{"id":701,"date":"2019-12-20T08:50:13","date_gmt":"2019-12-20T08:50:13","guid":{"rendered":"https:\/\/aata.dev\/?p=701"},"modified":"2019-12-20T09:01:50","modified_gmt":"2019-12-20T09:01:50","slug":"perhaps-theyll-listen-now","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2019\/12\/20\/perhaps-theyll-listen-now\/","title":{"rendered":"PERHAPS THEY\u00b4LL LISTEN NOW ?"},"content":{"rendered":"\n

PERHAPS THEY\u00b4LL LISTEN NOW ?<\/strong><\/p>\n\n\n\n

\"\"
the late Steve Goodman<\/figcaption><\/figure><\/div>\n\n\n\n

Forty\nyears ago we were just a pair of collaborative songwriters amongst several\nothers at our local folk clubs. Among those we hugely admired but who, like us,\nhad careers and families to protect and so never quite chased music hard\nenough, were people like Ged Morgan and Bob Ashworth but perhaps only Stanley\nAccrington, who produced beautiful songs that were sometimes overshadowed by\nhis comedic output, managed to sustain a folk music career of real longevity.\nNevertheless, our duo that used to sing the Steve Goodman song The Twentieth\nCentury Is Almost Over now find ourselves in the second decade of the twenty\nfirst century as members of The International Singer Songwriters Association\n(ISSA).<\/p>\n\n\n\n

\"\"
Lendanear: Norm left, Col, right, as always<\/figcaption><\/figure><\/div>\n\n\n\n

Colin\nLever and I, Norman Warwick, were the duo formerly known as Lendanear, and we\nrecently joined the Association that was founded by Tamanie Dove, a singer\nwriter from Nashville. Tamanie, who now lives in Atlanta, provides a support\nsystem to encourage aspiring professional singers and writers of all genres of\nmusic worldwide.<\/p>\n\n\n\n

With ISSA\noffering us many potential benefits, and being free to join, we really had\nnothing to lose. There seems to be almost limitless opportunity to network with\nfellow professionals in the music industry, and ISSA promises constant support\nfrom its administrators and our fellow members. We will be regularly updated by\nISSA about events and developments throughout the entire music industry. Indeed,\nmember Gregg Wietstock bears particular testament to this, when he speaks of\none particular ISSA staff member. <\/p>\n\n\n\n

\u00b4Jon KT\nLindley, on the admin side of things, helps in so many ways,\u00b4 says Gregg. \u00b4There\nis comfort in knowing someone who encourages, rather than discourages, a\npassion for work that, as an artist knows too well, is undertaken in a work\nplace and market place that is often far from ideal. <\/p>\n\n\n\n

But here\nis a whole community of supporters and advocates. There are some in the group\nwho have achieved success in battling the odds, who are willing to freely help\nwith positive, practical advice and assistance.\u00a8<\/p>\n\n\n\n

\u00b4The bare\nminimum, laid on the table to qualify for nomination,\u00b4 Gregg suggests, \u00b4is an\nhonest challenge to those who are seeking to better themselves as an artist.\u00b4<\/p>\n\n\n\n

\u00b4Whether\nnominated or not, this necessary basic qualification elevates the participant\nto be recognized as serious,\u00b4 explains Gregg \u00b4The company of others who are\nworking for a common goal, genuinely encouraging, collaborating, empathizing,\ncongratulating each other is so reassuring. Attending the awards show and\nparties, mingling with those who have achieved a certain level of success as\nIndie Artists is an exhilarating energy vortex that is beyond description.\u00b4<\/p>\n\n\n\n

In\nexpressing his gratitude, Gregg goes on to explain what he thinks it means to\nbe an independent musician.<\/p>\n\n\n\n

\u00b4I cannot\nthank ISSA and all other groups and Indie supporters enough for the new\nrenaissance that I feel as an artist,\u00b4 he says. <\/p>\n\n\n\n

\u00b4All\nadvocates of Indie Artists need to band together in support of the artists, not\ncompete. The name Indie means independent, it means non-exclusive, which is\ninclusive. An Indie artist needs to use every avenue available to overcome the\nimbalance of potentially accessing fans and those who would benefit and\nappreciate their work. Thank you ISSA for being an avenue for artists. I am\nexcited about writing my songs again, and for that I am eternally grateful.\u00b4<\/p>\n\n\n\n

\"\"
Tamarie Dove<\/figcaption><\/figure><\/div>\n\n\n\n

Prior to\nforming the organisation Tamanie Dove grew up back stage at the Opry. Her\nmother, Carole Dove, having worked at Tree Publishing, which later became Tree\nInternational and now Sony\/Tree, took little Tamanie with her everywhere,\nincluding business meetings, performances and homes of some of the most notable\nnames in the music business.<\/p>\n\n\n\n

Many\nyears of loyal friendships with some of the most famous singers and songwriters\nin Nashville, the US and abroad, have been the most rewarding part of her\nnewest conquest; beginning this new chapter to help others like her and assist\nthose aspiring to achieve their dreams.<\/p>\n\n\n\n

\u00b4Mama\nDove\u2019s\u00b4 expertise in the music business on \u201cthe row\u201d , having worked with\ngreats like Buddy Killen, Curly Putnam, Jack Stapp, and with clients like Roger\nMiller, Randy Travis, Sawyer Brown, Little Texas, Dr. Hook, Faron Young, and\nmany more, have proven to be such a blessing and a life lesson for Tamanie. She\nbelieves in paying it forward, and does often.<\/p>\n\n\n\n

Having\nwritten and recorded over a hundred original songs in the last three years,\nwith eight albums attributed, she\u2019s showing no signs of slowing down. Her\nincredibly versatile and talented sound engineer and son, Matt Mercer and she\nhave collaborated on most of her works that can be found on worldwide social\nmedia.<\/p>\n\n\n\n

Tamanie\nwants to help everyone,\u2026all the time. Since taking on this vision that can\nbenefit all independent artists, she licensed its trademark and invested vast\namounts of personal time and money into making sure of fairness, integrity and\nprofessionalism.<\/p>\n\n\n\n

The\nlatest ISSA theme song, a collaboration with over fifty of the Association\u00b4s worldwide\nmember singer-songwriters, is even available for purchase on their web site and\non  iTunes and most major music\nretailers. All proceeds from the sale of this single benefit the Global Hunger\nRelief Fund.<\/p>\n\n\n\n

ISSA\nmember Jennifer Mlott is an award winning singer, songwriter and choreographer.\nHer single, Different Drummer, saw her win awards for video of the year in 2018\nand only twelve months later Jennifer, from Indiana, Indianapolis, was voted\nthe Association\u00b4s Rising Star Of The Year. She even hosts her own radio show on\nIndie Star Radio, called Pop \u00b4N Country, and also undertakes a great deal of\ncharity work. She released a Christmas CD in 2018 and her first full length\nalbum was released last month. <\/p>\n\n\n\n

She has\nbenefitted hugely from the synergies offered by ISSA and their guidance on\ndealing with issues such as Performing Rights, and the organisations in this\nfield that ensures songwriters and their publishers accrue royalties whenever\nanyone else uses their material. <\/p>\n\n\n\n

Whether a\nlyricist or a composer or both, all songwriters are due a royalty whenever\ntheir music is performed live or played on radio in any format, or used in TV\nshows or commercials. A Performing Rights Organisation (Ascap is one of the\nbiggest in the States) collect monies due and then re-distribute the funds to\naffiliated songwriters and publishers. There are other agencies that similarly\ncollect the mechanical royalties from the sales of singles and albums whether\nas CDs, vinyl or downloads.<\/p>\n\n\n\n

There are\ndiffering views in the industry about when is the right stage of a career for a\nsinger writer to begin copyrighting their songs. Many professional songwriters\napparently do not impose copyright until a song begins to earn income, but on\nthe other hand many not-yet professional, aspiring and emerging writers seek to\ncopyright their material early for fear of having it \u00b4stolen\u00b4 or plagiarised.<\/p>\n\n\n\n

Another\nissue for songwriters to consider, of course, is how to attract a publishing\ndeal. Becoming an integral part of the song writing community is all part of\nthat process. Publishing companies often have their own staff writers and for a\nrange of legal reasons cannot accept unsolicited material from known or legitimate\nsources such as ISSA. Publishers require songs complete with lyric and music so\nit is important that whenever an artist gets a chance to play a song for a\npublisher or song-plugger (an acknowledged expert who presents to publishers)\nthat the song is complete and relevant to, and competitive in, the market\nplace. In light of all this we are pleased to have now signed with the Sentric\norganisation of song-publishers.<\/p>\n\n\n\n

\"\"
The Social Leftover<\/figcaption><\/figure><\/div>\n\n\n\n

Back in the day when we were working the clubs and had gigs to promote or charity events to profile, Lendanear would regularly appear on BBC Radio local stations, Manchester, Lancashire and Merseyside. It was doing this that inspired my desire to one day present my own show. I thought the djs we worked with like Mike Sweeney, Suzy Matthis, Ted Robbins, Jim Bowen, Sally Naden and Eamonn O\u00b4Neil, on broadcasting platforms like Radio Piccadilly and Key 103, always seemed so in charge of their own little world. When I finally started presenting my own programmes on community radio I soon realised how quickly those little worlds can fall apart, when the wrong plug is inserted into the wrong socket by this presenter too in love\u00a0with\u00a0 the sound of my own voice to actually watch what I am doing ! In fact, when I did eventually start presenting shows on community radio outlets such as Radio Cavell and Crescent Radio Rochdale, i was struck by the industry savvy whenever young, emerging bands like Social Leftover who, over the last four or five years, have proved themselves excellent songwriters and performers, were guests on the weekly all across the arts programme Steve Bewick and I delivered.<\/p>\n\n\n\n

Sometimes,\neven today, musicians or their representatives try to push a song to a radio\nstation hoping to secure airplay, and there is an increasing trend, now almost\nfully established amongst broadcasting houses, that an MP3 presentation should\nbe meta-tagged, meaning that it carries official data such as title, artwork\nand genre details. <\/p>\n\n\n\n

The\naforementioned Jon KT Lindley has an educational video available about how to\nmeta-tag work for radio consideration, and ISSA carries a list of scores of\napproved radio stations that will accept submissions.<\/p>\n\n\n\n

To\nbe honest Col and I thought we were pretty aware of how the industry works, but\nthen we thought the same way the first time around as well. Forty odd years\nago, when we were working the folk club circuit, and a couple of buddies apart\nfrom us also sang a couple of our songs in the folk clubs, we just thought that\nwas part of getting the song out there. We were na\u00efve enough to think some big\nshot music entrepreneur would hear us in our weekly gigs at The Kings Head in\nHeywood and tell us, in the words of the David Essex song, \u00b4I\u00b4m Gonna Make You\nA Star,\u00b4 but the guy never showed up.<\/p>\n\n\n\n

Over\nthe years we paid recording-studio hire and producer wages to cut three\ncassette albums that we could then sell at those gigs for potential profit. I\nwas pretty damn proud of my lyrics and I thought Colin\u00b4s music for them was\nalways appropriate and that we (he) delivered \nin fine fashion. <\/p>\n\n\n\n

We\nknew we were different from the other groups, what with the poetry and narratorial\nlinks in our stage performances that lent us the air of the theatrical.<\/p>\n\n\n\n

We\nwere twice asked by American artists for permission to record a couple of our\nsongs and we were so chuffed that we let that happen, even though we didn\u00b4t\nhave a publisher and we never even thought of asking for payment or royalties. <\/p>\n\n\n\n

\"\"
the late, great Townes Van Zandt<\/figcaption><\/figure><\/div>\n\n\n\n

Aware\nof our standing on the local, or even regional, scene I accepted I was working\nin the basement of Leonard Cohen\u00b4s Tower Of Song that housed American heroes\nlike John Stewart, Guy Clark and Townes Van Zandt, even if their names meant\nlittle in the UK. Lendanear\u00b4s best songs, though, neatly blended my love of \u00b4country\u00b4\nwith Colin\u00b4s love of Cat Stevens style folk music.<\/p>\n\n\n\n

Now,\nhere we are, forty years on, with a new album and several repackaged offerings\nin our catalogue. We are members of a singer songwriters\u00b4 association, are\nsigned to a publishing company and have radio contact with BBC Music \u00b4Introducing\nIn Jersey as well as BBC Music \u00b4\u00cdntroducing In The Channel Islands\u00b4.<\/p>\n\n\n\n

We\nalso our music is available to producers of  the  BBC\nRadio Two Bob Harris Country. We are also listed on Irish Country Radio and\nfeature on various folk \/ roots playlists with stations like Belter Radio, FCUM\nRadio, Defiant Radio and Monster FM, broadcasting throughout Europe.<\/p>\n\n\n\n

I\nthink we have both grown even more fond of our material since the days we used\nto hawk it around the folk clubs. So, we are following the industry guidelines to\nsend the songs out on \u00b4light years of travel\u00b4, to see where they land. We hope\nthat people will catch them somewhere on their journeys, and we are whispering\nthat little prayer by Don McLean: <\/p>\n\n\n\n

Perhaps they\u00b4ll listen now.\u00b4 <\/p>\n\n\n\n

\nAbout ISSA<\/a>\n<\/div><\/figure>\n\n\n\n

http:\/\/lendanearmusic\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

PERHAPS THEY\u00b4LL LISTEN NOW ? Forty years ago we were just a pair of collaborative songwriters amongst several others at our local folk clubs. Among those we hugely admired but who, like us, had careers and families to protect and so never quite chased music hard enough, were people like Ged Morgan and Bob Ashworth […]<\/p>\n","protected":false},"author":2,"featured_media":576,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-701","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/701","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=701"}],"version-history":[{"count":0,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/701\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/576"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=701"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=701"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=701"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}