John

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December 17, 2009

Re: “Don’t Look Back”

Lyrics by K. Lawrence Dunham

Music by Johnny Mandel

Dear John,

Thank you for offering to post my story about the song “Don’t Look Back”. I agree that is has teaching value. However posting it also offers me the opportunity to somewhat  resolve the situation for myself although there is no feasible avenue for me to change the outcome.

This is a song which I, as a lyricist, co-wrote with Johnny Mandel. It was first recorded in the Seventies by legendary jazz vocal artist Irene Kral on the vinyl album, “Where Is Love”which only featured Kral with the fine piano accompaniment of Alan Broadbent. The album became a critical hit internationally in the world of traditional vocal jazz. It was nominated for a Grammy in 1976 and was later formatted to a CD version. “Don’t Look Back’ has had more than a few covers and is still an active copyright.

Here is the situation. Several years back I re-acquired my publishing rights for the song and became the co-publisher.  In the latest edition of the Johnny Mandel Song Book, published by Alfred Publishing Company in 2006 Mr. Mandel included “Don’t Look Back(It was not included in the first edition.) I was delighted when he informed me of his intention while he was working on the project. When the book came out this was a high point for me as a writer.

Now three years later, it has come to my attention that there is a error in one line  of the lyrics as printed in the book. That in itself is unfortunate in terms of the record for posterity. Added to this is the ongoing possibility of singers performing and even recording the song incorrectly based on the book.  This is actually is how I found out about the error. A singer who recently recorded the song sent me  a reference copy and I was shocked to hear the lyric change.  When I emailed him about it he told me that learned the song from the Mandel songbook. I must say that the singer kindly agreed to sing the correct lyric in live performance now that he knows what it is.

The lesson here is that when Mr Mandel informed me of the pending publication, in my role as co-publisher I did not request a copy of the arrangement for proofing.  True, one was never sent to me as a routine matter of procedure, but the responsibility was mine. Even when I got a copy of the book, I was so enthralled by it. I never looked carefully at the lyrics, and this is something I routinely do keenly in my role as a lyricist when it comes to lead sheets or lyric sheets

Here is the incorrect line:

“Who cares to feel what went on before, as far as love’s concerned

All those dreams will disappear and never will return.”

The correct line is:

“Who cares to feel what went on before, as far as love’s concerned

All those dreams have disappeared and never will return.”

Thanks again so much. John.

K. Lawrence Dunham

a.k.a Kaye L. Dunham

email: klawdee@gmail.com

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FOLLOWUP

I referred Kaye to Ronny Schiff, my book agent and print music expert. She told him Alfred Music Publishing was a highly respected and conscientious company and he should write to them directly and request a correction.  He did send the request and received back a very gracious personal letter from Bryan Bradley, Alfred Music Publishing’s CEO, promising to make the correction on the next printing. Kaye thanked Ronny for encouraging him to follow up and in her note back to him she said, “The print companies (the few that are left) are ALL dedicated to accuracy. That’s why they’ve survived. They also are there to serve the songwriter. Without you, there would be no music business that brings us such joy.” Well said, Ronny.

Glad this worked out for everyone.

John

When: Wednesday, October 7  – 6:30 – 8:30 pm.

Where: Shreveport Regional Arts Council,

400 Clydesant Parkway

Cost:  $10 NSAI members. Others $15

Contact : (318) 771-1768

SONGWRITING CRAFT AND BUSINESS

John Braheny isn’t a big believer in restrictive rules about songwriting but he knows what makes listeners like songs  In this abbreviated version of his popular Craft and business of songwriting seminars, you’ll learn the basic principles and techniques successful writers use to help you connect with your listeners. He’ll also talk about marketing your music to film/TV, legal issues about collaboration and writing “tracks first”, Taxi.com indie A&R and anything else you’d like to learn more about.

John will also critique as many songs as time allows. (be sure to bring lyric sheets).

He’ll also be available on Thurs/Fri. to set up one-on-one consult

Critique sessions to discuss your music and career. ($125 hr). Call John at 818-528-5152 or e-mail him at john@johnbraheny.com to schedule.

I’m back in Nashville for the 3rd time teaching at the NSAI’s Annual Songpposium. JoAnn and I are both doing two classes each. Mine are below and JoAnn’s are posted on her Goosing Your Muse blog.

This is a highly recommended event featuring an amazing array of teachers and topics throughout 4 days of classes. Check out the entire event at :

NSAI Songposium Schedule – 2009

FRIDAY     SEPT 25 2009     1:30 – 3PM

“Don’t Forget – This IS a business!” John Braheny, Class #432

It’s never too early to learn to TCB. Don’t wait to learn the hard way – protect your music. This class covers the four main traditional sources of song royalties as well as new digital sources of song and artist royalties; how royalties are collected and distributed; publishing and co-publish­ing; administration deals; co-writer splits and the business side of co-writing. Class contains simple explanations minus the complicated legalese.

FRIDAY  SEPT 25 2009    3:30 – 5PM

“Can Your Music Earn $ in Film/TV?” John Braheny, Class #442

Film/TV isn’t looking for hits. There are totally different reasons why instrumental music and songs are used in the audio/visual market and you can access it in a variety of ways. I’ll explain the relative merits of pitching to music libraries, song placement companies, music publishers or directly to music supervisors as routes to audio visual media. What’s the role of the music supervisor in the selection process? What kind of material works? How is music used? What constitutes broadcast quality? How do you research the users? What are the best tip sheets for Audio/visual projects worldwide? Class discusses legal issues (including work-for-hire agreements with musicians and singers). What licenses are needed? How do you prepare and present your music? What can you earn and how do you get paid? This class will answer those questions. Handouts include: Film/TV tip-sheet list, sample combined Synchronization/Master Use License, sample cue sheet, and sample Work-For-Hire Agreement.

We’re looking forward to seeing lots of old friends and meeting new ones in our classes.

Dear Dad,                                    1979
The momentous occasion of your retirement got me reminiscing about some of the ways that your working on the railroad has affected and shaped my life as well as added to an abundant fund of pleasant memories.

At my birthday party this year, I was telling my friend, Gary White, (who wrote Linda Ronstadt’s hit “Long, Long Time”) that you were retiring from the railroad soon. He said he was a passionate train freak and had a house full of model trains, etc. We got to exchange train stories and it really set me off for the next week remembering my railroad times.

Some early recollections: New Albin IA – along with the sound of an infinite field of crickets, the sound I miss most was the sound of the train whistle and the chug-chug-chugs echoing off the hills and bluffs. For some reason, it was always a safe and reassuring, secure kind of sound, maybe because it was regular and always there every day, no matter what other joys or tragedies happened. The train was always there. The engineers and brakemen watched for us like their own families and we’d all run down to the road to wave.

Mason City, IA – when we lived below the Norquists and you were overseas, it was also a constant. It constantly drove mom crazy, trying to keep Dan and me away from the tracks and thank God she did.

I don’t remember exactly where it was, but I think it was in Mason City where you took me to see an engine that had been derailed. I was very young, but it was nearly a trauma to me to see this enormous, invincible, powerful machine all broken and twisted. It was an early lesson that nothing is permanent.
Ronnie Zellar’s alcoholic grandpa (was it ‘Scratchy’?) used to be an outrageous, jolly and embarrassing Santa Claus but it was always an adventure to look forward to at the Railroad Union Christmas party.

Trips – some of the best memories and ones that I believe had a great effect on my life and personality, were the vacation trips. I realize now how lucky we were that we had those passes. We’d never have been able to take a whole family across country like that without them. As an educational experience, to see all those historical places like Boston and New York & Chicago and Seattle was the ultimate field trip. It contributed immeasurably to my feeling of being at home in the world, to my total lack of fear of travel, to my total love of it, to my great curiosity about seeing new places and meeting new people. Even the saying goodby was a part I never liked but learned to accept. Another valuable lesson. Obviously, all that helped me to prepare in some important ways, for me to be a folk singer. I know neither you nor mom were very excited about that but it was an experience shared by very few in this world and it too was full of life lessons. If I could live my life over, I’d do it just the same. I don’t regret any of it.

Moves -  I remember that the move to Sioux City was a trauma for all of us. I mean I had just fallen in love for the first time with Beverly Moline from Holy Family and it was the worst possible time (isn’t it always?). However, in retrospect, it was the best thing that could have happened. Though it took me over a year to recover, Heelan and SC gave me an education and experiences I may never had had in Mason City. I had lots of opportunity to develop my music, acting, and what little talent I had as an athlete. Isn’t it great how, no matter how tragic, inopportune, traumatic, mind bending and heart rending an experience was, you can always look back and see how it was a good thing after all. Forcing you to look at yourself in a new way and bring something out in you that you never realized you had. Those kinds of experiences have all served to make me totally optimistic about my life and future. No matter what happens to me, I’ll learn and grown from it, and feel confident about trying something new.

It’s been a good thing to learn. Your move to Elgin, IL was also good for me. It made me have to rely on myself, obviously one of the best lessons to be learned.

Work – Another thing I’ll always thank you for is getting me my first job on the railroad. I’m sorry to say I don’t remember the section gang foreman’s name but I think it was George Pappas. It was truly a milestone in my life, a step up from mowing lawns and shoveling snow. I worked hard to prove myself on that job and it did fantastic things for my self-image, my body, my wallet and my sense of self-reliance, all of which I needed at that time. It also set me up with the experience I needed to get other jobs, railroad and construction, that helped put me through college. I know you would have been happy to pay for my college but helping me to get those jobs was a much more valuable way for me.

A lot of memories stick with me – riding out in the country on the motorcar early in the morning – sore and painfully growing muscles – the smell of breakfast pancakes and cornbread and learning to play guitar in the bunk cars of the C&NW bridge crew – college and r.r. wino friends I made and total exhaustion on Bill Shipley’s steel gangs – riding the commuter tram – and many, many more that come to me unexpectedly when I see a section gang working or hear a tram whistle, though they never quite sound as exciting as the old steam engines.

When I was in college, having your pass to ride back and forth to Sioux City was very important to me. It let me go home to visit and in the summers, it let me go back to S.C. to see my friends and girlfriends.

Here we are back in the present again and you’re looking at your last railroad days and undoubtedly a whole bunch of your own railroad memories. I hope you feel those years have all been worthwhile. They certainly have been for me. I’ve always been proud that you were a railroad man and, in case I never told you, one of the most important things to me is that you were a constant, a solid foundation. My dad always had a job. I never worried that I’d be hungry or not have something I needed, and we always had good times. Those are the things that are easily taken for granted when they’re there and I know I’ve been guilty of that. As I get older and get a little more perspective, I realize how difficult it would be for me to do what you’ve done and I truly appreciate it, Dad. It’s a lot of years to wake up that early and deal with corporate games.

We all pray that the rest of your years will be rewarding and interesting.  We hope that you’ll have a good time and find something stimulating to occupy your mind and keep you in good physical shape. We also hope we’ll get to see you more often. Lots of love and gratitude from me, Dad.

As Always,
John

However, Pump Audio recently sent a letter to those with music on their service, that they were reducing the writer’s share of synch fees (the up-front fee Pump Audio receives for the use of the music). On July 1 it will be reduced to 35%. If you don’t want to keep your songs on Pump Audio, let them know and they say they’ll remove it no later that December 31, 2009.

Note that this is only a reduction in the writer’s share of the up-front synch fee. You’ll still receive a full writers share (50% of total) of performance royalties from your performing Rights Organization (ASCAP, BMI or SESAC in the U.S.) resulting from the broadcast of music placed by Pump Audio.

The effectiveness of this company is not in question. It’s just that you might want to know ahead of time that the split may be better for you elsewhere.  For more info about Production Music Libraries, see my book excerpt.

John Braheny