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writeandwrong last won the day on May 3

writeandwrong had the most liked content!

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133 Amazing

About writeandwrong

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  • Website URL
    http://www.facebook.com/TheIanBlackBand; http://www.reverbnation.com/IanBlackBand4; http://www.twitter.com/TheIanBlackBand

Profile Information

  • Gender
  • Location
    United States of America
  • Interests
    Writing & music; continued education in the music business

Music Background

  • Band / Artist Name
    The Ian Black Band
  • Musical / Songwriting / Music Biz Skills
    Lyricist for male band; social media; merchandise; publisher/label co-owner; ASCAP writer/publisher
  • Musical Influences
    Boston, Phantom of the Opera (Andrew Lloyd Webber), Pink Floyd, Dan Fogelberg, Queen, 38 Special, Eagles, Foreigner, Bruce Springsteen, Asia, Black Sabbath, Triumph, Def Leppard, John Williams, Bach


  • Songwriting Collaboration
    Not Interested

Recent Profile Visitors

6,423 profile views
  1. heavy load

    Aww, Tom, you know I love your work, and I like the changes that have transpired after Gary's comments. The one change I'd like to see just to add a little variation is the bolded line: Search for words,to ease your lonely pain Days fly by , gets harder to explain It's a heavy load - Maybe something with the same alliteration, but just to drive it more when you get to the chorus...On this weary road or something like that or have On this weary road or something similar be the last line of your chorus. It's a heavy load My back is sore, I'm all alone It's a heavy load A heavy load What can I say, Tom? You're awesome! I'm a fan Another great write from you!! Glad to see you're still active here!! --Cheryl--
  2. Find My Way Home

    Hi, John and welcome to SongStuff. I haven't been on here in a long time so bear with me for my critique. I like the idea of your song and think it's well thought out. I think it could be tightened up quite a bit simply by taking out the extra words that really aren't necessary, Find My Way Home I only like me drinking whiskey I only like me getting stoned And I can’t take to face the poor man What is it you are trying to say here? That you can't face the poor man? You can't come face to face with him? This should be more clear. Who’s been carrying this load Spend my days waiting for the nighttime Spends my nights searching my soul But it’s always a fool’s errand Because my soul is right at home Wake up lonely and hungover It’s a feeling I’ve come to know Can’t shake the fact that something’s missing Like I don’t know which way to go I only like me drinking whiskey I only like me getting stoned And I can’t take to face the poor man Who’s been carrying this load It’s hard to lose something inside you In fact it’s never really truly gone I'm not so sure truly is a better word than really, but really is kinda a so-so word in songs when there are so many other adverbs to describe how "gone" it never is. So for now I’ll keep on searching Hopefully heading my way home God I hate drinking this whiskey God I hate getting so stoned So is a very so-so filler word. Can you find an adjective that better describes how you're feeling about hating getting stoned? And I’m getting so damn tired Again with the "so." Of being the man carrying this load Won’t you lift me of these burdens God won’t you help me find my soul Because this weather’s getting rainy I'd like to see something more emotional, more gut-wrenching than "getting rainy" to describe how you feel. And I’d sure like to get home Take what I say for what it is. Take or leave whatever you want. I may have more critiques for you after seeing a rewrite, but hoping that the points I've brought up help you moving forward. You are doing a fantastic job on your first ever fully-written song and look forward to seeing / hearing it as it progresses. Best of luck to you! --Cheryl--
  3. When it comes to you

    Hi, Neil. I haven't been on here in awhile and it's been awhile since I've done a critique, so please bear with me here. First off, I like this lyric a lot and would love to hear it set to music and I like the chorus and think Tom's edit definitely strengthens it. As others have pointed out, the first two lines...yep, gonna hear it again, but it's not just the singability that comes to mind, but also the use of past/present tense. As it is it isn’t anymore What it was we had i wasn't sure So let's pull apart the first line here, As it is, it isn't anymore... correct tense for what you are trying to say would be: As it was, it isn't anymore So if you use that, the second line now would need to be changed to something like (just a suggestion): Whatever we had i am not sure or hold out the not for the extra beat: Whatever we had I'm no-ot sure Rest of the lyric looks great!! Best of luck to you with it and hope that helps some. --Cheryl--
  4. Great to see you're back, Cheryl  !!! :D

  5. It's good to be back :-)

    1. Janeva


      Great to have you back !!!

    2. tunesmithth


      Just noticed that you're back among the "Mods"...good deal!

  6. Back Again?

    Hi, all. I've been gone...much longer than what was planned, and I miss everyone...I hope all is well! I am going to play around in here to see what has changed and try to get reacquainted with everyone again. I love SongStuff and was a moderator. I would definitely still like to help out in some aspect after I get reaclimated. A lot has changed since my last login. We've got a debut album out and just finished 10 more songs we're prepping for a second album. Something I really need to work on is a specific 'schedule' for social media, writing, songstuff, etc. I think this is where I went wrong when I was here before. I got overwhelmed with the schedule I had, in addition to personal life situations...I didn't know how to be flexible to make everything work. What else do I need to work on? I guess I just need someone to kick my a$$ a little to get me to create a schedule and stick with it :-) I miss critiquing. Critiquing is fun. It not only allows you to view some great work, but it also helps you keep technicalities in mind while writing your own material. I learned a lot while I was here before, I think I've learned a lot since I've been away. While I need to monitor my time, I hope to be able to bring the two experiences together to be more helpful to the board. --Cheryl-- P.S. It felt good just signing back in Looking forward to catching up with people and what everyone else has been up to!
  7. I'm Leaving The City

    Hey, Jan. Nice collab. I like Avit/Gary's suggestions on the chorus, but the song is . Glad to hear you are getting your material out there! Cheryl
  8. Performance Rights

    Hi, 21miles. You may want to seek advice from an entertainment lawyer to go over the contract provided on the licensing company to ensure you understand all it entails. Do you have a written agreement with these musicians you have paid that was agreed on before they started? Does that contract hand over all their rights to you? Even if you paid them, they are on the recordings, and unless there is some contractual agreement that states otherwise, it seems they would qualify for performing rights payments if you have or if the licensing company publishes your digitized recording that uses those musicians. If they are just listening to it and redo it with their own musicians...the ones you paid wouldn't see any of it (unless you have published a recording with the musicians you used)...again...depending on any agreements. Non-writer musicians can receive artist royalties if they are signed to a label and a recording agreement is involved stating that fact, which might be what is going on here. This has nothing to do with Copyright. Copyright is only for the owners/writers. This is only my take on this. I am not a lawyer. I don't work for the copyright office but most importantly, without seeing all the agreements, etc. it's difficult to fully offer the advice you need, I suggest you seek professional advice as I said in the beginning. Cheryl
  9. A Couple Of Questions For A Varied Collection

    Hi, Chuckk. Once a song has been recorded with lyrics and music together. The song legally belongs to both you and your co-writer. It is not a situation where you own the music and the lyricist owns the words. There is no need to submit a score. Audio is sufficient. If it has lyrics, though, a lyric sheet would be submitted. If there are unique chords, you can include the chords on the lyric sheet. If you submit a collection, the authorship has to be the same for everything submitted in that collection. As an added note on collections, if you get a bite on a song, it is recommended you do an individual copyright registration on the song of interest. As for the public domain material, that is an area I'm not familiar with enough to say too much on. You can call the copyright office at (202) 707-3000. Make sure it is a time when you have nothing else planned as you will be on hold for awhile. Morning is the best time to call. *NOTE* I've responded to the best of my ability and am not associated with the Copyright Office or a legal expert. Just offering information based on my own personal experiences. I hope this helps. Cheryl
  10. Copyright Attorney

    Hi, Tim. Donna and HoboSage have given you good answers to your question. Definitely seek a reputable entertainment lawyer. You may be local to some and there are many online as well. Some are good, some aren't. If you have any friends in your area who are in the industry, ask them who they use, and as Donna stated, call your PRO if you are in one. Best of luck! Cheryl
  11. New Site Crew - Join Us In Welcoming Them

    I'm so behind... Sorry, guys, but a huge congratulations!!
  12. Band Payout?

    No, you explained it well (tho you should be getting some rest...caught you!! ;-) They should have had this put into more circles rather than just two to do it properly, which would have had the person creating the circles easily see the pieces to their pies that are missing... Largest circle...obviously...the record company going down in size to the smallest circle, the songwriters. If they had done that, they would have seen the band members would be receiving less than 18%, and it would also show just what tiny portion the songwriter gets...but it could also show the different avenues a songwriter can make money as well as a band rather than just from the song. Okay. I'm shutting up now because I'm gonna be compelled to create all these yummy circles of pies and...I need to watch my weight. The holidays are upon us
  13. So Beautifully Sad

    Hi, Tom! Happy to find this on here today but whoaa what a sad, sad write...perfectly titled "Beautifully Sad" Some very nice lines here: how do you mend a broken heart when every beat leaves a scar to be loved till the fires gone Have you started on music for this yet? Please let me know when it's ready for a listen! Love this awesome write! Cheryl
  14. Introduction To The Music Industry (Free Online Course)

    Thanks, Donna!
  15. Band Payout?

    I'm not sure how it all works outside of the US, but the songwriter's share usually doesn't come from the "band payout". That belongs to members of the band after all the expenses are paid (costs above that John noted). The songwriters get paid from performing rights agencies like ASCAP, BMI, SESAC and also from the publishing company. I don't take anything from the band when they get paid. My cowriter gets his share because he is the guitarist. He doesn't get extra for being a songwriter when the band gets paid for a performance from a club, bar, festival or wherever they are getting paid for their performance. The performing rights agencies get their money to distribute to their publishers/writers from licensing fees they get from users of music (radio, cable and network TV, bars, clubs, shopping malls, concert halls, airlines, etc.). The value of the payout to the publishers/writers has several different factors, including how much they received in licensing fees from where your songs were performed. These agencies will pay the songwriter directly for the performance, not the club that the band has performed at. As a rule, what the agencies collect, the publisher gets 50% and the writers split the difference of the other 50%. If you self-publish and you are the sole writer, you get 100% of the royalties. This is why it "pays" to have multiple "jobs" in the music industry. Band manager, publisher, publicist, web designer, writer, performer, photographer, videographer, studio musicians...as many jobs as you can fill on your own especially when you are starting out. It keeps more money in your own pocket. The agencies pay for performance royalties. Songwriters also collect mechanical royalties from the sales from downloads, CD sales and other sales containing the musical compositions. Mechanical royalties get paid to the record companies who pay the publishing companies (or representatives like the Harry Fox Agency) or if you self-publish, directly to you. The publisher shares these royalties with the writer (the amount being whatever is in the contract between the publisher and writers). The statutory rate for mechanical royalties is 9.1 cents per song and so much more per minute over for a longer song. Hope this makes sense and helps you understand a little bit from this end of the songwriting process. This is fresh in my head as this is the step I've been working on a LOT over the past several months. It pays to be be as knowledgeable as possible in every step in the song process regardless if you have a separate publisher or have been signed by a record company because you do not want to be ripped off. P.S. Just because you register your songs with a performing rights society doesn't mean you can skip registering your songs with the copyright office...that's a whole other topic in itself... Cheryl