Mark all your work with copyright notices:A copyright notice is simply a piece of text thatstates that the work is subject to copyright andthe authors name, it is often followed by thephrase 'all rights reserved' which simply meansthat you withhold all rights to that work as isyour right under the work will still be subjectto copyright without one, and the 'all rightsreserved' statement adds nothing, (this isassumed unless you explicitly state that yourelinquish some rights). So why use them?Simple: It's a deterrent. It makes it clear toeveryone that your work is subject to copyright,and that you take your rights seriously.The standard format for copyright notices is 5elements:1. The word is "copyright" not to be confusedwith the word "copywrite" which is an entirelydifferent thing. Copyright means the right tocopy which only you have the authority to grantsubject to any assignments of copyrights thatyou may have made2. The internationally recognised copyrightsymbol ©3. The year of publication - i.e © 20204. The name of the copyright owner - i.e ©2020 Joe Bloggs5. An optional statement of intent, (notrequired). For example: ' Copyright © 2020 J.Bloggs. All rights reserved.' The © being a Cin a circle is the normal copyright symbol andcan be applied to most types of work. It can befound in most word processor programs underthe 'insert' menu.
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Closing Date: 30th November 2020website
https://www.songwritingcontest.co.uk/
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Visit the website: https://www.songdoor.com/
Are you devaluing your music by signing non-exclusivelicense agreements?Do music supervisors privilege exclusive deals?What are the risks of signing an exclusive deal?
Are you shooting yourself in the foot every time you signa non-exclusive deal with a new music library? Theseare some of the questions that come up every timemusicians receive an offer to license their music.
The Non-Exclusive License AgreementDefinitionWhen you license one of your songs through a non-exclusive agreement, this is what happens:You are the licensorYou give the licensee (e.g. a production music library)the right to offer your song to a third-partyThe third-party can purchase the right to use your song.The licensee pays you part of the fee received from thethird-partyYou can sign another non-exclusive agreement withanother licensee to shop that same song around tothird-partiesAdvantages of the non-exclusive license agreementYour song is not tied down with one company who mayor may not find you licensing opportunities and you canmaximize small opportunities
The Exclusive License AgreementDefinitionWhen you license one of your songs through anexclusive agreement, this is what happens:You are the licensorYou give the licensee (e.g. a production music library)the right to offer your song to a third-party. The third-party can purchase the right to use your song. Thelicensee pays you part of the fee received from thethird-partyYou can NOT sign another agreement with anotherlicensee to shop that same song around to third-parties.Note: we’re talking of exclusive deals that cover a givenset of songs. That is not the same as exclusive dealsfor the composer’s entire existing and future catalogue.Definitely don’t sign one of those unless you getpaid a huge advance!
Advantages of the exclusive license agreementMusic supervisors are more likely to consider it becausethey know they’re getting the best price i.e. there arenot 20 music libraries selling the same track for less andthe song won’t be used on 100 low-quality projects, thusdevaluing the project the music supervisors working onYou are more likely to get a fair price for the sync fee……unless you gave exclusivity to a really cheap musiclibrary. Don’t do that. That’s a crazy thing to do!
AdvanceIf you can negotiate it that is…. A tough ask, especiallywhen you’re just starting out. Biggest risks when yousign an exclusive or non-exclusive agreement?
In the case of an exclusive license agreement, you riskhanding out your hard work to a company who doesn’tget you a single placement. If you’re an indiesinger/songwriter, that could mean a couple of yearsworking hard to put together your album down the drainin the snap of a finger.
With non-exclusive deals, the biggest risk is devaluingyour reputation as a serious music composer. Theemergence of hundreds of non-exclusive music librariespitching a similar catalogue with seemingly randomprices has led music supervisors to focus on music theycan license exclusively.
Re-Titling Songs for Licensing - IllustrationHow do you get the best of both worlds?Here’s a simple trick to enjoy the advantages of non-exclusive deals without being perceived as a littlenobody musician: use pseudonyms.
So simple!There’s nothing stopping you from uploading some ofyour songs to non-exclusive music libraries under apseudonym. That leaves you free to place anothersection of your catalogue with a more premium agencylooking for exclusivity.Now to be clear: you should NOT, under anycircumstances, place a song in a non-exclusive libraryunder a pseudonym and then sign an exclusiveagreement under your name for the same song.This is NOT what we're suggesting at all!What we are suggesting is that if your catalogue is bigenough, you might want to offer say 10 tracks on anexclusive deal and sign non-exclusive deals for another10.
Exclusive vs Non-Exclusive Music LicensingAgreement - IllustrationHow to mitigate the risks associated with exclusivedeals? Even when you have a fairly large catalogue,signing a few songs on an exclusive deal can be a littlescary. There’s always the risk that the company isn’tgoing to get you the placement that would make yourinitial music making investment worthwhile.
Here are some things I do to limit that risk to aminimum:Research the companyTrying to figure out if they’re likely to place your music…How long have they been around?Are they currently a big player?What are the chances that they’ll just disappear (takingyour songs with them) in the next few years?Do they have a huge roaster of composers or will theybe hands on and dedicated to my music?
Finally, limit the costs of making musicWhy? So that, if the library never places your tracks,you haven’t just wasted 20 hours of your time and Xamount of money on one song that’s never going tomake you any money.
Exclusive vs Non Exclusive: Understanding Music Licensing Deals
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WARREN BENNETT - INTERVIEWED BY DAVID A ELLIS.Songwriter, musician and film score composer Warren Bennett is the son of Shadows drummer BrianBennett. Warren Bennett was born in July 1962 and before deciding on a musical career wanted to becomea sports journalist. At school he played in various bands and before leaving at sixteen decided music wasthe path he wanted to take.
DAE: Did you always want to be involved in musicand were you inspired by your dad?WB: Not always. I did want to be a journalist at onepoint. I did a postal course when I was fourteen. I wouldhave loved to have been a sports journalist. I was invarious bands at school and I can't remember exactlywhen I decided to go for a musical career, but it wouldhave been at some point before leaving school atsixteen. Dad would have encouraged me in whateverchoice I made.
DAE: How old were you when you learned to playan instrument, read music and what was theinstrument?WB: I played drums from a very early age. I started toplay around on the piano at about the age of twelve.Then the guitar followed that. I have never learnt to readmusic very well at all. I can look at something and figureit out but I can't sight read.
DAE: How many instruments do you play and whatare they?WB: I mainly play and write on piano. I am ok on theguitar and I love playing bass. I still play drums as andwhen I need to. I can figure stuff out on otherinstruments, if I need to. On the Cliff and the Shadowsreunion tour I had to play the accordion on one songand the harmonica on another, but I wouldn't say I wasgood at either.
DAE: I see you wrote a piece for ITVs SummerPromotional Campaign when you were fifteen. Howdid you get this opportunity?WB: That was a piece of library music. Actually the firstlibrary music piece I ever wrote. I was fourteen at thetime and Dad was making an album for Bruton Musicof light happy go lucky tunes. It was a brief given to himand I played him something I'd written and he loved it.
He added a middle eight and it went on the album. Itwas called 'Cute'. ITV Television picked it up, so I gotlucky with my first piece.
DAE: What was your musical training - did you goto university to study music?WB: I didn't go to university or attend music school. Iam basically self taught and when I was young if therewas an album I liked I'd also buy the songbook and Ilearnt from those. I had about four piano lessons atschool but got bored. Same with the violin. I did playpercussion in the school orchestra. If I ever had aproblem with anything when I lived at home I wouldalways ask dad. Things like, "what's this chord called?"
DAE: Do you write music and words?WB: I've always written songs, even when I'm busycomposing a score. I find it quite relaxing, to be honest.A band I was in, in the 1980s called 'Glass Ties', had acouple of single releases on EMI and I wrote those foursongs. I had a track on a Shadows album called 'YouRescue Me', which I wrote the lyrics for. I've also hadto write songs for various TV shows and films that I wascomposing for. I've had various tracks I've writtencovered by a few people. Recently I co-wrote a fewtracks on an album by English singer/songwriter MichaelArmstrong that I also produced. We are currently writingagain. I have also started writing with Mike Read, theEnglish disc jockey.
DAE: How do you relate to production people, forexample a director who is not musicallyknowledgeable?WB: Well, the man thing to remember is that you areworking for them. I am not fussed about a directorhaving limited musical knowledge. It is my job to helphim. He'll still know what he wants and if it takes a bitof time to find out what that is, so be it. It is all acollaboration. The director/composer friendship is veryimportant. I would also add that the editor is also in thatmix.
DAE: What got you interested in scoring for filmsand TV?WB: I've always been fascinated by score. I loved thescores to the TV shows I watched as a kid.'Thunderbirds', 'The Persuaders' and many others. ThenI remember Dad playing John Barry albums. When I leftschool I worked for Bruton Music for a few years in theiroriginal offices in Bruton Street, London. That was agreat education into watching composers writing to abrief. I learnt so much there.
DAE: What kind of films are you drawn to as far ascomposing goes, are you happy to tackle any genre?
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WB: I am very happy to tackle any genre. I scored myfirst horror film recently called 'Tales from the Lodge',written and directed by Abigail Blackmore. I Lovedworking on it and Abigail was a delight.
DAE: Have you a favourite film/TV production youhave worked on?WB: I've enjoyed them all. I can honestly say I've neverhad a bad experience. 'New Tricks' was special. Thewhole crew was a very happy family. I scored nine seriesof that show. There were some great directors andeditors that I met on that production.
DAE: If you get several offers what is it about ascript that would make you choose?WB: I think apart from the script being appealing, itwould be the director and the producer. With somescripts you can start to hear what kind of music you'dlike to write while reading it. If that happens I am usuallykeen to start right away.
DAE: Do you watch a rough cut of the film to get afeel for it and do you like to be involved at scriptlevel?WB: I like to go to the script read through, if possible. Iusually get the script up front but it's far better to hear itbeing read by the cast. I'll always watch the rough cutand then final cut before a music spotting session. Youneed to be prepared for the director. If there is time Imay start writing before the music spotting session,sometimes after reading the script or attending the readthrough. If it is something I feel is working I'll send somerough ideas to the editor and director. If they like it, theycan use it as a temp score.
DAE: Have you ever tried to tackle everything thathas been offered?WB: I have. I remember one occasion where that got abit out of hand. I was scoring 'London's Burning', sixteenepisodes a year and another programme called'Ambassador', eight episodes a year. At the same timeI was on a UK/European tour with Hank Marvin. Iremember doing a concert in Copenhagen, getting upthe next day, which was a day off at five am to get aflight home to attend a spotting session and then goinghome to write through the night. Then it was up earlythe next day to get back to Copenhagen for the nextshow. That happened a lot on that tour. By the time I'dfinished the tour and both programmes, I was completelyexhausted.
DAE: Do you enjoy arranging as much ascomposing?I do like arranging. With some collaborations I have doneI have just been sent a top line and chords. I enjoyfleshing those out.
DAE: Do you always sit in on recording sessions?Well, if they are my sessions, of course. I don't conductif I am using an orchestra, I prefer to let someone elsedo that. I'd rather sit in the control room and listen andbe able to talk with the engineer and director as thingsare progressing.
DAE: What was your most challenging job?WB: I'm not sure if it counts as challenging but Iremember one of the 'Birds of a Feather' Christmasspecials I did. I had the full cast along with guest RayWinstone in the studio to sing a rocked up version of'The Twelve Days of Christmas'. I believe the sessionstarted after the pub had opened. Let us leave it at that.Actually Ray also had to sing a couple of Elvis numbersfor that episode. He was great. Elvis was alive and wellthat day.
DAE: Do you find musical ideas come easily to you?WB: I do to be honest. I have never experiencedanything along the lines of writers block. That is not tosay everything is always worth pursuing. I have a ton ofonce great ideas that will never see the light of day.
DAE: Are you versatile can you work in severalareas?I like to think so. I'll never turn down a challenge. Nothingis impossible.
DAE: Before you forget an idea do you get it downon a small digital recorder?WB: I'm always putting ideas down on my phone, frompiano or guitar sketches to even humming or singing anidea when out on a walk. Before the phone I usedcassettes.
DAE: Do you ever worry that a piece you havescored is very similar to one that is already out there?WB: I do, especially when I think it's good. I think allcomposers have that feeling sometimes. If I amparticularly worried I'll send it to someone and ask themif they have heard it before.
DAE: Have you collaborated with your dad?WB: I have collaborated with my dad quite a lot. Werecently had an album released on the Scoring Houselabel called 'Coolplay'. We have started something newrecently as well. I have also got a couple of other currentprojects where I am co-writing via drop box, which isactually good fun, just swapping ideas around.
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DAE: Have you ever had to rewrite a score severaltimes because the director wasn't happy?There was one episode of 'New Tricks' that springs tomind. It was a particular cue that was a problem. I thinkI re-wrote it five or six times. In the end everyone washappy. I also managed to reuse the discarded piecesfor other scenes in later episodes. So not everythingwas lost. I don't mind re-writing things. I sometimesre-write cues before I've played them to anyone.
DAE: What would you say was your most interestingexperience you have had composing?WB: As a big Jeff Lynne/ELO fan I was thrilled to workwith Jeff once. Watching him in the studio wasfascinating. We worked, had a takeaway curry, playedtennis and talked about the Beatles. It was a great fewdays and a real highlight for me.
DAE: Does it vary from film to film how long you getto write the score and have you ever felt you couldhave done with more time to get it how you want?WB: It does vary a lot. You could always do with moretime, as I prescribe to the theory that nothing is everactually finished. You just get to the point where youhave to hand it over. I've got things I am still working onthat I started ten years ago. They are obviouslyprojects/tracks that are not commissioned. Maybe I'llnever get them finished.
DAE: What advice would you give to people startingout?WB: Be nice. Accept you may not get it right first time.Don't get bogged down with too much technology. Youdon't need to get very new box of tricks that's released.If you are working on a film or TV project, it is thedirectors film not yours and get a good accountant.
DAE: If you couldn't have been a composer whatother profession would you have chosen?WB: A sports journalist or one of the Beatles.
DAE: Why did you decide to set up your own recordcompany and why did you call it Waffles?
WB: I was making an album with the guitarist MarkGriffiths. We just wanted to put it out in a very limitededition. So I set up Waffles Music. I then used it for afew sideline projects and I've released seven albumsthrough it. Waffles was the name of my first dog, a lovelycocker spaniel.
DAE: Do you have your own recording studio andsupervise the recordings?WB: I do. I spend every day in there. You need to makeyourself go to work. I have a little kitchen area in thereand a sofa/TV set up at one end. If I didn't have that I'dbe wandering around the house. I do somethingeveryday, even if it is just for my own amusement. I workon my own but when I need something to sound extraspecial, or posh as I call it, I get recording engineerJames Collins to help. He's a great engineer and mixer.He likes biscuits and that is very important.
DAE: When writing for a TV series do you start withan idea for each episode that you follow through,do you score the first scene first and what is theschedule like on them?Some series will have a definite theme that will runthrough every episode. Some you can treat eachepisode separately and make them mini scores. I tendto pick the most important scene first because then Ican work off of that for the rest. Generally I'd say youget about two or three weeks to start writing and thendelivering a finished score on a TV show. But it changesand sometimes you may only get a week. My mottowhen things seem impossible is always don't panic, itwill get done in the end.
DAE: Finally, what type of music do you prefer tolisten to and have you any favourite bands orsingers?WB: I can listen to almost anything. I have a broad tastein music. Pop/rock/classical/ jazz. I could, I think livewith just my John Barry, The Beatles (together andapart) and Bob Dylan collections.
Ditto Music is an online music distributioncompany. It distributes music to 160 digitalmusic stores, including Spotify, iTunes,Google Play, Amazon, VEVO, Apple Music,Beatport, Deezer and Shazam. It currentlyoperates from its head office in Liverpool,England. And, as of 2017 it has 22 officesacross 19 countries.Ditto's main distribution service offersunlimited releases to all major online storeson an annual subscription basis starting from£19.00 per year for one artist orsongwriter. The company claims to operatenon-exclusive deals with artists keeping100% of their royalty earnings.Alongside its core music distribution service,Ditto Music also offers record label servicesincluding PR, social media and playlistpitching to independent artists.
KEEP EVERY PENNYYou’ll retain 100% of the rights and royaltiesto your music. They won’t take any of yourearnings, and your money will be paid quicklyand securely into your bank accountwhenever you request it.NO HIDDEN COSTSThey’re upfront about all their prices, fromdistribution to the world’s biggest stores, tooptional extras like pre-release, chartregistration and more. They also provide freeISRC and UPC codes with every release.TRACK YOUR SALES & EARNINGSStay up-to-date with your royalty earnings andprojected sales across iTunes, Spotify,Amazon and Google Play with daily trendingand analytic reports delivered straight to yourpersonal Ditto dashboard.THE BIGGEST MUSIC STORES
They will distribute your music to every majoronline store… Spotify, iTunes, Google Play,Amazon, Vevo, Apple Music, Deezer,Beatport, Shazam and many more...CHARTS REGISTRATIONWant to break into the charts? .VEVO DISTRIBUTIONGet your music video live on VEVO and startearning royalties from the world’s biggestmusic video site. From channel setup tovideo uploads, they’ve got you covered.GENRES - They work with ALL genresincluding Rock, Pop, Alternative, Country,Jazz, Singer/Songwriter, Latin, World,Afrobeat, Dance & EDM, Hip Hop, R&B andeverything else.Visit the website for more information at:https://www.dittomusic.com/
11
Competition Winners for the Guild’s‘Happy Song’ Songwriting Challenge
We are pleased to announce the winners of the second GISC Songwriting Challenge which wasadvertised in the 3rd quarter Songwriting & Composing magazine published in August 2020
We asked members to write a themed ‘Happy’ songand the three categories where:
1. Submit a Lyric2. Submit a Song
3. Submit an Instrumental track
We would like to say thank you to all members who took part in this ‘free to enter’competition and after careful consideration the winning entries are:
The Lyric Category - My Busking Song by Colin Leonard(Winning a melody created specifically for the song and a fully produced demo recording arranged and produced by SCAMP Studio)
There are 3 winning entries in - The Song CategoryBeautiful by Phil Taylor
Happy by Kenny OlofinmoyinHappiness Is A State Of Mind by Stephen Hardaker
(All Winning a Song Video created and produced by SongandMedia and uploaded to YouTube and also supplied as an mp4 video file)
The Instrumental Category - Happy With You by Peter Duval(Winning a Song Video created and produced by SongandMedia and uploaded to YouTube and supplied as as mp4 video file)
Thanks to all members who took part in this songwriting challengeand we welcome entries for the next challenge themed around
Lyricists can submit a ‘well structured lyric’ incorporating the word ‘HOPE’ in a repeating chorus that highlightsthe‘hook’ of the song. The winning entry will have a melody created for their lyric and be professionally recordedby SCAMP Studio with either a male or female vocal and you will be given ownership of the finished song to promoteas your own.
Songwriters can submit an mp3 song of between 3 to 4 minutes in length together with a typed lyric sheet forjudging. The winning song will have a Song Video created by SongandMedia to include stock video footage andhigh quality images (with or without typed lyrics) and uploaded to YouTube and / or supplied as an mp4 Video fileto you to promote your song.
Composers can submit an mp3 instrumental composition of 3 to 4 minutes in length that reflects The winningcomposition will have a Song Video created by SongandMedia to include stock video footage and high qualityimages and uploaded to YouTube and / or supplied as an mp4 Video file to help you to promote your instrumental.
RULES: Each current Guild member can if desired submit One Lyric entry and One Song entry and OneInstrumental entry or just one of each. The songwriting challenge is free to enter and is OPEN NOW. To submityour entry go to https://www.mailbigfile.com/songwriterchallenge/ to upload your entry. Once uploaded you willreceive an email confirmation advising that you have submitted your entry. Only one entry per member per category.It is important that everyone that enters, follows the instruction to type in their Name, Guild membership numberand their lyric or song or instrumental title in the relevant boxes. The closing date for entries for the next quarterchallenge is 23rd January 2021. Entries will be judged and the winning entries will be announced in the 1st quarterSongwriting & Composing Magazine due out in the first week of February 2021.
The winning prizes cannot be exchanged for cash or monetary equivalent.Good Luck to all who are up for the challenge
Create a song about ‘hope’ or a song Lyric with ‘Hope’ in thechorus or an instrumental Music Theme that expresses the
feeling or emotion of ‘hope’
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DISTROKID is an independentdigital music distribution
service, founded in 2013 byAmerican entrepreneur Philip J."Pud" Kaplan. DistroKid principallyoffers musicians and other rights-holders the opportunity to distributeand sell or stream their musicthrough online retailers such asiTunes, Spotify, Pandora, AmazonMusic, Google Play Music, Tidal,Deezer, iHeartRadio and others.
UPLOAD YOUR MUSIC TOSTORES TODAY.
DISTROKID advises they will getyour music into Spotify, AppleMusic, TikTok, Pandora, Amazon,Instagram, YouTube, Tidal,iHeartRadio, Deezer, plus a ton ofother stores & streaming services.
DISTROKID allows you to keep100% of your earnings, get paidmonthly.
In stores 10 to 20 x faster than anyother distributor, at a fraction of theprice.
Pay only $19.99 to uploadunlimited albums & songs for ayear (their competitors charge atleast 2 x that is just to upload onealbum).
Keep all your earnings—or set up"splits" to automatically route anypercentage of earnings, from anytrack, to anyone.
Bonus features!Distribute cover songs legally Getpaid when other people use yourmusic in YouTube Unlimitedbackups · Instant Spotify verifiedcheckmark · Manage your AppleMusic page · Get your credits &lyrics into stores · Get a YouTubeOfficial Artist Channel · Spotifypre-save · So much more...
In July 2015, a DistroKid release bymusical act Jack & Jack went to #1worldwide in the iTunes charts. Thiswas particularly notable becauseDistroKid does not take acommission of royalties, making thisthe first time a #1 charting artist wasable to keep 100% of their earnings.
In May 2016, DistroKid launched afeature called "Teams" that makesit possible for royalties to beautomatically sent to collaboratorsand shareholders. Since thenDistrokid has made several otherdevelopments including partneringwith Spotify to support cross-platform uploads for Spotify artistswho upload directly or have directlicensing deals with the companyand an investment from SilversmithCapital Partners.
What Is DistroKid?DistroKid is a service that musiciansuse to put music into online stores& streaming services. These includeiTunes, Spotify, Apple Music,Google Play, Amazon, Deezer,Tidal, and many more.
DistroKid collects earnings &payments, and sends 100% of theseearnings to artists, minus bankingfees/applicable taxes.
Some of the many benefits you’llfind at DistroKid:Automatic revenuesplits - just tell them who to pay, andhow much to pay them. They’ll dothe rest.
HyperFollow - you’ll have a pre-savemarketing page within minutes ofuploading your music. Once yourrelease goes live on all stores,they’ll add links to the same pageautomatically.Lyrics support - add lyrics to yoursongs, and we’ll send them to storesfor you.Global timed release dates - your
release will go live at the exactsame time everywhere on Spotify
How Much Does It Cost?DistroKid offers multiple plans,ranging from a singles artist/bandplan, to Label plans for up to 100artists. Musician (Songwriters orMusic Composer): 1 band/artist,$19.99/yearMusician Plus: 2bands/artists, $35.99/year (save10%)
Who Owns My Music?You do! DistroKid does not takeany ownership or intellectualproperty rights from artists. Youkeep 100% ownership.
How Is DistroKid Better ThanTuneCore?Both services upload your music tostores and give you 100% of yourearnings, minus bankingfees/applicable taxes.
DistroKid is much less expensive,and gets your music into storesfaster.
TuneCore charges $49.99 per yearper album. $29.99 for the first year.
DistroKid charges $19.99 per yearand lets you upload unlimitedsongs and albums.
EDITORS NOTE:If you are looking for a way tomonetize your songs and musicconsider checking out DISTROKIDfor yourself.The Guild does not receive anyfinancial gain and is not linked toDISTROKID or receives any benefitin kind - we are brining this tomembers attention as a way to helpthem to distribute and make moneyfrom their songs or music withoutthe need to have a publishing,record or licensing deal..
https://distrokid.com/
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AN OPPORTUNITY FOR LYRICISTS - SONGWRITERS AND MUSICCOMPOSERS TO LICENSE OR SELL THEIR WORK ONLINE AND
KEEP 100% OF THE RETURNS
Welcome to SongbaySongbay is a unique marketplace for the buying and selling of original Music, Lyrics and Poems. They
are proud of the quality and diversity of their music/lyric library which is composed, performed and recordedby artists from around the world - just like you if you decide to join them.
Sell Music and Lyrics online.Advise they are always on the lookout for talented Songwriters and Lyricists:• they publish your Songs and Lyrics• they showcase your songwriting abilities to a global audience.• they promote your music and lyrics.• they copyright your music and lyrics.• they're a world leader in original Lyric and Song Sales.• You keep all the sale fees and royalties. they take NO commission!• You retain the copyright of your music and lyrics• You set you own sale fees.• You have absolute control of your work and flexible selling options.• You can receive work offers from music professionals, agents, producers and record companies.
Lyricists RequiredThey are always on the look out for lyricists/ poets of every genre. In order to maintain the qualityand integrity of their lyric library and to keep an appropriate balance between sellers and buyers,they cannot accept all uploads. they assess all work for literary, musical and emotional qualities.they gladly accept lyrics which make use of devices such as metaphor, personification andalliteration. they reject lyrics which lack originality or emotional depth or are simply rhymes for thesake of rhyming. they reject all work which is religiously, culturally or racially offensive, or gratuitouslyviolent in content. If your work is rejected, they will explain their reasons for refusal.
As a lyricist on Songbay, you set your own sale fees and keep all the royalties and income earned.You also keep total control of your work. Unlike other companies, they take No royalty or percentagecuts, their philosophy is very clear. What you make, you keep!
They offer a variety of selling options, from licensing to copyright exchanges. they clearly explainall of these options to you and advise you on the correct market prices to charge. they also supplyprofessional legal contracts without charge.
Seller membership is by inexpensive monthly subscription with no tie ins. For their latest sellermembership options, see Membership Options at Songbay, the world's largest original lyric library!
To find out more - Visit https://songbay.co/membership-options/
FEES:Entry Level £1.99 per month or £21 a yearBasic Level £2.99 per month or £28 a yearAdvanced Level £6.99 per month or £58 a yearUltimate Level £9.99 per month or £71 a year
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A Professional Approach To SongwritingWriting a song with unforgettable melodies and creative
lyrics can be challenging. Even the most experiencedsongwriters go through writer's block at some point in theircareer, and there are many different approaches to songwriting.Here are some helpful ideas used by many professionalsongwriters.
WHERE TO START WRITING YOUR SONGGetting started is often the hardest part of the songwritingprocess. Developing your song’s main melody or central chorusis considered by some to be the best place to begin writing yournext track. Once you’ve got your hook or key chord progression,you can build the rest of your song around it. But don’t worry ifyou're struggling to find the perfect melody straight away, thismethod isn’t for everyone.
Starting with your song’s main riff or hook isn’t ideal for everysongwriter. Some songwriters prefer to start at the beginningof their track by writing a killer intro, which will lead themnaturally into the rest of the song, while others will get the lyricsdown first, and then worry about the tune afterwards. There’sno rule when it comes to writing a new song. It’s down to thesongwriter, the song and the original inspiration to determineyour starting point.
LYRICS MATTERUnless you're producing instrumental music, the lyrics arearguably the most important part of your song. Lyric writing canoften be the most frustrating and difficult aspect of thesongwriting process, especially for amateur songwriter's lackingin experience.
Having a clear idea of what your song will be about is a goodstart. You could write down exactly what you want to get acrossin your lyrics, then play about with the rhythm, structure andcadence of your words to fit them around your melody. A solidlyrical hook for your chorus is particularly important, while theverses and bridge can be built around your central theme.
RECORD ANY SPUR OF THE MOMENT INSPIRATIONThere’s nothing worse as a songwriter than coming up with anamazing melody or riff, only to completely forget what is wasan hour later. Forgetting your ideas can be really frustrating, soit’s important to make a note of your idea while it’s fresh in yourmind, even if it’s just recorded quickly on your phone orscribbled on a scrap of paper. You’ll be glad of the reminderlater when you return to continue working on the song.
WRITE FROM EXPERIENCEAs obvious as it may sound, some of history’s greatest songsare about personal experiences, with artists drawing on real-lifeevents and traumas to spark their creativity. Whether you’vebeen through hard times or great times, you can use your lifeexperiences to great affect. Put those feelings into a song youcan be proud of.
COLLABORATE WITH OTHER MUSICIANSIf you’re suffering from writer’s block (everyone does at somepoint!), then collaborating with other musicians can offer a greatway to break new ground and get a fresh perspective on yourtrack. Show them what you’ve got so far, discuss any new ideasthey might suggest, and see what comes out of it. Getting anoutside perceptive on your track from a fellow musician canhelp to bring the best out of your music. Two headsare always usually better than one.
KEEP IT SIMPLE AND BUILD ON ITKeeping your track as simple as possible at first is an excellentway to accelerate the songwriting process and work out thestructure of your song. Many complex songs from 5 or 6-piecebands started life as a few chords strummed on an acousticguitar. Once you’ve the basis of the song in its simplest form,you can go about adding drums, strings, brass or any otheradditional elements afterwards. Don’t make things harder foryourself by overcomplicating your track right from the beginning.
MAKE SURE TO TAKE BREAKSWriting a song from scratch can sometimes be frustrating andmentally tiring work, especially if the ideas aren’t flowing aseasily as you’d like. Often a 15-minute break away from yourinstrument or lyrics pad can help get the creativity flowing andstop your mind from becoming too clouded to see the ideas andinspiration you’re searching for. Whether it's written in two hoursor two months, the final product is all that's important, no matterhow long it takes.
DON'T OVERTHINK ITMusicians and songwriters are often our own worst critics. Ifyou judge your own songs too harshly you’ll never get anythingdone, so it’s important to keep an open mind, and while it’sgreat to take your time and carefully consider each facet of anew song, it’s often easier to get things done when you let thesongwriting process flow, stop worrying and just get on with it.Over thinking can be your worst enemy. Get the basis of yoursong down, and you can always go back and change thingsafterwards.
ASK FOR FEEDBACKIt’s easy to lose sight of how good or bad your song is afteryou’ve spent hours and hours working, changing and creatingit by yourself. So find someone you trust to give honest advice,and who’s opinion you value, and ask them to critique it for you.You might find they have some fantastic insight into how it couldbe improved. Don’t just play it for someone who might be afraidto hurt your feelings - you want honest opinions, not just yesmen.
DON'T BE AFRAID TO FAILApologies for the cliché, but if you’re failing and struggling towrite the song you know is in you – just keep going. There’s nosecret formula for successful songwriting, other than thecombination of hard work, positivity and talent.
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Song Title | Artiste | Record Label | YouTube Linkfor 34 songs from the Top 40 singles charts
The following information about the song title, artiste, record label and a link to theofficial YouTube video, will assist you to identify the style of songs that the artistes
record, the style of the songs the record company releases. This information will alsoassist songwriters trying to place songs for recording with the artiste and also assistsinger-songwriters/performing artistes who are seeking a record deal as they are able toidentify with the style of songs and performances the record company releases.
Chart Position 1Title: POSITIONSArtist: ARIANA GRANDELabel: REPUBLIC RECORDSYouTube: https://youtu.be/tcYodQoapMg
Chart Position 2Title: LEMONADEArtist: INTERNET MONEY/GUNNA/TOLIVERLabel: TENTHOUSAND PROJECTSYouTube: https://youtu.be/_7w7OMt9eyU
Chart Position 3Title: REALLY LOVEArtist: KSI/CRAIG DAVID/DIGITAL FARMLabel: BMGYouTube: https://youtu.be/e1lFNMo5qcQ
Chart Position 4Title: SEE NOBODYArtist: WES NELSON & HARDY CAPRIOLabel: EMIYouTube: https://youtu.be/ZltFPVHNvwg
Chart Position 5Title: YOU BROKE ME FIRSTArtist: TATE MCRAELabel: MINISTRY OF SOUNDYouTube: https://youtu.be/AG-erEMhumc
Chart Position 6Title: AIN’T IT DIFFERENTArtist: HEADIE ONE/AJ TRACEY/STORMZYLabel: RENTLESSYouTube: https://youtu.be/IMPr9XXGymA
Chart Position 7Title: WHAT YOU KNOW BOUT LOVEARTIST: POP SMOKELabel: REPUBLIC RECORDSYouTube: https://youtu.be/z-Zs_hGQHpk
Chart Position 8Title: SWEET MELODYArtist: LITTLE MIXLabel: RCAYouTube: https://youtu.be/r4P-WOOUPk4
Chart Position 9Title: MIDNIGHT SKYArtist: MILEY CYRUSLabel: RCAYouTube: hhttps://youtu.be/aS1no1myeTM
Chart Position 10Title: HOLYArtist: JUSTIN BIEBER FT CHANCELabel: DEF JAMYouTube: https://youtu.be/pvPsJFRGleA
Chart Position 11Title: TICK TOCKArtist: CLEAN BANDIT/MABEL/24KGOLDNLabel: ATLANTICYouTube: https://youtu.be/yC8SPG2LwSA
Chart Position 12Title: LASTING LOVERArtist: SIGALA & JAMES ARTHURLabel: MINISTRY OF SOUNDYouTube: https://youtu.be/wNMZRTROYuw
Chart Position 13Title: MOODArtist: 24KGOLDN FT IANN DIORLabel:BLACK BUTTER RECORDSYouTube: https://youtu.be/GrAchTdepsU
Chart Position 14Title: LEVATATINGArtist: DUA LIPALabel: WARNER RECORDSYouTube: https://youtu.be/TUVcZfQe-Kw
Chart Position 15Title: HEAD & HEARTArtist:JOEL CORRY FT MNEKLabel: ASYLUM/PERFECT HAVOCYouTube: https://youtu.be/CRuOOxF-ENQ
Chart Position 16Title: GIANTSArtist: DERMOT KENNYLabel:ISLANDYouTube: https://youtu.be/Fi33qkv4Bjw
16
Chart Position 17Title: DIAMONDSArtist: SAM SMITHLabel: CAPITOLYouTube: https://youtu.be/8RvAKRoIDqU
Chart Position 18Title: DYNAMITEArtist: BTSLabel: BRIGHT ENTERTAINMENTYouTube: https://youtu.be/gdZLi9oWNZg
Chart Position 19Title: LONELYArtist: JUSTIN BIEBER & BENNY BLANCOLabel: DEF JAMYouTube: https://youtu.be/xQOO2xGQ1Pc
Chart Position 20Title: UFOArtist: JD-BLOCK EUROPE FT AITCHLabel: D-BLOCK EUROPEYouTube: https://youtu.be/aNBax8Tl-a4
Chart Position 21Title: CHINGY (IT'S WHATEVER)Artist: DIGGA DLabel: CGM/EGAYouTube: hthttps://youtu.be/GEUAyneKIlc
Chart Position 22Title: PRINCESS CUTSArtist: HEADIE ONE FT YOUNG T & BUGSEYLabel: RENENTLESSYouTube: https://youtu.be/_Px5l4mQ0H4
Chart Position 23Title: WAPArtist: CARDI B FT MEGAN THEE STALLIONLabel: ATLANTICYouTube: https://youtu.be/hsm4poTWjMs
Chart Position 24Title: TRAIN WRECKArtist: JAMES ARTHURLabel: COLUMBIAYouTube: https://youtu.be/CveANi17YfU
Chart Position 25Title: DAISYArtist: ASHNIKKOLabel: PARLOPHONEYouTube: https://youtu.be/6i01tOMgBDU
Chart Position 26Title: PUT YOUR RECORDS ONArtist: RITT MOMNEYLabel: RCAYouTube: hhttps://youtu.be/qmZ0mV-rHTw
Chart Position 27Title: LOOKING FOR MEArtist: PAUL WOOLFORD & DIPLO/LOMAXLabel: MINISTRY OF SOUNDYouTube: https://youtu.be/estW7sfx-8Y
Chart Position 28Title: WONDERArtist:SHAWN MENDESLabel: EMIYouTube: https://youtu.be/fHeQemJJQII
Chart Position 29Title: COME OVERArtist: RUDIMENTAL/ANNE-MARIE/TIONLabel: ATLANTICYouTube: https://youtu.be/XvJhnJIiZ2Q
Chart Position 30Title: I MISS UArtist: JAX JONES FT AU/RALabel: POLYDORYouTube: https://youtu.be/Qt6IXiVN0L8
Chart Position 31Title: BLINDING LIGHTSArtist: WEEKENDLabel: REPUBLIC RECORDSYouTube: https://youtu.be/4NRXx6U8ABQ
Chart Position 32Title: HEATHERArtist: CONAN GRAYLabel: ISLANDYouTube: https://youtu.be/24u3NoPvgMw
Chart Position 33Title: SAVAGE LOVE (LAXED - SIREN BEAT)Artist: JAWSH 685 & JASON DERULOLabel: RCAYouTube: https://youtu.be/Jvcv8trEuao
Chart Position 34Title: TAKE YOU DANCINGArtist: JASON DERULOLabel:ATLANTICYouTube: hhttps://youtu.be/s0-f5RncxcA
CLICK THE HIGHLIGHTED LINKS OR TYPE INTOYOUR BROWSER TO WATCH THE VIDEOS ONLINE
17
Collaboration RegisterThe following is a list of members who are composers. All lyricists wishing to collaborate should
contact any of the following composers with full details of the styles in which they work. Collabo-ration with the Guild’s songwriter members is on a 50/50 basis. No fees, whatsoever, should be paidor asked for by one member to another. Under no circumstances should Guild members part with anymoney to persons offering to put music to lyrics or lyrics to music. The whole purpose of having thefacility to collaborate with another Guild member is that songs can be written and created withoutexpense or financial burden. Unfortunately, there are many organisations and persons within themusic industry willing to exploit others. The Guild also exists for the protection of its members’ rightsand any member receiving unsolicited material, from any source, should notify the Guild, immediately.The Guild publishes names and addresses in good faith for its members’ use but, unfortunately, thesenames and addresses may fall into the hands of persons offering musical services for their ownfinancial gain.
Composers must return all lyrics/material that prove to be unsuitable. If a lyricist has taken thetime and trouble to email their lyrics, then please have the courtesy to respond back to them.Due to the extensive number of members requesting to be added to the International Songwriters andComposers Collaboration Register it is going to be impractical to list in publication all the names andaddresses. The Guild, therefore, only prints composers’ contact information. Lyricists should contactcomposers for collaboration by email. NOTE: It is important that members do not arrive at othermembers’ addresses unless prior contact has been made by post or email. Members who have notyet found a suitable collaborator should contact the Guild with their requirements.
Bob RichardsonTop 20, Classical, Blues, Instrumental,
Ballad, Rock'n'Roll, Novelty, Show/[email protected]
Julie CraddockTop 20, Dance, Blues, Ballad, Jazz,
Film/TV Music, [email protected]
David WalmsleyBlues, Rock'n'Roll
Lorraine McCannMoR, Dance, Gospel, Blues, Instrumental,Ballad, Film/TV Music, Alternative, Indie,
Rock'n'Roll, Novelty, Country, [email protected]
Micky BlackDance, Blues, Ballad, R&B, Soul, Latin,
Reggae, Country, Folk, Childrens,Show/Musicals
Michael HillsGospel, Blues, Ballad, Indie, Reggae,
Novelty, Country, [email protected]
Adrian BreakerGospel, Blues, Rock'n'Roll, Reggae,
Country, [email protected]
Anthony BeechingAll styles
Trevor FarrellBlues, Jazz
Murdo McLeanTop 20, Dance, Gospel, Ballad, Alternative
Carole StennettGospel, Jazz, Film/TV Music, R&B, Soul,
Religious, Childrens, Show/[email protected]
Michael WilliamsDance, R&B, Soul
An BrutsaertTop 20, Instrumental, Film/TV Music,
Alternative, Indie, Religious,Educational, Folk, [email protected]
David RawlinsonTop 20, Dance, Jazz, Indie, [email protected]
John HawkesTop 20, Ballad, Indie, [email protected]
David HimsworthBallad, Rock'n'Roll, Country, Folk
John DaviesMoR, Blues, Instrumental,
Ballad, Jazz, Heavy Metal, [email protected]
Ronit EngelNew Age, Dance, Classical, Instrumental,
House, Ballad, Techno, Jazz, Film/TVMusic, Alternative, Indie, Rap, R&B, Soul,Latin, Religious, Educational, Rock'n'Roll,
Drum'n'Bass, Show/[email protected]
Rosalie KerrClassical, Ballad, Country, Folk
Elea BonnetMoR, Jazz, Soul
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Matt StarrInstrumental, Ballad, Film/TV Music,Alternative, Indie, Soul, Rock'n'Roll
Terry MillsTop 20, MoR, Gospel, Blues, Instrumental,Ballad, Film/TV Music, Indie, R&B, Soul,Latin, Rock'n'Roll, Reggae, Country, Folk
David LundriganTop 20, Dance, Folk, Rock'n'Roll, R&B, Jazz,
Ballad, Reggae, Rap, [email protected]
Elizabeth HartDance, Film/TV Music, Alternative, Indie,
Rap, R&B, Soul, [email protected]
Stephen GarrettNew Age, Blues, Instrumental,
Jazz, R&B, Country, [email protected]
Tracey TaylorDance, Gospel, Film/TV Music,
Alternative, Indie, [email protected]
Stephen KirbyTop 20, R&B, Ballad, Reggae, Heavy Metal
Timothy RainsfordClassical, Gospel, Instrumental,
Ballad, Jazz, [email protected]
Paul SmithTop 20, Ballad, Country, Show/Musicals
George NeaveTop 20, New Age, Dance, Classical, Gospel,Blues, Instrumental, Ballad, Choral, Techno,
Film/TV Music, Heavy Metal, Indie, Soul,Educational, Rock'n'Roll, Drum'n'Bass,
Novelty, Country, Folk, Childrens,Show/Musicals
Richard AllenTop 20, Blues, Ballad
Paul BerryAlternative, Heavy Metal, [email protected]
Paul ChurchwardTop 20, Blues, Folk, Instrumental, Jazz,
Rock'n'Roll, Film/TV Music, Rhythm'n'Blues,Dance, Ballads, Soul, Reggae, Classical,
Latin, Gospel, Brass [email protected]
Robert MarshallNovelty, Country, Folk
Paul ChurchwardTop 20, Blues, Folk, Instrumental, Jazz,
Rock'n'Roll, Film/TV Music, Rhythm'n'Blues,Dance, Ballads, Soul, Reggae, Classical,
Latin, Gospel, Brass [email protected]
Terence ChambersRap, R&B, Soul, Educational,
Reggae, [email protected]
Patrick DavisonDance, Classical, Instrumental, Film/TV
Music, Country, Show/[email protected]
Richard ParkesTop 20, MoR, Blues, Ballad, Alternative,
Heavy Metal, Indie, Religious,Rock'n'Roll, Country
Ronald JonesTop 20, Dance, House, Techno, Film/TV
Music, Heavy Metal, Indie, Rap, R&B,Rock'n'Roll, Reggae
Harvey GoodmanTop 20, MoR, Ballad,
Film/TV Music, Show/[email protected]
Kiran SidhuTop 20, Dance, Instrumental, R&B
Toni HaranClassical, Gospel, Instrumental, Ballad,Choral, Jazz, Alternative, Indie, Folk,
Show/[email protected]
John CothamTop 20, Dance, Blues, House, Ballad,Techno, Jazz, Film/TV Music, Garage,
Alternative, Indie, R&B, Soul, Drum'n'Bass,Folk, Show/Musicals
James ParkerDance, Gospel, Blues, Instrumental, House,Ballad, Techno, Jazz, Alternative, Rap, R&B,
Soul, Drum'n'Bass, [email protected]
Mark WatersClassical, Instrumental, Choral, Brass Band,
Film/TV Music, Educational, Childrens,Show/Musicals
David GarwoodBallads, Novelty, Country, Folk
Raymond ShawDance, Blues, Ballad
Keith WadgeBlues, Ballad, Jazz, R&B, Country, Folk
Brian McDonaghInstrumental, Ballad,
Film/TV Music, Rock'n'[email protected]
John EvansTop 20, Ballads, Country,
Instrumental, Film/TV [email protected]
Dan EdwardsTop 20, Classical, Ballad, Film/TV Music
Catherine BlayAlternative, Heavy [email protected]
Henrik AxelssonTop 20, Dance, Blues, House, Ballad, Techno,Jazz, Film/TV Music, Indie, R&B, Soul, Latin,
Rock'n'Roll, Reggae, Country, [email protected]
Alan OliverPop, Rock, Country
Aysegul Thornett-Most Styles-
Matthew BirdIndie, Rock'n'Roll, Alternative, Grunge
Alf Spencer-Most Styles-
Lea NixonTop 20, Dance, Ballad
Professional CourtesyW o u l d c o m p o s e r s pleasehave the courtesy to respondback and return all lyrics andmaterial that prove to beunsuitable if a lyricist has takenthe time and trouble to email theirlyrics to you for consideration.
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CO-WRITING COLLABORATION AGREEMENTBelow is a co-writing collaboration agreement which shows a 50/50 percentage share between a composer and an author. Wherethere are more than two composer/authors then the agreement should be modified accordingly, for example where there are twocomposers and one author—where one composer’s share is 10% of the song and the other composer’s share is 40% of the songwith the lyric writer claiming 50% of the song; or where you have one composer with two lyric writers—where the composer’s shareis 50% of the song, with one lyric writer claiming 20% of the song and the other lyric writer claiming 30% of the song. As you can seeby these examples, subject to how many collaborators there are and the percentages they claim, then the agreement would have tobe modified to reflect the percentage shares claimed by each and any composer/author, accordingly. Also, where there are morethan two collaborators then facilities for the additional parties and the signatures would have to be added to the agreement at theParties section and at the Signed by section. Ensure that you include the correct date, names, addresses and the song title(s)accordingly—removing the examples given herein. Print one copy for each party (composer(s)/author(s)), each party should sign allcopies, each party keeps a signed copy.
CO-WRITING COLLABORATION AGREEMENT
THIS AGREEMENT (the “Agreement”) is made the 1st day of May 2020 (amend date accordingly) between the partiesset out below
PARTIES(1) JOHN GREEN of 1 The Street, The Town, AA1 1BB, England (hereinafter known as the “Composer”) of the first partand
(2) SALLY BROWN of 99 The Avenue, The Village, CC2 2DD, England (hereinafter known as the “Author”) of the secondpart
Do hereby warrant and declare that the Composer and the Author have collaborated equally and jointly to co-write one(1) composition (hereinafter known as the “Composition”) of musical work of both music and lyrics entitled “Put songtitle here”
NOW IT IS HEREBY AGREED as follows:
1. That the copyright and all other rights whatsoever shall belong to the parties in the individual shares as specifiedhereunder and protected under the terms of the relevant Copyright Act of the Composer’s and the Author’s nationality
TITLE: “Put title of song here” (the Composition)Composer John Green Percentage share of work = 50% (Fifty per cent)Author Sally Brown Percentage share of work = 50% (Fifty per cent)
2. Territory of ownership of the Composition known as “Put song title here” is the World.
3. In any event whereby the Composer and the Author register the Composition known as “Put song title here” with aroyalty collection organisation then each of the party’s interest must be acknowledged with all persons identified as totheir part being either composer or author or both (both music and lyrics) of the Composition known as “Put song titlehere”
For the avoidance of any doubt neither party shall in any event be entitled to nor purport to be able to enter into anyagreement with a music publisher or other third party which has the effect of assigning or otherwise transferring orlicensing the copyright to the Composition known as “Put song title here” other than that party’s individual share thereof.Also neither party shall be entitled to diminish the rights of any other composer/author herein in respect to their rightsunder the Copyright Designs and Patents Act 1988. Any waiver of any rights in respect to the Copyright Designs andPatents Act 1988 of any composer/author herein must be agreed in writing.
This Agreement shall be construed in accordance with the laws of England whose courts shall have exclusive jurisdiction.
IN WITNESS WHEREOF the parties hereto have hereunto set their hands the day and year first above written.
SIGNED byComposer ………………………………………. Witnessed by: …………………………………………...
SIGNED byAuthor …………….…………………………….. Witnessed by: …………………………………………...
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Topics Newsand Songsearch
POND 5 - Pond5 Media Ireland Limited, 53 Merrion Square South, Dublin 2, IrelandBecome part of an artist-friendly marketplace that enables you to license a variety of media types to buyers from all over the world.
Your Vision, Your Price ABOUT - Pond5 is a global media marketplace providing artists around the world with an opportunity to license theirwork to an international community of media producers and brands. They work with more than 60,000 contributors in 150 countries, with over10,000 video clips uploaded to their site every day. With a full collection of over 60 million licensable videos, music tracks, sound effects, photos,motion graphics templates, and more, Pond5 is relied upon as a go-to resource by the world’s most prominent storytellers and agencies. Pond5is a venture-backed company funded by Accel Partners and Stripes Group with offices in New York, Dublin, Prague, London, and LA. Top Brandsthey work with, you’ll find Pond5 media in feature films, TV series, documentaries, advertisements, corporate presentations, and just aboutanywhere else you look.BBC - NETFLIX - National Geographic Channel - VICE - NBC - Disney - History Channel - Discovery - Facebook - MTV- ITN. Pond 5's philosophy is to offer its creators A FAIR SHAKE They offer one of the best payout rates in the industry with a 50/50 royalty splitRETAIN YOUR RIGHTS You own your art, they facilitate licensing it to a global network of buyers AROUND THE WORLD Sell your work allover the world - they serve over 150 countries and counting https://www.pond5.com/royalty-free-music/POND5 Help Centre link: https://help.pond5.com/hc/en-us/articles/200944213-Audio-Upload-Specifications. File Format: Music files may beprepared as 16 or 24bit, 44.1 or 48,kHz WAV or AIFF. Note: They are no longer accepting MP3 or FLAC files. If your audio file is in a differentformat, please convert it to .WAV or .AIFF before uploading. Another option is to export it natively from your audio editing program as a high-qualityWAV. You want to avoid compression as much as you can, so always export as close to native quality as possible. Please check your files beforeuploading to make sure they are broadcast ready. Music Genres: Action Adventure, Ambient, Background, Battle, Chase, Christian, Cinematic,Corporate, Country, Documentary, Dramatic, Electronic, Epic, Fight, Game, Guitar, Hawaiian, Holiday, Meditation, Movie Trailer, Orchestral,Patriotic, Piano, Pop, Public Domain, Rock, Triumphant, Ukulele, War.Take the time to visit the POND5 website to discover if this could be THE OPPORTUNITY for you to feature your music on a very activewebsite which has repeat clients throughout the world - PLUS you can set your own pricing for the use of your tracks.
Synctracks (Music Publishing), The Playrooms, 2ndFloor, 311-312 Upper Street, Islington, London N1
2TU Main Contact - Jenny Jones Tel: 020 7682 1211Email: [email protected]: http://www.synctracks.com/page/composingFacebook: http://www.facebook.com/synctracksTwitter: http://www.twitter.com/synctracksSoundcloud: https://www.soundcloud.com/synctracksSynctracks is an independent production music library.Work with Composers only. Synctracks is a fresh,independent, London-based production music library. Theirmusic is exclusive and unique to their catalogue, and they'vehomegrown it all with our talented composers from all overthe globe. Synctracks' pre-cleared platform makes musiceasy to license for use cross-platform, worldwide.Want To Compose For Them?Here’s some information and a few useful pointers from theSynctracks team. They are a non-MCPS library but all musicis registered with PRS, therefore you must be registered witha Performing Rights Organisation (PRS, ASCAP, BMI etc.)And have an IPI / CAE number.The preferred initial approachis via email, with links to demos on streaming platforms suchas Soundcloud or your own personal site. #Please do notsend them emails with files attached. They want to hear thebest examples of your work, so please submit any genre orstyle that you are comfortable with. Experience doesn'tmatter. They are looking for good music plain and simple.You could be just starting out or you could be awell-seasoned composer. Send demos to Jenny Jonesvia email: [email protected]
Audio Network Ltd School Farm Studios, LittleMaplestead, Halstead, Essex, CO9 2SN
Audio Network Ltd are Library Music Publishers whohave an open door policy to accept submissions andadvise they’re constantly on the look out for the mostexciting artists, composers and producers to workwith at Audio Network. If you’ve got something youthink they are missing out on – send it to them. Theywant to hear inspiring and original music from acrossall genres. To share your music with them, simplysend a link containing a maximum of three tracks(Soundcloud or YouTube) toEmail: [email protected]
Music GenresThey will accept instrumental music in the followinggenres: Advertising, Brass/Mil/Wind Band, Chamber,Children's, Choral/vocal, Country, Dance/Electronic,Early Music, Educational Folk, Hip-Hop/Rap, Indie,Jazz/Blues/Big Band, Latin, Light, Metal, MOR, NewAge, Orchestral, Organ, Pop Music, Punk, R'n'BSoul, Reggae, Religious, Rock, Television, Urban,World Music. Click on the following link to applyhttps://www.audionetwork.com/content/who-we-are/become-a-composer
3 x ONGOING MUSIC COMPOSER OPPORTUNITIES YOU CAN CHECK OUT
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Perfectly Formed SongsMusic Publishers
20 Easthams Road, Crewkerne,Somerset, TA18 7AQ
Website: http://perfectlyformedsongs.com/They do not accept unsolicited mail
Please use the dropbox for demos and thecontact box to get in touch.
Perfectly Formed Songs is an independent musicpublishing company based in London and the SouthWest. Established by Ellie Kading. Perfectly FormedSongs offers a bespoke publishing service for songwriters and publishing companies seeking representationand administrative support. Perfectly Formed strength isin matching it’s business integrity and knowledge with agenuine love of music. Advise they know that truepassion rarely follows logic and offer a practical solutionto growing your songs. They are small but PerfectlyFormed.Their clients include: 4AD (Beggars Banquet), DeliciousDigital, In-spired Production Music, The Really UsefulGroup Ltd, Abood Music, Distiller Publishing, MannersMcDade Music Publishing Ltd, Rockin' Music, BMGRights Management (UK) Ltd, Distiller Records, OutcastePublishing Ltd, The Royalty Network, BMG RightsManagement (Ireland) Ltd, Felt Music, Perfect Songs Ltd,Tileyard Music
West One Music Group Ltd.Music Publishing
28 Percy Street, London W1T 2DBA&R Dept. - Head of A&R
Email: a&[email protected]: http://www.westonemusicgroup.com
Facebook: westonemusicgroupTwitter: WestOneMusicGroup
AboutGlobal music agency, working in strategic partnershipwith clients and creating music of the highest calibrefor the film, TV and gaming industries. From hard-hitting trailer cues to epic sweeping Hollywood scores,West One's A&R teams are constantly scouring theglobe for the latest trends, talented composers andemerging artists to work with on upcoming projects.Submit your 3 strongest tracks via downloadable link(no CDs), plus a short biog to the above email addressfor consideration.Genres: All Music Types
K Dragon Records - Music Publishing98 Wolseley Road, Southampton, SO15 3ER
A&R Dept. - A&REmail: [email protected]: http://www.kdragonrecords.com
Demo Submission:http://www.kdragonrecords.com/demo-submission1.html
Facebook: KDragonRecordsInstagram: k_dragon_records
Twitter: KDragonRecordsAbout
CURRENTLY ACCEPTING DEMOSUBMISSIONS
Independent record label, distributor and musicpublisher releasing music via digital stores andoutlets worldwide. Working with a wide range ofgenres, K Dragon have worked with the likes ofJay-D, The “K”, Lottie Simone, Agent Squarewave,Brian English and Deborah Fennella. Musicsubmissions are accepted from all genres via theform linked above, or as MP3 submissions sent tothe above email address. Strive to respond to allsubmissions.
K Dragon Records aims to give all artists the abilityto submit their music to them and take it to the nextlevel. They are independent and strive to give asmuch back to the artist as possible while expectingminimal commitment. They deliver their clientsmusic to digital stores/outlets around the worldincluding the UK, EU, USA, Canada and Russia.They offer a simple service to get your music to themasses, with simple accounting, friendly advice, noongoing commitment or additional costs.All clients automatically qualify for theirmerchandising deal, putting their logo / artwork ontoclothing and accessories,.They also, register your music for eligibility to theofficial charts in the UK, US and CanadaPlug your music to radio stations both in the UK andworldwideCollect royalties and pass these on to youRegister you music with two of the major musicdatabases which are used as reference pointsMaster your music (if required) via our affiliation withDragon Studios Handle licensing and sync requestsin partnership with K Dragon Publishing Genres: All Music Types
MY HART CANYON MUSIC - Music Publisher and Record Label ExeterA&R Dept. - Kieran Scragg. Email: [email protected] Website: http://www.myhartcanyon.comFacebook: myhartcanyonmusic Twitter: myhartcanyonAbout - Record label, publisher and sync agent with clients including ABC TV/Disney, ESPN/Disney, Google,Lionsgate/Summit Films, NBC/Universal, VICE/HBO and Warner Bros TV. Deal mainly with Alternative music andSinger Songwriters but are open to hearing all genres. Accept SoundCloud or streaming links via email. Pleasedo not submit MP3s or CDs unless invited to send. Roster includes Iko, Luwten, Chelou, Fort Nowhere, Edgelarksand many more.Genres: All Music Types, Alternative, Singer-Songwriter
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Xploded Music - Music PublishingUnit 1,Nab Lane, Blackburn, BB2 1LN
A&R Manager - James HillEmail: [email protected]
Website: http://www.xploded.co.ukFacebook: xplodedmusic
Website: https://www.xploded.co.uk/demo/
Xploded Music is a UK based record labeldistributed by Universal Music Group - setup in late 2018 by Cris Nuttall and MattCadman, former founders of All Around TheWorld (AATW) - one of the UK’s mostsuccessful independent labels over the past30 years. The current Xploded rosterincludes a diverse range of chart-toppingacts including Loud Luxury, T2, Armin vanBuuren, Tulisa, Yolanda be Cool, TheresaRex, ARTY + moreAboutRecord label and music publisherspecialising in the Dance and Pop genres.Current roster includes Loud Luxury, Arminvan Buuren, PBH & Jack, Darren Styles andBen Nicky. Submissions are accepted aslinks via email to the above address.Genres: All Dance, All Pop
Guild Member - Keith HarwoodMale Rock Singer Required
Male rock singer required. Able to self record yourvocals and have a strong versatile voice range (lowand high notes).
Please email a sample of your voice and price persong to [email protected]
Guild Member - Peter KraszeninEnthusiastic lyricist searching for a like-mindedcomposer to form an award winning songwritingpartnership.Passionate about musical theatre and inparticular songs that hark back to a time when astrong melody or catchy tune were notaspirations about which to be embarrassed andlyrics were deftly crafted products of the Englishlanguage. Forward thinking but never losingsight of the great past masters of their age.Please contact him if you share an interest inthis style and genre of songwriting and you too,are seeking a collaborator.Examples of lyrics readily supplied.Please email [email protected]
Guild Member - Julie CraddockExperienced Melodic Female Vocalist Availablefor paid session work working from home.
Julie advises that she doesn't have a high voicehowever bottom to mid range seems to work wellfor her and covers a few genres.
Genres: Pop/Jazz/Country & Ballad.
Please contact Julie direct and she will be happyto supply sample vocals and offer a quote toprovide finished vocals via mp3 or wav
Please email: [email protected]
ROBA Music PublishingNeue Rabenstr. 3, 20354Hamburg, Germany.
Contact: A&REmail: [email protected]
Website: https://www.roba.com/publish-with-us/Genres: Most Commercial Styles
ROBA Music Publishing is a leading music publisherin Germany and Europe who offer worldwide high-endmusic publishing services with a client centricapproach for the digital age. The company wasfounded in 1969 by Rolf Baierle in Hamburg and withforeign missions around the globe. ROBA advise theyare passionate about their music and constantly seekgreat songs and support their authors and partners inthe creative process. They promote their songs acrossa variety of platforms and manage the exploitation,licensing and collection. They always aim to protectand enhance the value of their authors’ and partners’songs with the utmost commitment. Put simply ROBAand its music publishing experts are your best choice.Benefits: ROBA work with great passion to find andbuild long term relationships with the best songwritingtalent and catalogue owners in the world. Theyhighlight your songs and foster their exploitation. Theircreative team proactively pitches and licenses musicto leading content creators to increase your income.They deliver an effective registration and incomeretrieval process that is important to guarantee theflow of royalties directed to the songwriter. They givetransparent and comprehensive web accessedinformation to their clients enabling them to have abetter understanding of their income and songcatalogue. At ROBA you will find like-mindedpeople who love music as much as you do
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Streets Music - Music Publisher, RecordLabel, BournemouthWebsite:http://www.streetsmusic.co.uk/5/about/20/publishing/Email: [email protected] Music understand how vital the role ofa music publisher is to the development of newmusic and are proud to support some of thebrightest emerging songwriters. Their team haveyears of experience working within thenotoriously difficult music industry, meaning thatthey can offer superb guidance and support toartists, helping with all manner of different thingsfrom creating and promoting records to makingmusic videos.Advise they love working with songwriters andsongs, and connecting that creativity with thewidest possible audience via the numerouschannels for music available in the modern world.They also recognise that every song and everyclient is individual, and they can provide thesuperb attention-to-detail and flexibility onlypossible from a small company. Streets Musiccan provide expert services whatever the natureof your project, and has experience in workingwith Advertising Agencies, Brands, FilmCompanies, TV Companies and Radio Stationsfrom all over the world.Visit their website for more information
Kobalt Music Group Ltd.Music PublishingThe River Building, 1 Cousin Lane,London EC4R 3TEPresident Global Creative - Sas MetcalfeEmail: [email protected]: http://www.kobaltmusic.comFacebook: kobaltmusicInstagram: kobaltmusicLinkedIn: company/kobalt-music-groupTwitter: kobaltYouTube: user/KobaltMusicAboutGlobal independent music servicescompany and leading independent musicpublisher offering unparalleledtransparency, online global copyrightadministration, creative and sync/licensingservices, digital collections and pipelineadvances to writers, publishers and otherpublishing rightsholders. Clients includeZAYN, Tom Misch, Dua Lipa, Neil Finn,Julian Casablancas, De La Soul, Wolf Aliceand many more. Refer to website forextensive list of artists. Contact via emailbefore submitting any material.Genres: All Music Types
Project Melody - Music Publisher LondonA&R Culture Manager - Owen CuttsManaging Director - Andrew RadixEmail: [email protected]: http://www.projectmelodymusic.comFacebook: projectmelodypmInstagram: projectmelodymusicTwitter: projectmelodypAboutIndependent, commercial record label, music publisher and catalogue acquisition enterprise focused onreleasing great music of any genre. Current roster includes Monster Florence, Mr Cutts and Dust In TheSunlight. Music submissions are accepted as SoundCloud or Dropbox links via the above email address.Project Melody is a creative hub that provides expertise, resource and global content management in orderto produce dynamic multi genre music and immersive content.They believe the traditional role of a record label has evolved to better serve artists and a more dynamicdigital market. They harness content from the creative spark of a song, right up to a globally strategisedrelease campaign that amplifies the introduction of new music to a multi territory audience.“They are a compact dedicated team with decades of experience in music, global marketing, promotion,business and asset management. This backbone gives us the insight and network to scale up ourexploitation reach in order to deliver content and campaigns with genuine global impact”.In their pursuit of pre-existing music rights, any investment they consider should not require any leverageto generate our expected investment return. Because we value our sleep, a sensibly constructed acquisitionstrategy ensures our ability to outstay any form of volatility within natural market performance fluctuations.Genres: All Music Types
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Psychotic Reaction MusicMusic PublishingLondonA&R Manager - LeonEmail: [email protected]: http://www.psychoticreactionmusic.comInstagram: psychoticreactionmusicSoundCloud: psychoticreactionmusicAboutIndependent music publishing companyworking with artists, producers and songwriters.Current roster includes NAO and ChristianAlexander. Prefer to receive music asSoundCloud or Spotify streaming links viaabove email. Open to working with all genres,but please refer to above website to make surethat you're a good fit before submitting anymusic.Genres: All Music Types
KYCKER - Music PublishingYorkshireArtist Relationship Manager - Frank WilkesEmail: [email protected]: http://www.kycker.netFacebook: KyckerMusicTwitter: KyckerMusicAboutKYCKER aims to provide everythingrequired to have a successful DIY career inmusic. Offer music publishing, TV/filmsynchronisation and royalty collectionservices, along with distribution services torelease music via all major online stores,plus live opportunities with no upfront fees.Also look to provide individual careermentoring and exclusive insight into themodern industry. Artists can find details ofhow to register with KYCKER via the abovewebsite.Genres: All Music Types
Crumbs Music Media, Penhunt House,352 - 356 Battersea Park Road, London SW11 3BY.Email: [email protected]: http://crumbsmusic.com/Ray Williams has been a driving force in the music industry for more than five decades. Fromdiscovering and launching the career of Elton John, to supervising and producing music for someof the most epic films of the 20th century, to innovating as a record label executive, Ray is anintegral part of the fabric of modern music.At the age of 16, after meeting Cathy McGowan the presenter of legendary UK music show ‘ReadySteady Go’, she invited him to the show, where he became a fixture as an unpaid assistant. Cathyrealized he needed ‘a proper job’ and introduced him to Beatles publicist Brian Sommerville whoneeded an assistant. Ray took the job and worked with The Kinks, Sonny & Cher and Tommy Roe.Through his work with Tommy Roe, he came to know and work with Bill Lowery, whose extensiveLowery Music Publishing Group catalogue he later managed through the acquisition by Sony MusicEntertainment.At the age of 19, as head of A&R for Liberty Records he placed an advertisement in the New MusicExpress looking for talent. The young, undiscovered Reginald Dwight (Elton John) responded tothe ad. Ray introduced him to lyricist Bernie Taupin, forging one of the most prolific and celebratedsongwriting teams in rock history. That pivotal moment continues to impact the world – Sir EltonJohn was recently named the Billboard Top Male Solo Artist of All Time.Ray subsequently became personal manager for Elton John during his first five albums beforegoing on to manage Gerry Rafferty’s Stealers Wheel. At Liberty, Ray also signed and managedJeff Lynne and The Idle Race.His passion for helping new and emerging talent combined with providing incredible value to mediaproducers led him to develop Crumbs Music, which aims to be a leading provider of pre-clearedtracks, music supervision & licensing, and original music production.Genres include Advertising, Country, Dance/Electronic, Folk, Hip-Hop/ Rap, Indie, Jazz/Blues/BigBand, Light, MOR, Musicals, Pop Music, R'n'B Soul, Reggae, Rock, Television, Urban, World Music.The company has an open door policy to review new songs
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Toolroom Records and Publishing Ltd,Top Floor, Raglan House, St Peters Street,Maidstone, ME16 0SN, England.Contact: Sam Birkwood.Email: [email protected]: www.toolroomrecords.comToolroom Records and Publishing began in 2003when emerging DJ/producer Mark Knight and brotherStuart Knight started the label. Quickly developing afan base of professional and aspiring DJs, the labelbecame synonymous with credible house and techhouse. Rising in tandem with the career of labelfigurehead Mark, Toolroom rapidly grew into aninternationally known brand through some definingclub records, most notably Mark Knight’s remixes ofMan With The Red Face and You’ve Got The Love,among a host of original material from Mark and otherheavyweight dance artistes.This successful and expanding publisher activelypromote their songwriters signed works to artistmanagement companies, record companies,advertising agencies, sub publishers, broadcast (TV& radio), film supervisors, computer gamescompanies and digital supervisors with a view toobtaining deals and highlighting your works andincreasing your prospects of paid usage. Thecompany has a growing number of talentedsongwriters they have signed, however, they alsohave an open door policy to consider new songwriterswho they feel have potential to become part of theirsuccessful organisation. Working in all music stylesincluding Top 40 Pop, R&B, Soul, Alternative, Rock,Country, Country Crossover, MOR.Submission policy: Please be aware that due to anextremely high volume of demos that they receive, it’sdifficult for them to reply to them all. Submit yourdemos to their demo submissions page by clickingon the following link:https://www.label-worx.com/demo/toolroom
Barbera Music Ltd. Matrix Studio, MatrixStudios, 91 Peterborough Road, Fulham,London, SW6 3BUEmail: [email protected]: http://www.barberamusic.co.ukFacebook: Barbera MusicTwitter: BarberamusicContact: A&R DepartmentBarbera Music Ltd is an independentpublishing company based in London. Thecompany was set up by Hugh Gadsdonwho has enjoyed 35 years in the industryworking with hugely successful writersincluding Paul Weller, George Michael,Nick Heywood, Tony Macaulay, Ian Dench,Clive Langer & many more. The team iscompleted by Gareth White and TonyMurphy.Barbera has been growing an impressivecatalogue with emphasis on quality ratherthan quantity. The diverse roster includescopyrights by twice Mercury Nominee AnnaCalvi, studio supremo Clive Langer, popduo Man Like Me, NME favouritesHappyness and the emerging singer /songwriter Tenterhook. Barbera pridesitself on its relationship with its writers,adapting with the music business todevelop a tailored service to each memberof the roster. With strong experience inA&R and sync, Barbera is a proven homefor the development of talent. Alternative,Pop and Rock specialists.For further information visit the website orsister company Hannah Management Ltd.Accept links only to the email addressabove. Music genres they work in: AllAlternative, All Pop, All Rock
The Beat Suite Ltd. 5 Pink Lane, Newcastle, Tyne and Wear NE1 5DW UKEmail: [email protected] Website: http://www.beatsuite.com/Facebook: https://www.facebook.com/beatsuite/Twitter: http://www.twitter.com/beatsuitedotcomRoyalty Free Music Library featuring over 5,000 music tracks for immediate download for use in any media project.Preview, purchase and download instantly. Voiceover and ISDN Recording Studio. The Beat Suite offer: Royalty FreeMusic, Production Music, Copyright Free Music and Music for YouTube. Advise they always keep their eyes and earsopen for new talent and they're happy to receive a demo from any aspiring musicians, composers and artists. Whetheryou're a professional composer, producer, or bedroom DJ/musician they'd like to hear from you.They're looking for original instrumental compositions in the form of music tracks and where possible, accompanied bydurational edits, loops and stings. If you're an established composer, they would like to hear your entire catalogue. Ifyou're a new composer they'd like to hear what you've got so far. Please note, they are not interested in show reels orsamples of music that is unavailable to them to sign. They accept submissions in the form of an Audio CD and DataCD/DVD. When sending them your submission, please remember to include: Your CD/DVD, Covering letter, Track-list,Full postal address, Correct email address, Telephone number. All demos for review should be sent to the above address.If you wish to submit content digitally: They accept music via FTP download, or using a file transfer service such asWeTransfer, Dropbox or HighTail.Please do not provide links to web pages containing a list of tracks to play via online music players.
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Mustard Music Publishing, Electro Line House,Lion Road, Twickenham, TW1 4JH, England.Contact: Rob Roar or Max Mackie.Email: [email protected] [email protected]: www.mustardmusic.co.uk/index.htmlFacebook: Mustard Music PublishingTwitter: twitter.com/mustardmusicMustard Music Publishing was set up in 2004 by RobRoar and Max Mackie. With over 30 years ofexperience between them in the music industry, awealth of contacts and one of the best track recordsfor A&R demos/productions with potential greatideas, adding songs to them, helping with productionand turning those good ideas into big records.Mustard works with all commercial music styles andcan deliver right across the board genre-wise, fromchill out to dance to pop, and is always on the lookout for new talent. Mustard Music Publishing hasbeen hailed by many in the music industry as one ofthe most pro-active, exciting publishers around.Mustard has become renowned for finding andnourishing new and existing talent. Their A&R teamare responsible for a string of UK Chart Hits andDance Music/Ibiza No.1’s. Their artistes have beenthe driving force behind vocal performances onhundreds of USA & UK national TV commercials,including Michelob, McDonalds, Coors,Budweiser, Jolly Green Giant and the globallysuccessful Mazda Zoom, Zoom, Zoom advert.Artistes currently signed to Mustard include: BenBraund, c. McCormack, Daley Padley, DanielBartak, Daniel Forbes, Dave Jarvis, James Muir,Jo Mills, Keithan Carter, KuJay DaDa, LeiamSullivan, Leigh Devlin, Lyn Goddard, Marcie, MaxLinen, Michael e, Nanchang Nancy, Patrick Alavi,Rob Roar, Trix. Mustard Music Publishingrepresents over 5,000 titles with copyrights recorded,released and remixed by/for: Julian Napolitano(Ruff Loaderz/Jochen Simms), Madonna, BritneySpears, Rihanna, Carly Rae Jepson, TheSaturdays, Olly Murs, Adele, Kanye West, RobbieWilliams, The Spice Girls, The Ting Tings,Westlife, Estelle, Maroon 5, Pussycat Dolls,Tinchy Stryder, Lyaz, Jason Derulo, Beyonce,Snoop Dog and Katy B.Whether you’re a new or established songwriter orproducer who wants your songs/tracks to reach thewidest possible audience, or a client looking tolicense the perfect song or production for your latestproject, why not start your next project with MustardMusic Publishing?Contact Rob or Max, email addresses as above, forinformation on their submission policy.
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Songwriting and Composing is published in the United Kingdom and Republic of Ireland (Great Britain) and otherworldwide territories by Song & Media LLP t/a The Guild of International Songwriters & Composers, Prospect Business
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THE GUILD OF INTERNATIONAL SONGWRITERS AND COMPOSERSProspect Business Park, West Wing, Leadgate, Consett, Co Durham DH8 7PW UK
Telephone: 0330 2020 760 Email: [email protected]
BUCKS MUSIC - Bucks Music Group London, EnglandContact: A&R DepartmentEmail: [email protected] for general enquiriesA&R Website page: http://www.bucksmusicgroup.com/about/ar/SoundCloud: http://soundcloud.com/bucksmusicgroupFacebook: http://www.facebook.com/bucksmusicgroupTwitter: https://twitter.com/bucksmusicgroupBucks Music Group is an international and independent music publisher, whose corebusiness evolved from a strong 60s and 70s back catalogue of copyrights includingclassic songs A Whiter Shade Of Pale, Space Oddity and She and much loved TVthemes such as Black Beauty, Upstairs Downstairs and On the Buses.Submission Policy:Please send your links with a covering email to: [email protected] song styles - If you are an artist, they advise you should have a coherentthread running though your material although this does not restrict you on genresnecessarily. If you are a songwriter planning to write for other people across genres,it is perfectly acceptable to cross genres- just advise them of the best example in eachgenre you work in.How many songs? No more than 3-5 songs.Alternately, Bucks Music Group prefer to receive demos via their SoundCloud DropBox shown above. Please also note, much as they would like to, it is unfortunatelyimpossible to give individual notes and feedback about submissions. This is partlybecause of the volume of demos received and partly because their main priority isgiving feedback to existing writers on their roster. Suffice to say they listen to materialssent in and if they feel they would like to explore your situation further rest assuredthey will be in touch.Genres: All Music Types
IMPORTANTBefore submitting to a company, check on the typeof music they deal with or specialise in. Obviously,it is not worth sending pop music to a jazz outletor country music to a Hi-NRG dance label
When sending your songs via Email as mp3attachments together with lyric sheets, the lyricsheets should have all of your contact information.Your mp3 song title(s) should also contain yourname e.g. ‘My Song Title’ by Your Name.
The Guild is always pleased to receiveMember Profiles, along with photographs.If you have any content for a profile thatyou feel would make good reading for ourmembers then please do not hesitate tolet us have it for consideration. Submitany editorial by email as a Worddocument, along with any photos asJPEG images. Thank you
