THE GUILD OF INTERNATIONAL SONGWRITERS & COMPOSERS
home of songwriting for all songwriters, composers, singer songwriters, performing
artistes, lyicists, DJs, poets and all those involved in the music industry. The
Guild of International Songwriters & Composers are the publishers of Songwriting
& Composing Magazine since 1986, which is the songwriting magazine for
songwriters & composers getting you connected with the music industry.
is the website of The Guild of International Songwriters & Composers containing
information on songwriting, composing and music publishing for songwriters, composers
& lyricists. Our website also contains information for musicians, performing
singer-songwriters, artistes, groups, bands, singers, djs, producers, copyright
owners, poets, publishers, record companies, record labels, management companies,
studio owners, in fact all those with an interest in the music industry (where
those personnel are represented by the Guild as members), and all aspects
of songwriting, composing, lyric writing, performing, singing, recording, music
publishing, copyright protection, songwriting contests, management, songwriter
collaborations and songwriting partnerships, songwriters songwriting assessments,
song promotions, music industry contacts.
& INSTRUMENTAL MUSIC WANTED: The music industry is always seeking new
songs songs for singers, bands, record labels, music publishers , producers, management
companies, etc. New songs and artiste performances are the "life blood"
of the music industry.
Production companies, production library publishers,
radio, tv, film, audio-visual, advertising, multimedia and games industries world
wide are always seeking quality tracks for programming and use
The Guild's Certified Copyright & Intellectual Property Rights Witnessing Service
YOUR COPYRIGHTS: International
Copyright / Intellectual Property Rights Registration Centre
The Guild of International Songwriters & Composers International Copyright / Intellectual Property Rights Registration Centre, has been registering Guild members copyrights and intellectual property rights for the last thirty years. We are the leading independent music International Copyright / Intellectual Property Rights registration witnessing service for certified copyright & intellectual property rights of songwriters, composers, lyricists and the music industry in general. This is a free service for all Guild members. The Guild will supply, where there is ever any copyright dispute certified information and a copy of works registered with the Guild, as an official declaration of a members registration, to solicitors, lawyers or any member's other legal representatives in any country in the world where cases of copyright disputes arise, to support our members' copyright registrations and claims. More information on copyright registration is on our services page within this website.
SONGWRITING COPYRIGHT PROTECTION
The Guild's International Copyright / Intellectual Property Rights witnessing Service provides lifetime copyright and peace of mind for songwriters and provides the opportunity for songwriting and composing members of The Guild of International Songwriters and Composers to register FREE within their membership with the Guild's Copyright Registration Centre for copyright protection their songwriting and composing copyrights and ownership of their own and any co-written (with other Guild members) works copyrights & intellectual property rights FREE of charge, therefore helping safeguarding the Guild members’ songwriting copyright and other intellectual copyrights. Guild members can use the International Copyright / Intellectual Property Rights witnessing Service service either as an online email service or a postal mailing service.
A Copyright Certificate issued to the Guild member outlines details of the copyrights registered on any specific date to help protect against any copyright theft, claim, infringement or dispute. Copyright protection through the Guild's members free Copyright Service can be used for the registration of songs, instrumental themes, manuscripts, lyric sheets, paper documents, poetry, traditional arrangements of songs/instrumentals, musicals, advertisements, spoken word, literary (consisting of or occupied with books), musical tutorials, manuals, literature or written composition, artistic, belletristic, poetic, dramatic, recorded works, sound recordings such as demos, commercial releases, library recordings, archive recordings, videos, films, etc, in formats to include cassette tape, DAT (Digital Audio Tape), compact disc, vinyl, mini-disc, computer disk (floppy disk / CD ROM), VHS video, DVD.
The Guild will supply where there is ever any copyright dispute certified information and a copy of works registered with the Guild, as an official declaration of a members registration, to solicitors, lawyers, courts of law or any member's other legal representatives in any country in the world where cases of copyright disputes arise, to support Guild members' copyright registrations and claims.
International copyright protection through the Guild's Copyright & Intellectual Property Rights witnessing service is FREE to all members of The Guild of International Songwriters & Composers who wish to register to protect their copyrights / intellectual property rights.
How much does the Guild's Copyright Service cost? The Guild's Copyright service which is only available to Guild members is a free service within the songwriters and composers membership and can be used as many times as the Guild member wishes.
How Long does the Guild's Copyright registration last? Once you have registered your copyright (intellectual property rights) with the Guild then you do not have to register the work with the Guild again (unless there is a significant change to the work - songs/instrumentals). Your certificate is proof of the registration and your claim is held on our files as evidence of your registration.
Don't be fooled into paying for further copyright registrations after a few years to some organisations, companies or individuals who have set up a fee paying copyright registration service at an expense per song. There is no need to do this. In the UK for instance your copyright is valid for 70 years after your death where the work then passess into Public Domain. Your membership to The Guild entitles you to register as many of your works as you wish FREE of charge within your membership. The Guild's Copyright Registration Centre has operated its copyright service for its members for the past thirty (30) years
How do I register my works with the Guild? Registration is extremely simple and quick. You can use either the postal mailing service for registration of your copyrights, or the online copyright registration service. All the information on how to use the FREE members copyright service is outlined in the comprehensive membership pack you receive when you become a member.
Is there any reason for me to register my works / copyrights / intellectual property rights? Absolutely, yes. Registration is evidence of your claim to the fact that you wrote the work and that you have taken steps to identify yourself as the true legitimate owner of the work(s) from a certain date in time. If you have a copyright case to defend where someone has plagiarised/stolen your work, how are you going to prove that you wrote it and that you are the legitimate owner of the work. The Guild's copyright certificate is evidence that you took steps to register the work as your own and that the intelectual property rights are yours. It is extremely important to protect your copyrights which could be a valuable asset where royalty income/money is being generated.
I have posted a copy of my works to myself, but have heard this referred to as a poor persons copyright. Mailing a copy of the work(s) to yourself is not a good practice in itself. This type of evidence is problematic If the packet/envelope is sealed with sellotape or stapled then it could be argued that it has been opened and resealed, and could be fake/corrupted evidence. We strongly advise against this type of registration as a main registration but may good as a secondary back up to a main registration in support, but is questionable.
At what point should I register my works for copyright? As soon as you have finished writing / composing your song / instrumental, (or any other copyright material that you have completed), and you are satisfied that the work(s) is finished then the moment it is writen down (lyrics / manuscript / or any other copyright material that you have completed or recorded), then that is the time to register your copyright. You should do this as quickly as possible before it is given to anyone or promoted for any purpose.
When promoting my song / instrumentals (or any other copyright material that you have completed), should I undertake to do anything to help protect my copyrights? The main priority is to ensure that you keep a copies of the letters you have written that you are sending with your demo, and to ensure that you get a certificate/proof of posting with the name of the person/company, to whom you are sending your copyrights. Evidence that your work(s) are in circulation is very important. Always use the copyright symbol © or the word copyright on your lyric sheets and recordings along with your name and the year date. Ensure that you label everything (lyric sheets, manuscripts, recording media i.e cassette, CD, DVD, Video etc and their cases) with you name, address, telephone number and email contact.
International Copyright. Intellectual property rights of nationalities is recognised world wide under various treaties such as The Berne Convention, Treaty of Rome, The Universal Copyright Convention, The World Intellectual Property Organisation Copyright Treaty (WIPO Copyright Treaty), TRIPS Agreement etc., as qualifying treaties and conventions. Basically it could be argued that there is no such thing as international copyright, as there isn't a single governing body or international government body representing exclusively the world of intellectual property. To get a "one world" exclusive body to protect whether by registration or automatically intellectual property rights in every territory of the world is not going to happen, hence the qualifying treaties that currently exist to help protect copyright owners on an international basis and this depends also upon the laws of any specific country and how they interpret the international treaties and conventions,The Berne Convention, Treaty of Rome, The Universal Copyright Convention, The World Intellectual Property Organisation Copyright Treaty (WIPO Copyright Treaty), TRIPS Agreement etc., As long as you take steps to register your work and to at least make an effort to prove and claim that you created the work and it belongs to you on a given moment in time, then at least you can show that you have evidence it is yours and that you took steps to register your work in case of any infringement.
The Guild is the UK's premier
songwriting organisation for international songwriters, composers, performing
artistes, musicians, lyricists, singer songwriters, djs, poets, music publishers,
record labels, managers to all those working and involved in the music industry.
Where Do I Begin? How do I progress from my current status (amateur, semi pro or professional)? - questions you may ask. Analysis of your current situation will help you begin moving in the right direction with your songwriting, composing, recording and business developments. You may be a novice songwriter, composer, artiste or you may be established and require a better understanding of issues that need further explanation and clarification. As a Guild member, talking to us will help us to identify your specific aims in the music industry and try to help you with your market direction for exploitation of your copyrights and performances and understanding of how to get your money being royalties from the exploitation of your copyrights and performances. Our member consultants work full time in the music industry as music publishers, record company owners, producers, distributors and promotors, and are experienced professionals.
YOU OWED SONGWRITING ROYALTIES?
(public performance, broadcasting, streaming, download, mechanical songwriting royalties)
(performing artiste / singer songwriter royalties)
Songwriting, Composing, Performing: If you perform a song or composition, written by yourself, in any venue you could be due a payment for your songwriting performances. This counts for any genre of music so if you are playing a gig in your local pub, community centre, hotel, in a club, or a jazz recital or performing your classical piece at a music society, you can make a claim for royalties for your songwriting performances. As a Guild member we can work with you to ensure that you understand how to make claims to receive royalties.
If you are unsure if there are any royalties/money owed/due to you, then please contact us to discuss. because we have extensive research facilities for songwriters, composers and singer songwriter/ artists who are unable to collect their royalties. Our research facilities provide us with information on copyrights, publishing, license requests, and releases. If you have been unable to collect royalties, or obtain the proper licensing of your product, as a Guild member, please contact us.
Our associated music publishers working on an international basis, can audit, back claims and collect UK and foreign royalties relating to your releases as a songwriter, composer singer songwriter/ artists on record labels/commercial releases for up to 6 years from the date of release and forever thereafter and also for any radio and/or television broadcasts that may have taken place we can go back for the last 3 years from the date of the broadcast and then collect your royalties / money forever thereafter.
associate music publishers also administer publishing rights / intellectual property
rights for songwriters, composers, businesses, partnerships and companies where
they do not wish to have the day to day administrative duties music publishing
and royalty collection entails.
The British Broadcasting Corporation (BBC) quotes.
Support for the UK Songwriting Contest competition comes from heavyweights of the music industry, The Guild of International Songwriters and Composers. (www.songwriters-guild.co.uk) and the BRIT Trust (of BRIT Awards fame)
Guild of International Songwriters & Composers. The home of songwriting for songwriters
Publishers of Songwriting & Composing Magazine since 1986 - The songwriting magazine for songwriters
|Songwriters Advisory Service|
|Songwriters Legal Contact Service|
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|Demo Recording Service|
copyright protection service - Songwriters song assessment service - Songwriters
Songwriters advisory service - Songwriters investigation service - Songwriting & Composing Magazine
Songwriters legal contact service - Songsearch - Songwriters demo recording service
Past issues of the Guild's SONGWRITING & COMPOSING MAGAZINE which is only available to Guild members have contained informative articles on writing instrumental music for the radio, television, film, audio-visual, advertising, multimedia and the games industry worldwide, along with member profiles, how to negotiate publishing agreements along with clauses and the terms and conditions that should be contained in publishing agreements to make them reasonable and fair, contact information for artistes, record companies and music publishers along with information on leads to music publishers and record companies seeking songs for music publishing and artiste record deals, collaboration register for composers seeking lyricists to co-write with, the USA songwriting competition information and entry form, The Tipperary Song Contest, The Benelux Song Contest, The Unisong Song Contest, The American International Song Contest, The International Acoustic Music Awards (IAMA), John Lennon Song Contest, Billboard, a songwriters collaboration agreement for members use to protect their share interest in co-written works, terms and clauses in music publishing contracts, how to write for film and television, members artistes profiles such as Charlie Landsborough, DJ Gammer, AudioJunkie & Stylus, Kevin Kendle, Rik Waller, Shanelle, Zoe McCulloch, Pete Arnold, Toots Earl & Clown, The Glen Kirton Country Band, Bram Stoker, P.J.Proby, Scamp Music Publishing, Digimix Records, etc, etc, to Guild members biogs profiles and releases etc, etc etc etc, along with much other useful information and informative articles.
SONGWRITING NEWS - INFORMATION & UPDATES
Songwriting & Composing magazine
The 2nd quarter Songwriting
& Composing magazine has now been published
and was distributed to all Guild members by email as an ezine on Saturday 9th May 2015.
IMPORTANT UPDATE FOR MEMBERS
Updates providing information on how to use the Guild's new online copyright / intellectual property rights registration service that is available for all members from November 1st 2014 have been sent to all members by email. Details have also been published in the 4th quarter 2014 publication of Songwriting & Composing Magazine published in November 2014
The new online copyright / intellectual property rights registration service will be an addition to and support the existing mailing/postal copyright / intellectual property rights service, which will also stay in service should members still wish to use the service that way.
Therefore, members will have the option of either using the existing postal mailing copyright / intellectual property rights service or the online copyright/intellectual property rights service.
The online copyright / intellectual property rights registration service will see financial savings to members, where postage and packaging costs are eliminated (as with the online assessment service), and where immediate automated confirmation of receipt emails will be sent to members
All members should now ensure that they have updated and keep us updated us with their current email address, home address and telephone numbers if there has been any change, to ensure that our member services can be delivered quickly and efficiently.
An important note on information relating to SPAM. Even permission-based lists, of which we are, can fall prey to aggressive spam filters, which we estimate block 10-20% of email from subscribers' inboxes. These are called "false positives" and we, therefore, ask all Guild members to ensure that they check their spam files and adjust their spam filters, if they are aggressively set, to avoid missing our emails and mailings.
The Guild has created an easy to use
online interface that allows members to upload their songs, instrumentals, lyrics,
or any other intellectual property rights. The new online copyright registration
service is an additional service to the existing postal service, which will continue
to be in use, if Guild members still prefer to post their copyrights to the Guild
for copyright registration.
NOTE: If you still wish to send your copyright registrations by normal postal mail, then from November 1st 2014 there is a new mailing address for the Guild's Copyright Registration centre (notified in the emails we have sent to Guild members), as we have opened another office in the UK to support our head offices activites of service to Guild members.
20th Annual USA Songwriting Competition begins and is now open for entries
THE USA SONGWRITING COMPETITION
The USA Songwriting Competition has a long history of having winners getting recording and publishing contracts, have their songs placed on the charts as well as having their songs placed on film and television. The top two winners of 2011: Nenna Yvonne and Alexander Cardinale were signed to Interscope Records after their win. The 2007 winner hit Top 10 on the Billboard charts with his winning song. The 2005 Winner of the Country category had his winning song cut by Country Superstar Faith Hill. The 2005 winner of the Pop category was signed by Interscope Records; she went on to hit Top 10 on the Billboard 200 Album charts. Our 2008 winner appeared on David Letterman TV show and was signed to a record label.
Last Year's Winners.: Two teenage songwriting sister team Justine Dorsey and Kerris Dorseywon Overall Grand Prize at the 19th Annual USA Songwriting Competition
Sisters Justine Dorsey, 19 years old and Kerris Dorsey, 16 years old wrote their song “Best Worst Day Ever”. Kerris Dorsey breaks the previous record of the Youngest Overall Grand Prize winner at just 16 years old. The previous record was held by Sarah Lonsert, 17 years old at that time in 2010.
The song has just been signed to Walt Disney Music and appeared in the box office hit movie "Alexander and the Terrible, Horrible, No Good, Very Bad Day" starring Steve Carell and Jennifer Garner. This is the second year in the row that the top winner has a song placed in a box office hit movie. Last year’s winner American Authors’ song was placed in the hit movie "The Secret Life of Walter Mitty", starring Ben Stiller, Kristen Wiig, Shirley MacLaine and Sean Penn. American Authors is a rock group from New York City. They hit #1 on the Billboard Charts after they win at the 2013 USA Songwriting Competition. The song has been certified double platinum. They have performed in the prestigious Macy’s Thanksgiving Parade with Pop stars such as Meghan Trainor, Taylor Swift and Nick Jones.
The overall second prize winner goes to Luz Rios & Ralf Stemmann, also from Los Angeles, who wrote the Spanish language song “Enamorados”. This is the first time a song from the Latin category has been placed in the top 2 positions. Luz has hit top 40 on the Billboard Charts.
The overall third prize goes to Lawson Rollins, who wrote an instrumental “Shifting Seasons”. This is the first time a song from the Instrumental category has been placed in the top 3 positions. Lawson has hit top 10 on the Billboard charts.
OVERALL GRAND PRIZE: "Best Worst Day Ever"
by Justine Dorsey & Kerris Dorsey; OVERALL 2nd PRIZE:
"Enamorados" Luz Rios & Ralf Stemmann; OVERALL 3rd PRIZE:"Shifting Seasons" by Lawson Rollins;
FIRST PRIZE WINNERS IN EACH CATEGORY
LYRICS ONLY "Fall Before You Fly" by Paul Kealy & Jack Carey; DANCE/ELECTRONICA "Down to the Science" by Ananda Goldsmith, Sugarbeats, ft Em Harriss; LATIN "Enamorados" Luz Rios & Ralf Stemmann; WORLD Waloyo Yamoni Christopher Tin; HIP-HOP/RAP "A Mile In Their Shoes' by Ryan Traughber & RASAR; R&B "Snow" by Matt Palmer, Hidde Huijsman, Massimo Cacciapuoti & Michel van der Zanden; NOVELTY/COMEDY "May As Well Laugh As Cry" by Stan Carew; Nova Scotia, CHILDRENS "Dancin' In The Kitchen" by Cathy Fink; JAZZ "Between Me And My Heart" by Don Breithaupt & Jeff Breithaupt; INSTRUMENTAL "Shifting Seasons" by Lawson Rollins; GOSPEL "Beautiful" by Chris Misterek; FOLK "Let It Go" by Jeremy Garrett (of the Infamous Stringdusters) & Jon Weisberger; COUNTRY "The Best Songs Come From Broken Hearts" by Bonnie Bishop & Ronnie Rogers; ROCK "The Edge" by David Benji Kuriakose, Tom George, Tony George (Built To Be Broken); POP "Best Worst Day Ever" by Justine Dorsey & Kerris Dorsey;
In it’s landmark 20th year, the 20th Annual USA Songwriting Competition is currently accepting entries from now till May 29th, 2015. For more information contact: Karen Randle - email: firstname.lastname@example.org
Benelux International Song & Culture Festival
Entries for the Benelux International Song & Culture Festival are now open and will be accepted until the 1st December 2015. The Guild is pleased to continue to support Song Expo which it has done for many years now.
Song Expo is a unique opportunity for Guild members to promote their songs and/or performances not only in the Ntherelands but also in many other countries, as Song Expo as an organisation has stong links with international festivals, radio, televison, press and the music industry in general.
Since 1997, Song Expo has served as a launce pad for songwriters, composers, lyricists and performing artistes. Many songs entered into the Song Expo competition have gone on to win at other international events.
Full details and an entry form will be available to all Guild members in the May publication of Songwriting& Composing magazine.
UK SONGWRITING CONTEST 2015
The 2015 UK Songwriting Contest supported by The Guild for the last 12 years, is now open for entries.
The 2015 UK Songwriting Contest opened for entries on Sunday April 11. Prizes this year include a unique once-in a-lifetime opportunity to work with, and be mentored by, the legendary british producer Stuart Epps and join the Epps Music Productions stable of songwriters and artists. Stuart Epps has worked closely with some of the biggest names and most famous songwriters in the business including Elton John, Oasis, Robbie Williams, Led Zeppelin, George Harrison and many many more. Meet the award winning judges, thre are also many other great prizes and the free gifts this year
Supporting songwriting composing and songwriters with a £300,000 ($500,000) PRIZE FUND
The contest was formed in association with The BRIT Trust (of BRIT Awards fame) with support from The BRIT School and The BRIT Studio in 2002 with the aim of discovering new talented songwriters and encouraging and supporting the craft of songwriting. In keeping with these original aims no one goes away empty handed. All entrants have the chance to be featured in the UKSC Awards Show and receive international promotion. Prizes include professional studio recording sessions, valuable songwriting software, personal mentoring and coaching and advice from top professionals, UKSC Certificates for every entrant and much more. Everyone who enters receives vaulable song pitching opportunities and a package of very useful songwriting courses from SongU plus automatic free "TV and Film" membership of Broadjam.com (worth $100 - around £80 - for every entrant), and everyone who enters is also awarded an official UKSC Certificate for each song with details of their song's position and achievement in the contest - it looks great framed on your living room or studio wall, as a prop in publicity photographs, or use it in your press kit or for when you apply for courses or jobs etc. Every writer is also told the judges score for each song entered which provides valuable information and feedback on how their song compares to all the others in the contest. There are also many other prizes.
Alysha Brilla, pictured below, was announced as winner of last years UK Songwriting Contest for her 2014 song entry Never Gonna Get Me Back. This song won both the Pop and the Singer-Songwriter categories and was an outstanding favourite with all the contest judges. Alysha Brilla will co-write a song together with the #1 hit-writing songwriter and contest judge Mark Cawley.
2015 John Lennon Songwriting Contest Session 1 is now open for entries.
Session I Open - February 14, 2015 - Deadline - June 15, 2015 - 11:59PM PST
About the Songwriting Contest: The John Lennon Songwriting Contest is an international songwriting contest that began in 1997. The Contest is open to amateur and professional songwriters who submit entries in any one of 12 categories. The JLSC is open year-round and features two Sessions -- with 72 Finalists, 24 Grand Prize Winners, 12 Lennon Award Winners and 1 "Song of the Year." All entry fees from the contest help support the non-profit John Lennon Educational Tour Bus mobile recording studio.
You don't need a professional recording. Entries will be judged on originality, melody, composition, and lyrics (when applicable). Your songs may be entered in any of the following categories: Rock, Country, Jazz, Pop, World, Rhythm & Blues, Hip Hop, Gospel/Inspirational, Latin, Electronic, Folk, and Children's. Instrumental compositions are encouraged.
George Clinton, The Black Eyed Peas, Prince Royce, 311 and Jim Steinman are some of the members on our Executive Committee of Judges
This year, we're giving away our biggest songwriting prize package yet totaling over $300,000.00! Every year, there are a total of 72 Finalists, 24 Grand Prize Winners, 12 Lennon Award Winners and 1 “Song of the Year.” Winners, based on their level of achievement, will receive studio equipment from Yamaha, OWC, Audio-Technica, Epiphone Guitars, Propellerhead, Neutrik, Genelec, SKB, Mackie and Ampeg, ZVEX Effects. The writer(s) of the “Song of the Year,” the highest honor bestowed in the contest, will receive a $20,000 check as well as $1000 prize pack from Mackie/Ampeg, ZVEX Effects loaded pedal board: Vexter Fuzz Factory, Vexter Box of Rock, Mastotron, Distortron, Vexter Instant Lo-Fi Junky, Vexter Sonar, Wah Probe, Vexter Box of Metal, Pedal Train board with power supply & cables, 200 12" Vinyl w/ full color Euro jackets from Disc Makers, SESAC prize package and a $1000 scholarship to Digital Media Academy.
Each songwriting entry requires the following elements: One song five (5) minutes or less (mp3, CD or cassette; A lyric sheet -- no lyrics necessary for instrumental compositions; A payment -- $30.00 per song;B A completed application
Please read the Rules & Regulations carefully before entering.
In addition to the songwriting prizes, one band will win The JLSC Vans Warped Tour Prize presented by Neutrik USA and perform on Warped Tour for one week
Awards and Prizes - 2015
1 $20,000 Song of the Year Songwriting Winner Receives:
ZVEX Effects loaded pedal board: Vexter Fuzz Factory, Vexter Box of Rock, Mastotron, Distortron, Vexter Instant Lo-Fi Junky, Vexter Sonar, Wah Probe, Vexter Box of Metal, Pedal Train board, power supply, cables (MAP $1926)
200 12" Vinyl w/ full color Euro jackets from Disc Makers (MSRP $1598)
Mackie/Ampeg Prize Pack (MSRP $1000)
SESAC Prize Package
$1,000.00 gift certificate to Digital Media Academy
IK Multimedia Total Studio 3 Bundle (MSRP $399.99)
IK Multimedia iLoud (MSRP $299.99)
to Lennon Award Winner package & Grand Prize Winner package
12 Lennon Award Songwriting Winners Receive:
Mackie/Ampeg Prize Pack (MSRP $1000)
1,000 CDs in full color jackets from Disc Makers (MSRP $799)
ZVEX Effects Vexter Box of Rock (MAP $199)
IK Multimedia iRig Pads (MSRP $149.99)
*in addition to Grand Prize Winner package
24 Grand Prize Songwriting Winners Receive:
Over $8,000 in Project studio equipment from Yamaha, Audio-Technica, Epiphone Guitars, Genelec, IK Multimedia, Neutrik, OWC, Propellerhead, SKB Cases and ZVEX Effects.
$1500 worth of gear from Yamaha
$1000 worth of gear from SKB
A pair of Genelec 8030 Active Monitors (MSRP $1,890)
An Epiphone Guitar & Hard Case ($1,655)
OWC Mercury On-The-Go Pro 1.0TB USB 3.0 & 2.0 Hard Drive (MAP $95)
Propellerhead’s Reason (MSRP $449)
ZVEX Effects Vexter Fuzz Factory (MAP $179)
ATH-M40x headphones, AT2050 studio condenser mic, AT83314 mic cable from Audio-Technica (MSRP $556.50)
IK Multimedia SampleTank 3 Digital Download (MSRP $349.99)
Neutrik special edition John Lennon Educational Tour Bus connectors and cable.
A one year
subscription to Guitar Player, Bass Player, Keyboard, or Electronic Musician Magazine
72 Finalists Will Receive:
ZVEX Effects Vexter Box of Metal (MAP $219)
OWC Mercury On-The-Go Pro 1.0TB USB 3.0 & 2.0 Hard Drive (MAP $95)
IK Multimedia T-RackS Custom Shop Gear Credits (500)
A one year subscription to Guitar Player, Bass Player, Keyboard, or Electronic Musician Magazine
1 band will win The JLSC Vans Warped Tour Prize presented by Neutrik USA
Opportunity to TOUR and PERFORM for one week on Warped Tour 2016
The International Songwriting Competition (ISC) is now open for entries
deadline date for submissions for this songwriting contest is 10th September 2015
Rules: Each songwriting mail-in entry must include the following: Completed entry form (photocopy is acceptable) with original signature. Song on CD or tape. If you want to submit an MP3, you may enter online.
If you are submitting multiple songs or one song in multiple categories, please put them all on one CD or tape, if possible. If entering a CD, submit the entry in a regular-sized CD case (not an ultra-thin case) and label the spine with entrant's name in black marker.
Also, be certain that the entrant's name is marked directly on the CD, CDR, or tape. If entering a tape, label the spine of the case with entrant's name. Please include a track listing of the songs in the correct order. If you are entering the Lyrics Only category, it is not necessary to submit music, and you do not need to specify a category or kind of music.
You only need to submit the lyrics typed or written legibly. Two copies of the lyrics for each entry (please include English translation, if applicable, and type or print legibly). Please include your email address on the lyric sheets.Do not send sheet music with your entry.
ENTRY FEES: The Eary Bird deadline entry fee is $25 per song or category. For
example, if you enter one song in one category, the fee is $25. If you enter one
song in two categories, the fee is $50. If you enter two songs in the same category
(or in different categories), the fee is $50.
If you enter three songs in different categories, the fee is $75, and so forth. Each time you add a song or category, you need to add $25. Checks and money orders should be made payable to: International Songwriting Competition Payment from countries outside the US must be in the form of a bank check, money order, cash, or credit card. Personal checks are not accepted from outside the U.S. If you want to make a bank transfer or pay with Western Union, please email email@example.com for more information.
Online songwriting entries are accepted; it is a very easy process, and it only takes minutes. To enter online, check out their website. Categories include: Pop/Top 40, Rock, AAA, Adult Contemporary (AC), Country, Americana, R&B/Hip-Hop, Blues, Dance/Electronica, Folk/Singer-Songwriter, Jazz, World, Latin, Instrumental; Children's Music; Gospel/Christian, Comedy/Novelty; Lyrics Only, Music Video, Teen* Performance and Unsigned Only.
All songwriters entering the Teen category must be 18 years old or younger by December 31, 2015. All genres of songwriting / music are accepted in this category. Entering this category will not exclude you from entering other categories as well. The Performance category is judged not only on the songwriting but also on the overall delivery/performance of the songwriting and songs.
the Unsigned Only category is open to all genres of music. Entrants cannot be signed to a major label record company or have distribution through a major label or its affiliates. All genres of music are accepted in this category.
may not enter any song that is owned, wholly or partly, by a publishing company.
Any song entered into the Unsigned Only category must also be entered into at
least one other category.
Parodies and stand-up routines are also allowed in the Comedy category in addition
to comedy songs.
Mail entries to: International Songwriting Competition 1307 Eastland Avenue Nashville, TN 37206 USA
All entries submitted must be original songs and shall not infringe any copyrights or any other rights of any third parties. Songs may have multiple songwriting co-writers, but only one name should be designated on the entry form.
Entrant shall, by entering, indemnify and hold ISC harmless from and against any claims inconsistent with the foregoing. ISC is open to all amateur and professional songwriters and anyone regardless of nationality or origin.
Employees of ISC, its families, subsidiaries and affiliates are not eligible. If entrant is under 18 years old, the signature of a parent or guardian is required. Entrant may submit as many songs as desired in each category.
Entrant may also enter the same song in more than one category. It is preferred that entrant put all entries on one CD or tape, and it is required that the song(s) for submission and name of entrant be clearly marked on the CD, tape, or video. It is entrant's responsibility to ensure that the submitted song(s) are complete and playable.
All entry fees are non-refundable. ISC does not give feedback or a critique to entrants. Entry materials (CDs, tapes, and videos) submitted will not be returned to the entrant. ISC is not responsible for late, lost, damaged, misdirected, postage due, stolen, incomplete, or misappropriated entries.
ISC reserves the right to extend the entry deadline and increase or reduce entry fees for special promotions and/or entry deadline periods.
Entries will be screened by an ISC listening committee who will select the finalists, and the finalists will be sent to the judges who will select the winners. The judging committee consists of high-profile music industry professionals including record label executives, producers, and artists. Songs are judged equally on songwriting melody, composition, originality, and lyrics (when applicable).
Some categories may have additional or alternative criteria. Lyrics may be in any language. Production value and quality of performance will not be considered (except in the Performance category). All prizes will be awarded to the first name as it appears on the entry form, and division of prizes among co-authors is the responsibility of winners. Entrant agrees to accept the final decision of ISC and its judges.
Eligibilty for the Unsigned Only category: Any song entered into the Unsigned Only category must also be entered into at least one other category.
Entrants in this category cannot be signed to or have any affiliation with a major label record company (Sony BMG, EMI Group, Universal Music Group, or Warner Music Group or any of its affiliates, subsidiaries or imprints) or have distribution through a major label or its affiliates.
Entrants who are on independent labels, their own label, or no label are eligible to enter. Entrants may not enter any song into this category that is owned, wholly or partly, by any major label publishing company. These eligibility requirements apply only to the Unsigned Only category.
Entries in this category will be eligible for the Grand Prize. ISC 2015 semi-finalists and finalists will be announced in March, 2016 and winners in April, 2016. ISC will post all results on its website and will notify entrants by email that results are posted.
Entrant is responsible for providing up-to-date and correct email addresses to ISC. ISC is not responsible for entrant's non-receipt of any ISC emails for any reason, including but not limited to, server or email malfunctions. ISC will use its best efforts to announce the winners at the designated time, but will not be held liable for any unforeseen delays.
Winners will be notified by email or phone. Winners may be required to sign an affidavit confirming that winner's song is original and he/she holds rights to the song. Failure to sign and return the form within the required time period or provision of false information may result in disqualification and an alternate winner may be selected.
Affidavits are subject to verification by ISC and its agents. Entry constitutes permission to use winner's name, likeness, and voice for future advertising and publicity purposes without additional compensation.
There will be no transfer and substitution of prizes except as necessary due to availability in which case a prize of equal or greater value will be awarded. If it is necessary to substitute a prize, ISC reserves the right to give the winner a cash substitute determined by the wholesale value of the prize.
All songwriting winners agree to release ISC and sponsors from all liability regarding prizes won.
All federal, state, and local taxes, and customs fees, when applicable, are the sole responsibility of winner. ISC will not pay any winners' taxes or custom's fees.
Prizes will be sent out within a reasonable amount of time, and ISC will use its best efforts to send prizes out in a timely fashion. Prizes which are being sent to winners from Sponsors may take longer than prizes sent directly from ISC.
If after 180 days any winner has not received any portion of prizes, it is winner's responsibility to notify ISC in writing within 30 days, and by certified mail, as to which prizes are outstanding. If winner fails to notify ISC, ISC will no longer be responsible for delivery of prizes. Entrant agrees that should his/her song(s) be selected as a winner, ISC shall have the right to include the winning song(s) on an ISC Compilation CD to be used for promotional purposes only. The CD will not be for sale.
Songwriting entrant retains all ownership rights to all submitted song(s). ISC will not have any ownership rights to any song(s) submitted. Entrant acknowledges that all songs entered may be distributed to judges who will be selecting the winners, and Entrant agrees to release, indemnify, and hold ISC, its sponsors, and judges harmless for liability, damages, or claims for injury or loss to any person or property relating to, in whole or in part, directly or indirectly, participation in ISC. By entering ISC, entrant and/or their parents or legal guardian (if such entrant is a minor) agree to accept and be bound by the decisions of ISC and its judges which are final and binding in all matters.
Entrant agrees to be bound by all terms of these official ISC Rules And Regulations as established herein.
Full details in the Guuild's publication of Songwriting & Composing magazine
NOEL REDDING HISTORY - THE EARLY DAYS (1954 to 1966)
WITH THE JIMI HENDRIX EXPERIENCE AND LATER YEARS
(Noel) Redding was born at the Royal Victoria Hospital in Folkestone, Kent,
England on Christmas day, 25th December 1945, he died on Sunday 11th May 2003
at his home in Ardfield, Cork, Republic of Ireland at the age of 57. A post mortem
concluded that Noel Redding had died of a shock haemorrhage related to
cirrhosis of the liver
History of Noel Redding's bands: The Strangers; The Lonely Ones; The Loving Kind; The Burnettes; Jimi Hendrix Experience; Fat Mattress; Road; The Noel Redding Band (Clonakilty Cowboys)
The name Jimi Hendrix conjures up some of the most colourful and wildest moments that the sixties produced. Jimi Hendrix arrived, he conquered and took the music world by storm, got inside your head and went onto the great gig in the sky, all by the age of 27.
A DVD, The Redding
Experience interview, released
back in December 2010 by MNV Discs International, containing a never before seen
interview with Noel Redding recorded at his home in Ireland in 1988 makes fascinating
viewing. All the years of seeing film of them in concert and photographs of Hendrix,
Redding and Mitchell, you find yourself sitting in a living room not with just
a legend, but an ordinary guy talking about his early days with the group. No
rock star here, no pretentious name dropping, just plain talking. Listening to
him you are left wondering how they made it to top. When Will Scally producer
was asked who had the foresight to record this interview and how it all came about
he said, “I had known and been friends with Noel Redding for many years
and always found him a very upfront, straightforward guy. We often spoke about
doing an interview, he wanted to speak about the band, money, drugs and the death
of Hendrix and much more, even speaking about the possibility of Hendrix being
murdered. He was on good form that day and wanted to record this for posterity."
For those interested in Jimi Hendrix, Noel Redding and the history
of sixties rock music this rare visual documentary on DVD, "The
Redding Experience" should not be missed.
picture 1 (copyright, reproduced by kind permission): Noel Redding -The Redding Experience interview DVD. For those interested in Jimi Hendrix, Noel Redding and the history of sixties rock music this rare visual documentary, "The Redding Experience" an interview with the late Noel Redding, bass player with The Jimi Hendrix Experience, recorded at his home in Ireland in 1988, and released on December 2010 by MNV Discs International should not be missed.
picture 2 (copyright, reproduced by kind permission): Jimi Hendrix
& Noel Redding
Picture 3: (Copyright Rod Jones 1966): A Jimi Hendrix Experience poster for a gig in Folkestone in the early sixties in the the van of The Guild of International Songwriters & Composers former Chairman and now executive consultant to the Guild, Roderick Jones' group, "The Circuit".
Picture 4: (Copyright Rod Jones 1966): The poster for an un-official Experience gig in Folkestone photographed the van window of The Guild of International Songwriters & Composers former Chairman and now executive consultant to the Guild, Roderick Jones' group "The Circuit", in 1966 believed to be held at the old Co-Op club (Flamenco club) half way up Tontine Street in Folkestone, Kent, England. It was not unusual for bands at this time to play the odd unofficial gig outside of contract. If you read Noel's book, "Are You Experienced?" (Redding/Appelby), published by Fourth Estate Books, you will notice that they did not get paid regularly.
Picture 5: The Circuit (Copyright Rod Jones 1967) from left to right; The Guild of International Songwriters & Composers former Chairman and now executive consultant to the Guild, Roderick Jones (lead guitar/vocals - playing a 1964 Gibson 335); Mick Wilkins (bass guitar - playing a 1960 Gibson bass)
Picture 6: The Circuit (Copyright Rod Jones 1967) from left to right; Mick Wilkins (bass guitar); The Guild of International Songwriters & Composers former Chairman and now executive consultant to the Guild, Roderick Jones (lead guitar/vocals); Richard Dickie Paul (vocals); Dave (Shackles) Shackle (drums)
The Jimi Hendrix Experience, left you in no doubt that it was exactly that, an experience. A trio of musicians who came together from both sides of the Atlantic and found common ground, fame and for one third of the group not very much fortune.
Noel Redding the bass player in the group the experience was not to be forgotten.
Since the death of Hendrix 45 years ago, much has been documented about him and
the group. Looking back to the sixties and you could be thinking you are on another
planet. Any history relating to that period is taken up with music and culture.
The Jimi Hendrix Experience certainly played its part.
our former Chairman and now executive consultant Roderick Jones at the Guild of
International Songwriters & Composers grew up with Noel Redding, being
from the same locality in Kent, playing in groups and being friends with him through
the sixties when Noel Redding himself was the lead guitarist in various
groups from Kent called, The Strangers, The Lonely Ones, The
Loving Kind, The Burnettes.
Our former Chairman and now executive consultant at the Guild who has also jammed with, Noel Redding and Jimi Hendrix on various occasions recalls "I remember in 1969 having had something to eat in the Gioconda (La Gioconda coffee bar/restaurant ) with Ian Hunter (who went on to fame with Mott The Hoople). Ian and I were discussing putting a band together. Ian Hunter and I had met whilst playing as stand in musicians for the night for the Freddie Mack Soul Show at the Fairfield Hall in Croydon (Ian Hunter was on bass that night, I was on guitar).
The Gioconda was a coffee bar / restaurant at 9, Denmark Street, London, England's a street labelled Tin Pan Alley, where back in the 1960s many musicians/artistes such as David Bowie, The Kinks, Elton John, Tom Jones, Rod Stewart, Marc Bolan, etc, etc, and many many others to numerous to mention met and where there were many music publishers offices and recording studios, before it was taken over by music shops as it is now. As I was leaving, I bumped into Noel Redding outside of the Gioconda, Noel had just come from a recording session in a studio in Denmark Street. Noel was working with his group Fat Matress at the time, where former musicians he had worked with, being Neil Landon, Jim Leverton and Eric Dillon, were part of the group.
Noel and I went back into the Gioconda, where Noel Redding was expressing his dissatisfaction about problems relating to his time with Hendrix, having to wait for Hendrix to turn up for rehearsals on time, continually recording the same track over and over again, as Hendrix always thought that a new recording would be better than the last one, Hendrix wanting to expand the band, bringing in new musicians etc, and the fact that Noel could not get many of his own songwriting tracks onto any Hendrix Experience releases. (He only had a couple of songwriting credits, Little Miss Strange and She's So Fine, which were released as album tracks with the Hendrix Experience). I recall how Noel had expressed sadness about how it all ended for him, the tensions and especially the fact that he couldn't get more of his songs on the Hendrix Experience releases".
Ironically, in 2004 the Experience Hendrix Limited Liability Company (LLC) released a compilation CD called The Experience Sessions, containing unreleased Noel Redding written songs recorded by The Jimi Hendrix Experience to include the two commercial releases of Little Miss Strange and She's So Fine, but all of the other tracks on the CD are session recordings, jamming recordings and demos with Noel Redding on guitar and Jimi Hendrix playing Bass except a live recording of Hendrix's Red House where Noel Redding is playing rhythm guitar.
In Folkestone, Kent, England, and throughout Kent, Noel Redding will be particularly missed by his old friends from his earlier days who have kept up the stories and mystique of the skinny kid from the Marsh who really made it.
During our time in the music business it seems that everyone knew Noel Redding, with his fuzzy hairdo, pale complexion and quiet personality. Those that didn't know him would pretend they did, his name synonymous with success, but we suppose the person who knew him better than anyone else over his past few years was his girlfriend, who said in the press “Noel was an extremely gentle and gracious soul. He had a kind of chivalry and nobility about him and he was kind to everyone bar none, people and animals alike."
Noel Redding, famous as he was as the bass guitar player for the Jimi Hendrix Experience between 1966 to 1969 had a varied career in the music business.
NOEL REDDING HISTORY - THE EARLY DAYS (1954 to 1966)
Noel Redding was born as David Redding at the Royal Victoria Hospital in Folkestone, Kent, England on Christmas day, 25th December 1945. Noel Redding's mother Margaret, had a bed and breakfast business in Cliff Road, Seabrook, Folkestone, Kent, England and it was here that he spent his formative years. At 9 years of age, Noel Redding played the violin at school, then mandolin at about 12 years of age and guitar at fourteen years old. His first public appearances were at the Hythe Youth Club, in Hythe, Kent, England , then an end of term gig at the Harvey Grammar School, Cheriton Road, Folkestone, Kent, England where as a schoolboy was studying to take his GCEs. He was married to Susanne Fowsby on the 6th November 1969 and divorced in 1971. They had one son named Nicholas Noel Redding.
As a young skinny teenager Noel Redding's first local
The Strangers: with John Andy Andrews (bass guitar),
The Lonely Ones:John Andrews (bass guitar); Bob Hiscocks ( rhythm guitar); Mick Wibley ( drums); Pete Kircher (vocals and in 1963 drums). The Lonely Ones formed from the soul band The Strangers in November 1961. The name for the band The Lonely Ones was derived when singer Edmund Ashman suggested the the name after reading the notes on a 45EP by Duane Eddy that he had bought. The Lonely Ones made a (45 EP vinyl, private funded record) at the Hayton Manor Studio in Stanford, Kent, England in 1963, with a new line up of, Derek Knight (vocals), Trevor Sutton (drums), Noel Redding (lead guitar) and John Andrews (bass). Tracks/songs recorded were: (1) Some Other Guy; (2) Money; (3) Talking About You; (4) Anna
Mr Mouzourou, owner of the Caprice Expresso Bar, Grace Hill, Folkestone, Kent, England put the Lonely Ones' recording on his Juke Box.
Picture: (copyright, reproduced by kind permission Chris Ashman/KentGigs): The Lonely Ones circa 1961, from left to right : Noel Redding (lead guitar); Edmund Ashman (vocals); Mick Wibley (drums); John Andrews (bass guitar); Bob Hiscocks ( rhythm guitar) The photo shows the band taken at a gig in the Co-op building in Folkestone, Kent, England.
Edmund Ashman was the vocalist in 1961 up until Jan 1962 when he left to join the R.A.F. Pete (Kircher) Carter had gigged with the band a few times and took over vocals when Edmund Ashman left. Whilst serving in the RAF in Germany Edmund Ashman was the singer with a group called The Stomps.
In 1962, Colin Buster Osmonds replaces Lonely One's drummer Mick Wibley who joins a group called the The Daltons
(copyright reproduced by kind permission Chris Ashman/KentGigs: picture kindly
supplied by Barrie Botley): left to right: The Lonely Ones 1962, Colin
Buster Osmonds (drums), Noel Redding (lead guitar), John Andrews
(bass guitar), Bob Hiscocks (rhythm guitar)
informs the press that the The Lonely Ones, have been auditioned by
Ronald Golding Manager of popular singing star Vince Taylor (nutter
and inspiration for Ziggy Stardust) who said "they were pretty
In 1963 Noel Redding leaves The Lonely
Ones and temporarily joins Neil Landon and the Burnettes (Neil Landon
aka Patrick Cahill). The Lonely Ones break up and John Andy
Andrews forms a group called The Travellers. Colin Buster Osmonds
joins a group called The Daltons
In 1964 The Lonely Ones reform with John Andrews (bass), Noel Redding (guitar), Derek Knight (vocals), Laurie Whiting (drums).
Noel Redding leaves The Lonely Ones in 1964 to re-join The Burnettes he is replaced by Ray Flacke
At age 17 Noel Redding had turned professional and on touring in Scotland and Germany, in the clubs with The Burnettes and The Loving Kind.
(copyright, reproduced by kind permission Chris Ashman/KentGigs): The
Loving Kind (November 1965)
From left to right, Pete (Kircher) Carter (drums); Jim Leverton (bass guitar); Noel Redding (lead guitar) Derek Knight (vocals.
In 1966 Noel Redding leaves The Burnettes and joins the Jimi Hendrix Experience as a bass guitarist.
Noel Redding was the first person to join The Jimi Hendrix Experience in September 1966 and that was by accident. Noel had gone to audition for the job as a guitarist (through Chas Chandler, Hendrix's manager and former bass player with the Animals) with Eric Burdon of The Animals who was setting up a New Animals band after the break up of the original Animals band. Noel Redding was offered the job as Jimmy Hendrix's Bass Player instead.
After the split of The Jimi Hendrix Experience, Noel Redding and Hendrix whilst having their tensions remained friends. Noel Redding went on to form Fat Mattress with another Kent musicians Neil Landon on vocals, Jimmy Leverton (bass) from Dover, Kent, England and Eric Dillon (drums) from Swindon, England. Fat Mattress played as a support band to Hendrix after Noel had left The Jimi Hendrix Experience
Whilst living in Los Angeles. Noel Redding joined Road a heavy metal outfit. They released one Album : "Road" (1972) Kama Sutra Records.
In 1972, Noel Redding moved to the Republic of Ireland.
He formed "The Noel Redding Band" also known as the Clonakilty Cowboys, who were an English/Irish folk rock supergroup; who were Noel Redding, Eric Bell from Thin Lizzy, Dave Clark, and Les Sampson from Stray Dog. The Noel Redding Band recorded two albums for RCA, did three tours of Holland, two tours of England, one tour of Ireland and a ten week tour in America. The Noel Redding Band broke up after a dispute with their management company . They made two albums "Clonakilty Cowboys" released in 1975 on RCA Records and "Blowing" released in 1976 on RCA Records, both of which were released before the group broke up. A third album that was recorded and never released whilst the band were together called "The Missing Album" was released an a label called Mouse records.
During the last 30 years of his life, Noel Redding had been living in a large house in West Cork, Republic of Ireland. He put the property up for sale in 2002 so he and his partne,r Deborah McNaughton, could move to a smaller place in the country. Living on the rental income of a cottage on the property and royalties from music songwriting with other artists. Noel also supplemented his income for his last 17 years playing weekly at a local pub. A regular drummer with this band was a former musician Noel had worked with, Les Sampson from Ashford, Kent, England who had also moved to Cork some years ago.
Noel Redding has featured on many recordings over the years with his groups, including:
45s/ Singles: Accidental Love/Nothing Can Change This Love (Piccadilly 7N 35299)1966
I Love The Things You Do/Treat Me Nice (Piccadilly 7N 35318) 1966
Ain't That Peculiar/With Rhyme And Reason (Piccadilly 7N 35342)1966
Jimi Hendrix Experience
Are You Experienced? (1967) Polydor - Axis Bold As Love (1967) Polydor - Electric Ladyland (1968) Polydor - Smash Hits (1968) Polydor - Radio One (1989) Castle Communications
Fat Mattress (1969) Polydor - Fat Mattress II (1970) Polydor
45/Singles:Naturally/Iridescent Butterfly (Polydor 56352) 1969 - Magic Lanterns/Bright New Way (Polydor 56367) 1970 - Highway/Black Sheep Of The Family (Polydor 2058 053) 1970
Road (1972) Kama Sutra Records
Noel Redding Band (AKA The Clonakilty
Clonakilty Cowboys (1975) RCA - Blowin (1976) RCA
45s/Singles: Roller Coaster Kids/Snowstorm ( RCA 2662) - Take It Easy/Back On The Road Again (RCA PB 9026)
In Noel Redding's book Are You Experienced? The Inside Story of the Jimi Hendrix Experience (Redding/Appelby), published by Fourth Estate Books which makes good reading and publicly, Noel Redding has spoken openly about his disappointment in being cut off from the profits of the continued sale of the Hendrix recordings. Noel Redding was forced to sign away his royalties in 1974 and later had to sell his bass guitar he used during time with the Jimi Hendrix Experience
After Noel's death, a statement was released by Experience Hendrix, the family enterprise which manages the Hendrix estate, which said, "We, at Experience Hendrix, mourn the loss of Noel Redding. His contributions to The Jimi Hendrix Experience shall never be forgotten. Our prayers go out to his family and friends during this difficult time."
Ian Grant, who'd been Noel Redding's manager for two years, told Billboard that the battle over money dating to Noel Redding's time with Hendrix was just about to enter a new phase. "We were about to be in court over it, and we were optimistic about the outcome. And now he will never know how it turned out. I don't know what will happen with it now." Grant also added, "I was on a mission to right the considered wrongs that had been done to him."
Despite his bitterness about the way he thought the music business had treated him, Noel Redding always understood what his music meant to fans, according to Jim Fricke, Curatorial Manager at the Experience Music Project (EMP) in Seattle. "I don't think he could have missed the impact of what he had done and the joy he'd brought to people's lives, 'cause, you know, he was a recognizable figure,” Fricke said. “And particularly coming through the Jimi Hendrix gallery at Experience Music Project, people lit up, and everyone kind of gravitated to him."
The Experience Music Project (EMP) features among its permanent displays a stage set with Noel Redding's bass and amplifier alongside Mitch Mitchell's drums and the guitar Hendrix played at the original Woodstock festival in 1969. Fricke said that seeing his equipment in such a place of honor made Noel Redding proud. "He was really proud, I think, to have this pride of place in a major cultural institution. That, in itself, you know, he seemed to get some gratification from,” Fricke said. “But just walking through the building, you know, it's just person after person coming up to him and wanting to shake his hand and all of that. So, I think he realized the impact that he'd had."
Of his client and friend, Ian Grant said, "In working with Noel Redding, I knew him as a very kind, considerate man, especially given what happened to him with royalties and such. He struggled at various times to reap the benefits of that part of his career... He's now with Jimi, I guess, and they'll be comparing notes."
In 1974 Noel Redding signed
away any future income from royalties from the Jimi Hendrix recorded releases
for the sum of $100,00 dollars on the presumption that the recordings had run
their course, not knowing that the Jimi Hendrix Experience catalogue of
recordings containing his performances continued to sell with the advent of new
technolgy, CDs, DVDs, Film credits, advertising use, licensing, etc, etc. Yes,
it was a mistake by Noel, but he signed away any right to future royalties
in the belief that the recordings had ended their shelf life. Noel has
stated "I was forced to sign away my royalties as I needed the money"
and as time went on he even sold the bass guitar he used with The Jimi
Hendrix Experience for $16,000. Noel Redding was threatening to
sue the company that managed Jimi Hendrix's estate for the loss of royaties and
matters were escalating, even though the Hendrix managed estate rejected Noel's
claim. Regretfully the outcome will never be known as Noel died before
he could litigate. His legacy and acheivements will live on.
(Christopher Ashman was also at school with Noel Redding, and a lifelong friend of the Guild's Chairman and CEO of Digimix Records Ltd and the Panama Music Group of Companies, Roderick Jones. Christopher Ashman passed away in August 2014 and will be sadly missed.
Christopher Ashman 1949 - 2014. Rest in peace
The Noel Redding Exhibition
Anthony Redding, the brother of The Jimi Hendrix Experience bassist, Noel Redding, opened an art show at The Sassoon Gallery in Folkestone Library, Grace Hill, Folkestone, Kent, England, which ran from the 4th to the 18th of May 2013 and was dedicated to Noel Redding, the late rock star. It was held to coincide with the 10th anniversary of Noel’s death.
Noel Redding Exhibition at Folkestone featured 60 paintings, collages and
montages, as well as sculptures featuring work commemorating Noel Redding
and the band by Stephen McCarthy, Chris Bone, John Sims and
...............Rod Jones ............................Chris Ashman.........................Noel Redding & Friends................Noel Redding 1967
...........................................................................................................(Thank You & Goodnight)
........................................................................................................... (Noel's last album released
............................................................................................................on vinyl & CD)
............................................................................................................Album photo copyright:
Acknowledgements: to all and everyone that knew and has written about Noel Redding (1945 -2003)
As we grow old, memories are told, romance the moment in time. (Roderick Jones)
Copyright 2015 GISC - All rights reserved Christopher Ashman / Roderick Jones / Ian Grant / Photographs/images courtesy of contributors)
The 11th annual International Acoustic Music Awards (IAMA) competition is now closed for entries
The 11th Annual IAMA (International Acoustic Music Awards) promotes excellence in Acoustic Music Performance and Artistry. Acoustic artists in various genres can gain exciting radio and web exposure through this competition, so keep a look out for the next competeition and entry closing dates.
The Music Publishers Association (MPA )has moved to new premises
As of Monday 17 November you will find the Music Publishers Association (MPA) at 6th Floor, 2 Pancras Square, London, N1C 4AG, just a wand's throw from platform 9 3/4 at King's Cross station
PRS REVISED ADMINISTRATION FEES
Last year, after careful consideration, the decision was made to increase PRS administration fees by approximately one percentage point. This change was necessary as PRS had agreed with MCPS to temporarily bear a larger proportion of the costs of running PRS for Music Limited.
PRS are pleased to announce the end of this temporary arrangement. PRS for Music is now able to reduce PRS administration fees back to the levels applied before 1 October 2012. The revised fees will be deducted from royalties distributed by PRS after 31 March 2014.
PRS's policy is to review administration fees at least once a year to ensure that they properly reflect the costs incurred in administering and protecting the value of PRS members rights. PRS are also committed to reducing thier operating costs over time in order to maximise the songwriting royalties they distribute to songwriting, composing and publisher members.
SONGWRITING & COMPOSING - THE GUILD OF INTERNATIONAL SONGWRITERS & COMPOSERS
Songwriting, Composing & Musical Performances
The Performing Right Society (PRSforMusic) are connected to a network of similar overseas international organisations, which collect royalties for the use of songwriters, composers songs and performances, and transfer those royalties to rights holders i.e music publishers, songwriters and composers. Through this network, their members’ works are represented in most countries worldide for royalty collection. If you are unfamiliar with the workings of The Performing Right Society (PRSforMusic) or your right to receive royalties for your songwriting, composing and performances of your songs in PRS licensed venuse then as a Guild member we can help with your enquiries.
Production Music - Songwriting & Composing
Production Music (also known as library music) is high quality and cost-effective music specifically written for synchronisation or dubbing into audio and audio-visual productions, from TV to radio adverts to films, multimedia, websites and even viral marketing campaigns. The Mechanical Copyright Protection Society (MCPS) (part of the PRSforMusic group) represents 600,000+ tracks and sound effects from over 200 libraries spanning all genres of music. If you are unfamiliar with the workings of The Mechanical Copyright Protection Society (MCPS) or your right to receive royalties from your songwriting, composing or you wish to make contact with production music library companies, then as a Guild member we can help.
EMI Records Nashville
Records Nashville, U.S.A, has founded a new label imprint, EMI Records, Nashville,
U.S.A, to source new artiste / songwriting talent and to be a creative hub of
developing new country songwriter / performing artistes. EMI Records, Nashville,
U.S.A, will operate side by side with Capitol Records, Nashville,
Berklee College of Music
Guild of International Songwriters & Composers partners up with the Berklee
College of Music which is the world's largest independent music college and the
premier institution for the study of contemporary music. The college's 4,000 students
and 480 faculty members interact in an environment designed to provide the most
complete learning experience possible, including all of the opportunities and
challenges presented by a career in the contemporary music industry.
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