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Posts Tagged ‘Acoustic Guitar’

How to send songs you’ve written to record label companies?

March 27th, 2011 1 comment

Hello, I am a singer-songwriter that plays guitar and some violin too. I’ve been writing for quite a while, and I think recently I’ve been getting very good. Do you know the process of sending songs to record labels so you could get signed up or get recognition from it? Links would be appreciated. I write influential, inspirational lyrics that sound like they would go perfect with an acoustic guitar melody. Sounds like something LIGHTS, Owl City, The Veronicas, or nevershoutnever would be singing. I also write screamo/death core songs, something Bring Me The Horizon or Black Veil Brides would be singing. I’m 14 years old and I live in Utah, so its going to be a challenge getting recognized as a singer there, unless I attend those prestigious smart-ass mormon colleges. I cannot record my songs because I do not have a video camera or studio material. But I have a nice voice. Thank you. xo

It sounds like you need to figure out how to record yourself before you think about sending in a recording.

There a quite a few recording studios in Utah that you might want to get a hold of.
http://www.google.com/search?q=utah+recording+studio&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a

This is a good article on the steps you need to take in order to send your songs to a record label company.
http://musicians.about.com/od/beingamusician/ht/senddemo.htm

Do you say you want a Revolution?

March 30th, 2010 3 comments

Okay, take two on this question. Some Blue Meanie, Holy Roller had my question deleted. Reason- insulting to others and a rant. How so? Honest to God, if there even is one, I really don’t see why. Christ, you know it ain’t easy, you know how hard it can be, and the way things are going with the Beatles bigger than Jesus, they’re gonna crucify me.
Do you say you want a Revolution?
I was in Naples, Florida a few weeks ago. I was in an Irish pub, McCabe’s and they had a singer/guitarist there. The audience requested a few Beatles songs but the musician wouldn’t play most of the requests. Finally he settled on "Revolution." That was a great song, Revolution. John had been involved with Yoko Ono and he was really starting to come out as far as speaking his mind about politics. John had been chiding the late Beatle manager Brian Epstein about speaking out against the Vietnam War during their last tour. Brian told them not to comment on it. John was in enough trouble about his Jesus comments. "The Beatles are bigger than Jesus now." And then he said "Jesus was all right but his disciples were thick and ordinary." The Ku Klux Klan sent the Beatles a death threat to their hotel. At a concert down South, Memphis I believe, John and George winced when a boy lit off a pack of firecrackers at a Beatle concert. They looked at each other to see if one of them had been shot. George said "America was mad. It had only been a few years since Kennedy was killed." Revolution was recorded in several forms. At George’s home in Esher, a demo was recorded with John singing double tracked and playing on an acoustic guitar. George had a four track recorder so a few overdubs were done. For the most part, this first version of Revolution had a very homey feel to it like the Beatles were jamming in your living room. So cool. Later on the White Album "Revolution 1" was recorded. It first it was much longer. Yoko was reading a passage. John added in sound effects that he later transferred over on to "Revolution 9." He can be heard vomiting, having orgasms, doing primal screams, and all such audio avante garde influenced by Yoko Ono and her conceptual performance art. This extended version of Revolution was hated by the other Beatles. Paul was doing multiple takes of "Obla Di, Obla Da" as well as writing songs and producing demos for Mary Hopkin and a group he reformed called Badfinger. For Mary Hopkin, Paul produced a demo called "Goodbye." For Badfinger he produced "Come and Get It." The song writing credits were to Lennon and McCartney but Paul wrote and produced the songs for his new found talent.
John was not sure how he wanted go with the intention of his Revolution. He sang "don’t you know that you can count me out-in!" He didn’t know if he was for or against a Revolution. He was very much involved with Yoko at the time. He came back from India disillusioned from the Maharishi. He suspected the Indian guru of trying to seduce some women in the Beatles entourage. But if the truth be told, he was using that rumor as an excuse to get back to London to be with Yoko and take drugs. He had been experimenting with LSD and he missed the trips. Yoko was taking heroine and soon John would be showing up at Beatles recording sessions in a lethargic state. Paul would try in desperation to rally the Beatles to do the next take of Obladi Oblada and John would simply smile at him and laugh and as soon as he had the chance would go off with Yoko. Yoko would follow John into the bathroom. She never left him alone. She was sick and put a bed in the recording studio. The other Beatles were livid. Before Yoko, the Beatle wives and girlfriends were never allowed in the recording studio. Now here was Yoko, not only present in the studio, but sleeping in the studio and making critical comments. "Beatles do this. Paul play piano like this." Paul was shocked. Here was John’s bird telling him how to play music.
Later on, when Paul recorded "Hey Jude" as a new Beatles single. John decided to re-record "Revolution" on the other side of the single making the disc a Double A single. Two hits on one disc. Paul’s Hey Jude on one side. John’s Revolution on the other side. He brought in Nicky Hopkins to play piano. Special care was taken to produce the lead guitar that was recorded directly into the mixing board. John overloaded the circuits and created a distinctive distortion sound. The opening machine gun sounding guitar riff is his signature. John Lennon was breaking the studio rules again. Many of the recording artists of that late 1960s time period were producing loud distorted guitar sounds. Eric Clapton. Jimi Hendrix. Now John was adding his own sound. He would produce a similar sound with "Cold Turkey" as a solo artist with Yoko and then aided by Eric Clapton, a friend of John and George. But here in "Revolution" the sound is John’s sound. It is the machine gun of a Revolution, loud and violently abrasive. It was the perfect backdrop of student anti-war

You say you want a revolution
Well, you know
We all want to change the world
You tell me that it’s evolution
Well, you know
We all want to change the world
But when you talk about destruction
Don’t you know that you can count me out
Don’t you know it’s gonna be all right
all right, all right

You say you got a real solution
Well, you know
We’d all love to see the plan
You ask me for a contribution
Well, you know
We’re doing what we can
But when you want money
for people with minds that hate
All I can tell is brother you have to wait
Don’t you know it’s gonna be all right
all right, all right
Ah

ah, ah, ah, ah, ah…

You say you’ll change the constitution
Well, you know
We all want to change your head
You tell me it’s the institution
Well, you know
You better free you mind instead
But if you go carrying pictures of chairman Mao
You ain’t going to make it with anyone anyhow
Don’t you know it’s gonna be all right
all right, all right
all right, all right, all right
all right, all right, all right