Do Not Work For List: USA

TOP OFFENDERS LIST

RecordingMusicians.com/Nashville Music Scoring – Alan and Cathy Umstead are soliciting and contracting non-union recording work through this website and elsewhere.

Steve Schnur, Worldwide Music Executive for the videogame company Electronic Arts, is commissioning and recording non-union sessions in Nashville for his company’s hugely successful franchises. EA declared $4.3 billion in net revenue in fiscal year 2015.

 

Listed below are employers who owe musicians large amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians.

 

Positive Movement/Tommy Sims (multiple unpaid contracts – 2007 CeCe Winans project)

Terry K. Johnson/ 1720 Entertainment (unpaid contracts/unauthorized sales – Jamie O’Neal project)

Beautiful Monkey/JAB Country/Josh Gracin

Eric Legg & Tracey Legg (multiple unpaid contracts)

Ray Vega/Casa Vega

Quarterback/G Force/Doug Anderson

Rust Records/Ken Cooper  (unpaid contracts and pension)

Revelator/Gregg Brown (multiple bounced checks/unpaid contracts)

HonkyTone Records – Debbie Randal

 

UNPAID CONTRACTS AND PENSION

Casa Vega/Ray Vega

Knight Brothers/Harold, Dean, Danny and Curtis Knight

FLS Records – Nashville/Ronald Stone

Region One Records

RichDor Music/Keith Brown

River County Band/SVC Entertainment (unpaid demo conversion/pension

Robbins Nashville

 

UNPAID PENSION ONLY

Comsource Media/Tommy Holland

Conchita Leeflang/Chris Sevier

Ricky D. Cook

FJH Enterprises

First Tribe Media

Matthew Flinchum dba Resilient

Jimmy Fohn Music

Rebecca Frederick

Goofy Footed

Gospocentric

Tony Graham

Jeffrey Green/Cahernzcole House

Randy Hatchett

Highland Music Publishing

In Light Records/Rick Lloyd

Little Red Hen Records/Arjana Olson

Maverick Management Group

Mike Ward Music (pension/demo signature)

Joseph McClelland

Tim McDonald

Joe Meyers

Missionary Music

Jason Morales (pension/demo signature)

O Street Mansion

OTB Publishing (pension/demo signature)

Tebey Ottoh

Ride N High Records

Ronnie Palmer

Barry Preston Smith

Jason Sturgeon Music

If you know of any organisations who regularly exploit musicians and want to warn colleagues to stay clear, leave a comment below.

Don’t forget to sign up for regular news and updates from freedom for musicians.

 

How to Write a Chorus with a Catchy Hook




Everyone looks forward to the part of the song where they can join in, and even though they’ve loved every note staved across your verse, they can’t wait to reach that crock of chorus gold. In this post for budding songwriters, Joe Hoten from Bands For Hire takes a look at every key aspect of songwriting necessary to create a killer hook for your chorus

How to write a chorus

 

As Berry Gordy, Jr put it: ‘Don’t bore us, get to the chorus.’

We even get the word ‘chorus’ from the groups of masked performers in Ancient Greek theatre, who would sing and dance in unison as they filled their audiences in on the plot – much in the same way the choruses of today’s musicals do. If you want to release music that makes an impact, this is the effect your chorus should have too – you provide the finer details in the verse, and get everyone singing along to your overarching theme.

 




So how do we go about that? Let’s break it down.

 

How to write a chorus fans won’t forget

 

 

Lyrics

Writing lyrics that bring your killer chorus to justice can be a tough call. You want your chorus lyrics to be both concise and poetic, and also to remind your listeners what your song’s all about.

Simplicity is the name of the game when you’re drafting up a future stadium anthem for thousands of lighter-wielding fans to sing along to. Just think about how effective Queens’s ‘We Are the Champions’ and ‘We Will Rock You’ are as sing-alongs – you can’t not know the words after a few short minutes of exposure, and they perfectly capture the attitudes built up in the verses. It’s hard to not feel victorious after straining your throat proclaiming your victory.

 

 

What these killer choruses also show us is: if you’ve got something worth saying, you’ve got something worth saying over and over, so don’t be afraid of repeating yourself. As such, the lyrics should also be enjoyable to repeat, so it’s prime time to rhyme and also alliterate. ‘Take me down to the paradise city where the grass is green and the girls are pretty’ trips off the tongue nicely, especially after the tenth recital. The quicker they can pick it up, the quicker they can fall head over heels with it. And remember – you’ve got to write straight from your heart if you want to win other people’s.



 

 

Melody

You’re going to need to set your killer lyrics to an equally killer melody – something your listeners find themselves humming at full volume even at the most inopportune of moments, like when they’re perusing library shelves, or queuing at the bank. The German term for this is ‘ohrwurm’ – literally a tune that figuratively worms its way into your ear. If you’re an early bird, you can catch yourself a fresh earworm that’ll be impossible to dislodge.

Melodies tend to be composed of steps and skips, steps being a semi or whole tone apart, and skips being anything from a third upwards. Think carefully about which words or phrases you want to emphasise and position them accordingly – something you feel profoundly, like a declaration of love, would be best conveyed via a melody leaping from one note to a significant other.

 

 

Chords

Your chorus may also present you with an opportunity to bust out some new killer chords. Typically, starting on your home note – the tonic – is a clear sign to the listener that they’ve arrived where they belong. Take ‘I Believe in a Thing Called Love’; it’s not until the chorus that the Darkness shed some light on what key we’re in – up until then, we’ve been wondering around in F#’s shadow. But at the far end of the bridge sits an illuminating beacon, a solid B, setting us up for a perfect cadence. And payoff doesn’t get much more perfect than rhapsodic repetition of the song’s title – and central theme – over a brand new progression in the home key. We made it!

 





 

Alternatively, many fantastic choruses use the same chord pattern as the verse. ‘Don’t Look Back in Anger’ is a classic example – though the key difference between the sections is that the melody’s sung in a higher register. The verses begin on a major third, but in the chorus this is ramped up to a powerful fifth, drifting from side to side down an entire octave. If it needs to be sung higher and louder than the verse, your chorus is going to pack an almighty punch in comparison.

 

 

Hooks

A popular device with songwriters is the ‘hook’ – something that anchors itself into your listeners’ memories, digging deeper every time they hear it. A hook can be lyrical, melodic, rhythmic – anything that gets under the skin and refuses to leave. So load up your hook with a tasty earworm – something along the lines of the ‘Yeah, yeah, yeah’ that follows ‘She Loves You’, or the keyboard part in ‘The Final Countdown’ – and wait for the fans to bite.

 

 

Rhythm

It’s also worth considering giving your chorus a rhythm that is distinct from what you’ve got going on in the verse. Giving your chorus an unusual – or better still, unique – rhythm will affect your listeners through more than their mere ears. Kasabian’s ‘Fire’ plays with this, shuffling its way quietly through each verse only to pound your eardrums with its four-to-the-floor chorus. Don’t forget – your chorus is the part that brings people together through singing and dancing, so let their whole bodies know what time it is.

 

 

 

Structure

It’s time to decide how you’re going to present your chorus. How’s it going to fit into your song? Do you build up to it slowly, or dive in straight away? Both are valid options, but upping the anticipation is always an effective way of making your chorus feel like an enormous pay off.

Leave y


our listeners treading the pre-chorus waters for a little longer, then wash them away with your tidal wave. Consider the ‘we gotta hold on to what we’ve got’ before the ‘whooooooaah we’re half way there’, and the ‘it’s alright, it’s ok’ before the ‘whether you’re a brother or whether you’re a mother, you’re stayin’ alive’ – it’s like waiting for ten unsuspecting pins to be struck down with a bowling ball.

 

 

Instrumentation and Dynamics

Maximum impact is required here, so you’re going to want to hold back before bringing out the big guns. High volume and intensity is what’ll get your audience going, but be careful not to underestimate the quiet or even silence – when you do crank it up, it’ll be like slapping your audience round the face with an iron gauntlet. Have parts drop in and drop out. It’s all association – ‘hey, I love that part where the strings come in’ or ‘wait for it… wait for it… NOW’S THE CHORUS’. ‘Woo hoo’ is an sensible response to the thunderous bass and deafening guitars cutting back in for the chorus of ‘Song 2’, not to mention a killer hook.

 

 

 

Now you’ve got all the tools you need to build yourself an absolute powerhouse of a chorus. You’re ready to tell the people what you mean, and the people will be able to tell you mean it. You’ve sharpened your hooks and the earworms are hungry. The world is at your feet, waiting for you to unite it in song. Knock ’em dead!

 

 

How do you go about writing a chorus for your tracks? Got any tips for other artists out there? Let us know in the comments below and share this advice with your fellow musicians.




Canadian and Lebanese Ambassador: Dr William Nassar

It is with great honour that we announce the appointment of Dr William Nassar as Freedom for Musicians Ambassador for Canada and Lebanese musicians worldwide. William has devoted his life to promoting peace through his music and we look forward to regular updates on his work and support of musicians in Canada and particular those involved in the Arab-Israeli peace movement.

William Nassar is a Canadian – Lebanese most outstanding and successful protest singer and composer. He has achieved a worldwide reputation as a protest singer and peace activist.William Nassar descends from al Batroun, a very beautiful Christian city North of Beirut. He was born on December 25th, 1966 in the Northern Lebanese village Batroumeen (The house of god), of a Lebanese father and a Palestinian mother.
For he was born in Batroumeen, his close friends call him al Batroumeeni (The Batroumeenist).

He started his career at the age of 11, when he sought refuge into music to run away from the sounds of civil war, and took a stand against the sectarian killing at a very young age throughout his music and songs.

On the year 1987, he was subject to an assassination attempt in Beirut by Islamist fundamentalists after his song ( Beirut) Thus, he left Lebanon on February 13th, 1993.

William Nassar possesses a P.h.D. degree in Ethno-musicology and taught Arabic composition and orchestration at various musical institutions and conservatoires, besides his work as a songwriter and singer.

He is a member of several musical organizations and considered one of today’s leading political “protest” composers and singers who promote peace and non-violence in the middle east.

On the year 2014, he was diagnosed with Leukemia and Liver Cancer. He undergone a tough treatment and survived.
Being a Cancer Survivor, William Nassar dedicates half of his musical works income to the Canadian Cancer Society, which helps Kids living with Cancer, and he is an active volunteer with them.

William Nassar albums have been runaway hits in Lebanon, Syria, Palestine, Jordan and other Arab states, as well as Canada, the United States and Europe, especially after his hit song On the Road to Aytat, (Al Tareeq Aytat) which was released on the year 1986 and re-recorded on 2015 under the title (A Red Hymn) track 2 of the CD album You look like Pomegranate.

William Nassar compositional skills have been honored with distinguished awards by several International and local music festivals and civil societies.

To become an ambassador for your country, email Roger Moisan directly at rogermoisan@yahoo.co.uk introducing yourself, outlining your musical story and what you can offer to this role.

One Day One Choir: an inspiring global peace initiative

One Day One Choir is an inspiring global peace initiative which uses the harmonious power of singing together to unite people around the world on Peace Day, September 21st.

Since we began in 2014 – as a response to growing unrest and conflict in the world – more than a million people, from all walks of life and a huge array of different singing groups, have joined in and sung with us in more than 50 countries. We’ve also gathered and are being helped by some wonderful supporters and collaborators.

We’d love you to join in too please, to add your voices to our growing ‘global choir’ for peace and to help make a difference where you live by bringing people together in your community to sing with a focus on unity and peace and how we might find ways to work towards it – peace at home, at school, in our work places and communities – and around the world.

Any group of any size, age, talent, style or mix can join in and you can choose what kind of song/s you’d like to sing. All that matters is that it works for peace and unity and it works for you. (We do have a new song you can try – have a look on our schools or join page).

So please sign up and add your voices to our growing global ‘choir’ for peace.

Our aim is to create the largest ‘choir’ in the world, singing for unity and peace, by 2018 – so we need you to help us by singing, supporting and sharing.

Thank you.

Social share!

Please, sign up to sing with us on Peace Day and share what you are doing, and our project, with as many other friends, singers, community, choir, social and school groups as you can – and on social media using #onedayonechoir.

Thank you

Supreme Court Won’t Hear Appeal in Capitol Records Vs Vimeo Copyright Dispute




The ruling said websites are protected from liability for inadvertently hosting music recorded before 1972.

The Supreme Court won’t hear an appeal from record companies that want to pursue copyright infringement claims against music site Vimeo for hosting unauthorized recordings from the Beatles, Elvis Presley and other classic artists.

The justices on Monday left in place a federal appeals court ruling that said websites are protected from liability even for older music recorded before 1972.

The Capitol Records building in Los Angeles.

Supreme Court Asked if DMCA Safe Harbors Apply to Pre-1972 Sound Recordings

Capitol Records and other music companies sued Vimeo for violating copyright laws based on 199 videos uploaded by users. A federal judge ruled a federal “safe harbor” law did not cover pre-1972 recordings that are protected by state law.

But a New York federal appeals court overturned that ruling, saying service providers would incur heavy costs to monitor every posting or risk “crushing liabilities” under state law.