The 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.

This is the website of The Guild of International Songwriters & Composers containing information on songwriting, composing and music publishing for songwriters, composers, lyricists, 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 many 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.

The 3rd quarter 2016 publication of the Guild's Songwriting & Composing magazine has now been published. The magazine was distributed to all Guild members by email as an ezine on Monday 1st August 2016.

Songwriting & Composing MagazineSongwriting & Composing MagazineSongwriting & Composing Magazine

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Our website is quite text heavy with much reading and information.

Please take some time to read our pages which we hope you will find of intererest

SONGS & 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.


PROTECT & REGISTER YOUR COPYRIGHTS as a member through the Guild's FREE International Copyright / Intellectual Property Rights Registration Centre.

Members can register as many copyrights as they wish free and unrestricted through being a member of the Guild of International Songwriters & Composers.

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.

The Guild of International Songwriters & Composersare 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.

Much more information on the Guild's FREE copyright registration service is on our services page at: Songwriting Copyright Protection Service

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.

As a songwriter / composers, 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.

(public performance, broadcasting, streaming, download, mechanical songwriting licensing 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.

Our 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. ( and the BRIT Trust (of BRIT Awards fame)

The Guild of International Songwriters & Composers. The home of songwriting for songwriters and composers.

Publishers of Songwriting & Composing Magazine since 1986 - The songwriting magazine for songwriters.


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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, licensing your recordings, 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, Royalty collection societies around the world such as MCPS, PRS (PRSforMusic) in the UK etc, 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, Jeremy Spencer, Fleetwood Mac, Charlie Landsborough, DJ Gammer, AudioJunkie & Stylus, Kevin Kendle, Rik Waller, Shanelle, Bram Stoker, Zoe McCulloch, Pete Arnold, Toots Earl & Clown, The Glen Kirton Country Band, Bram Stoker, P.J.Proby, Scamp Music Publishing, Digimix Records, etc, to Guild members biogs profiles and releases, articles on licensing your songs and recordings, setting up your own publishing facility, how to write for the film tv, audio-visual ,games, advertising industries, to contacts for production music libraries,etc, along with much other useful information and informative articles.

Songwriting & Composing Magazine

How to write songs on guitar Charlie Landsborough - Rosette Records country artisteMp3 and the Internet - audio handbookMorgan Kahn - producerAudioJunkie, DJ Stylus & Scarlet - Digimix Records artistesZoe McCulloch - Mustang Music recording artiste - Girls with guitarsPete Arnold - singer songwriter folk artiste - Digimix Records artisteBehind the glassKevin KendleWayne Clark - Australian recording artistePure Hardcore - Mixed by AudioJunkie & DJ Stylus - Digimix Records releaseMemarie - Cupit musicSongwriting & Composing  Magazine  1st qtr 2009The WaifsSonggwriting & Composing mag  4th qtr 2014Songwriting & Composing magazine 4th qtr 2012Songwriting & Composing Magazine 3rd 2014Songwriting & Composing Mag 1st qtr 2015Songwriting & Composing Magazine 2nd qtr 2015Songwriting & Composing Magazine 3rd qtr 2015Bram Stoker Heavy Rock Spectacular Songwriting & Composing MagazineSongwriting & Composing MagazineSongwriting & Composing Magazine

Songwriting & Composing Magazine



Songwriting & Composing magazine

The 3rd quarter 2016 publication of the Guild's Songwriting & Composing magazine has now been published
and was distributed to all Guild members by email as an ezine on Monday 1st August 2016.

Songwriting & Composing MagazineSongwriting & Composing MagazineSongwriting & Composing Magazine



Jeremy Spencer was born in Hartlepool, County Durham. Known as one of the guitarists in the original line-up of Fleetwood Mac since Fleetwood Mac's inception in July 1967. Jeremy's speciality became the slide guitar, and he was strongly influenced by the American blues musician Elmore James. Jeremy remained with Fleetwood Mac until February 1971. After a couple of solo albums in the 1970s,Jeremy continued to tour as a songwriting musician, but did not release another album until 2006. Jeremy's songwriting talents came to the fore on the album "Jeremy Spencer in Session" recorded in August 2005. Releasing further solo albums in 2012 and 2014. Jeremy Spencer has also recorded as part of the folk trio Steetley.

In the summer of 1967 Spencer came to the attention of ex-Bluesbreakers guitarist Peter Green, who was looking for another musician to join him in his new Fleetwood Mac project. Peter Green had recruited drummer Mick Fleetwood and temporary bassist Bob Brunning, and wanted a second guitar player to fill out the sound onstage. Jeremy Spencer was then playing with blues trio The Levi Set, and was already an accomplished slide guitarist and pianist. He fitted in well, and soon after his arrival Fleetwood Mac's intended bassist John McVie eventually joined.

This line-up of Fleetwood Mac recorded two albums of traditional blues songs, with Spencer contributing many variations on the Elmore James theme, particularly centred around James' version of "Dust My Broom", plus a few songs of his own. Peter Green and Fleetwood Mac brought in a third guitarist, 18-year-old Danny Kirwan, after 1968's album release Mr. Wonderful. This album featured several of Spencer's Elmore James tunes.

Jeremy Spencer was inducted into the Rock and Roll Hall of Fame in 1998 for his work as part of Fleetwood Mac. Music and songwriting wise Jeremy Spencer's sole recordings/releases are well worth buying


Arthur Kay of Ska Wars fame has joined the Guild

Arthur Kay's (aka Arthur Kitchener) first Ska records were released in the 1970's and these early recordings helped in starting the massive British Ska movement of the early 80's and have had an influence on Ska and Reggae bands ever since.The Ska band The Originals have been Arthur Kay's and the late Judge Dread's backing band since the 70's. Arthur Kay (Songwriter, Vocals, Guitar) has been playing and writing songs since he was at school in South London during the 1960's. Arthur fell in love with Ska music when he heard the classic ‘Guns of Navarone’ by The Skatellites - one of the greatest Ska bands of all time. Eight years later and he recorded his first Ska single 'Ska Wars'.

Arthur KaySka festival Arthur Kay & The OriginalsArthur Kitchener - Wordsmit



Charlie has released a CD called "Ultimate Storyteller - The In Complete Studio Recordings 1992 -2007"
available from Edsel Records or download / online stores worldwide.

Charlie LandsboroughCharlie Landsborough

For a complete discography, tour dates and biography visit Charlie Landsborough's website


GUILD MEMBERS, BRAM STOKER 1960's / 70's progressive Rock Band Re-issue release.

Review / biog below



The UK Songwriting Contest has been supported by the Guild for the last 13 years.


UK Songwriting Contest winner Neil Fitzpatrick (pictured above) has just signed a major publishing deal with the world's biggest independent music publishing company for his UKSC winning song "Apart". He is now part of the elite group of songwriters signed to Peers Music Group, whose roster of songwriters and artists include Justin Bieber, Rihanna, Bjork, Christina Aguilera, Beyonce and Garth Brooks. The song was chosen by the UKSC's top music industry judges as a winner and was heard by many in the music industry when it appeared on the contest's annual promotional Winners Album.

A UKSC spokesperson said "The judges thought that this song deserved to be a success and we promoted it to our contacts in the music industry, both in the UK and internationally, as we do with all UKSC winning songs. The response from industry insiders was very positive right from the start, so we knew the judges had made a good choice, and we are very pleased to know that Neil is now having such success with this song. It is well deserved."

Following the UKSC win sales of the song raised almost £30,000 for charity and Neil will be appearing in the Sky TV show about songwriters, Tin Pan Alley, which airs on Sky's Showbiz TV Channel on Sunday 2nd October at 6.30pm. The show is hosted by DJ Mike Read and aims to showcase the very best of British songwriting.



The full 22 page article on The American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music, Inc. (BMI) Consent Decrees Washington, D.C. August 4, 2016 can be found at:

Governor Abbott urges U.S. Department of Justice to reconsider changes to PRO Licensing Model - Changes occurring in the U.S.A with regard to song ownership registration with the writer's relevant rights organisations which will affect songwriter's collaborating with American songwriter's and composers who are members of any of the American rights organisations for collection of royalty payments.

U.S. Department of Justice Consent Decree Interpretation Shocks American Songwriters. Read comments (as copied below) from Bart Herbison on "PRO Licensing of Jointly Owned Works." at:

The only answer to this is at the moment is, don't co-write with a songwriter / composer registered member of the American royalty rights collection organisations, The American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music, Inc. (BMI). Songwriters and composers registered with one royalty collection rights organisation will refuse to co-write with someone registered with another royalty collection rights organisation as 100% licensing means that digital services can now go to only one performing rights society to license co-written songs that a PRO holds any share of without having to secure a license for the other co-written share from the PRO that holds it. This would create Armageddon in the American songwriter community. Since one royalty collection performing rights organisation does not hold information on co-writers who are members of another royalty collection performing rights organisation, there is no effective way to make sure those co-writers are paid.

The United States Department of Justice today, according to published reports, denied every request from American songwriters to ease restrictions found in the ASCAP and BMI consent decrees, World War II-era restrictions imposed by the federal government on the two largest American performing rights societies (PROs).

We print only the fist 3 pages of the article here but the full 22 page document can be viewed at:

DEPARTMENT OF JUSTICE -Statement of the Department of Justice on the Closing of the Antitrust Division’s Review of the ASCAP and BMI Consent Decrees Washington, D.C. August 4, 2016

The American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music, Inc. (BMI) are performing rights organisations (PROs). PROs provide licenses to users such as bar owners, television and radio stations, and internet music distributors that allow them to publicly perform the musical works of the PROs’ thousands of songwriter and music publisher members. These blanket licenses enable music users to immediately obtain access to millions of songs without resorting to individualized licensing determinations or negotiations. Because a blanket license provides at a single price the rights to play many separately owned and competing songs – a practice that risks lessening competition – ASCAP and BMI have long raised antitrust concerns.

ASCAP and BMI are subject to consent decrees that resolved antitrust lawsuits brought by the United States in 1941 alleging that each organization had unlawfully exercised market power acquired through the aggregation of public performance rights in violation of Section 1 of the Sherman Act, 15 U.S.C. § 1. The consent decrees seek to prevent the anticompetitive exercise of market power while preserving the transformative benefits of blanket licensing. In the decades since the ASCAP and BMI consent decrees were entered, industry participants have benefited from the “unplanned, rapid and indemnified access” to the vast repertories of songs that each PRO’s blanket licenses make available. Broadcast Music, Inc. v. CBS, Inc., 441 U.S. 1, 20 (1979).

At the request of ASCAP and BMI, in 2014 the Antitrust Division of the U.S. Department of Justice opened an inquiry into the operation and effectiveness of the consent decrees. In the course of the Division’s investigation, the Division solicited two rounds of public comments regarding the consent decrees and met with dozens of industry stakeholders. The Division evaluated during its investigation whether various modifications to the consent decrees 3 requested by stakeholders were necessary to account for changes in how music is consumed today. During the discussions surrounding these requested modifications, it became apparent that industry participants had differing understandings of whether the PROs’ licenses provide licensees the ability to publicly perform, without risk of copyright infringement, all of the works in each of the PROs’ repertoire. The requests for modifications therefore required the Division to examine the question of whether the consent decrees obligate ASCAP and BMI to offer “full-work” licenses.

The Division has now concluded its investigation and has decided not to seek to modify the consent decrees. As discussed in detail below, the consent decrees, which describe the PROs’ licenses as providing the ability to perform “works” or “compositions,” require ASCAP and BMI to offer full-work licenses. The Division reaches this determination based not only on the language of the consent decrees and its assessment of historical practices, but also because only full-work licensing can yield the substantial procompetitive benefits associated with blanket licenses that distinguish ASCAP’s and BMI’s activities from other agreements among competitors that present serious issues under the antitrust laws. Moreover, the Division has determined not to support modifying the consent decrees to allow ASCAP and BMI to offer “fractional” licenses that convey only rights to fractional shares and require additional licenses to perform works. Although stakeholders on all sides have raised some concerns with the status quo, the Division’s investigation confirmed that the current system has well served music creators and music users for decades and should remain intact. The Division’s confirmation that the consent decrees require full-work licensing is fully consistent with preserving the significant licensing and payment benefits that the PROs have provided music creators and music users for decades.

Songwriters and composers, wanted the Deptartment of Justice (DOJ) to allow more marketplace flexibility when it comes to setting rates with digital music services and has asked DOJ for several specific remedies including allowing music publishers to “partially withdraw” their digital song catalogues from ASCAP and BMI which would have circumvented federal judges from setting streaming rates in favor of direct negotiations, something record labels and artists can already do.

Even worse, the DOJ reportedly says that ASCAP and BMI can no longer engage in “fractional” licensing of songs and must begin 100% licensing of songs. “If accurate, this is unimaginable and the worst possible outcome for songwriters. Earlier this year in Washington, D.C., I explained to DOJ that our profession was already decimated and how mandating 100% licensing could put the final nail in our coffin,” said Nashville Songwriters Association (NSAI) President Lee Thomas Miller. “I am stunned and sickened. DOJ did not take the impact on songwriters into account when issuing this ruling.”

100% licensing means that digital services can now go to only one performing rights society to license co-written songs that a PRO holds any share of without having to secure a license for the other co-written share from the PRO that holds it. “This would create Armageddon in the songwriter community. Since one performing rights society does not hold information on co-writers who are members of other societies, there is no effective way to make sure those co-writers are paid. Administrative costs will soar and there is a strong likelihood that songwriters may now only write with songwriters from the same performing rights society,” said Bart Herbison, NSAI Executive Director.

In layman’s terms this would mean some of the world’s greatest songs may never be written. NSAI Board member, hit songwriter Tim Nichols, told DOJ attorneys as much during a meeting in Washington earlier this year that he wrote the Grammy-winning song “Live Like You Were Dying” for Tim McGraw with co-writer Craig Wiseman. “We belong to different PRO’s and if 100% licensing had been in effect, I’m not sure we would have written that song,” said Nichols. “You would really be stepping all over writing relationships that are based on special creative chemistry.”

NSAI is counseling with ASCAP. BMI and other trade associations to determine the next strategic response to the Department of Justice. Technically both PRO’s must ‘consent’ to the changes but ASCAP and BMI rate court judges The U.S. Copyright Office and members of Congress including Doug Collins (GA) and Hakeem Jeffries (NY) had asked DOJ not to enforce 100% licensing. The U.S. Copyright Office further said “such an interpretation of the consent decrees that would require these PROs to engage in 100-percent licensing presents a host of legal and policy concerns. Such an approach would seemingly vitiate important principles of copyright law, interfere with creative collaborations among songwriters, negate private contracts, and impermissibly expand the reach of the consent decrees”.

When a royalty collection rights organisation licenses a song, they want to now license 100% of it. This means that, in order to get paid your royalties, all writers on a song must be a member of the same rights organisation. So whereas American ASCAP registered songwriters and composers can collaborate together as they are registered members with the same royalty collection organisation and likewise BMI registered songwriters and composers members can collaborate together, the problem now arises if an ASCAP writer collaborates with a BMI writer, only one of them can gets paid. This will be damaging for the songwriting industry as one songwriter/composer registered with BMI will refuse to co write with someone registered with ASCAP as one rights organisation wants to license 100% of the work at the expense of the other rights orgnisation even if the co writer is a member of another royalty rights organisation.

"100% licensing means that digital services can now go to only one performing rights society to license co-written songs that any royalty collection rights organisation holds a share of without having to secure a license for the other co-written part share that any other royalty collection rights organisation(s) holds. “This would create massive problems in the songwriter community. Since one performing rights society does not hold information on co-writers who are members of other royalty collection rights organisations, so there is no effective way to make sure those co-writers get paid any royalties due to them. Songwriters and composers would now only write with songwriters and composers from the same royalty collection rights organisations that they are members of,” said Bart Herbison, NSAI Executive Director. "


SONG EXPO 2016 - Benelux International Song & Culture Songwriting Festival Competition are still open for entries

Closing date is 01\12\2016

Details of the 2016 contest were included in the the Guild's Songwriting & Composing Magazine 2nd quarter 2016 publication.


PRS for Music and SoundCloud reach a multi-territory licensing agreement ending legal proceedings

PRS for Music and SoundCloud announce that they have reached an agreement for a multi-territory licence to cover the service.

The licence covers the use of PRS for Music repertoire since SoundCloud’s launch and further supports SoundCloud in its plans to introduce subscription and advertising across Europe in 2016, meaning that creators can start to make money from their tracks.

Both PRS for Music and SoundCloud have been clear in their preference for a negotiated agreement over extended litigation, and their shared interest in supporting creators.

The agreement will allow PRS for Music’s members to receive royalties when their works are used by SoundCloud and accelerate SoundCloud’s development for the benefit of all creators who use the service, by: Ensuring fair value for the use of PRS for Music repertoire on SoundCloud. Paving the way for new SoundCloud services and functionality across Europe in 2016. Bringing both organisations together to work on ways to further increase the value of SoundCloud to creators, and improving metadata and the identification of repertoire for royalty distribution. Bringing to an end the legal proceedings brought by PRS for Music in August.

Robert Ashcroft, Chief Executive of PRS for Music said: "On behalf of our members, I am pleased that we have been able to reach a settlement with SoundCloud without extended legal proceedings. This ends over five years of discussions on the licensing requirements for the platform, resulting in a licence under which our members are fairly rewarded for the use of their music. The safe harbours in current legislation still present ambiguity, and obstruct the efficient licensing of online services, but our agreement with SoundCloud is a step in the right direction towards a more level playing field for the online marketplace." He adds: "Many of our members love the SoundCloud service and I greatly appreciate their management’s willingness to work with us in the way they have".

Alexander Ljung, founder and CEO of SoundCloud, said: "SoundCloud is a platform by creators, for creators; we’re working hard to create a platform where all creators can be paid for their work, and already have deals in place with thousands of copyright owners. PRS for Music is also fully committed to creators, and we’re pleased to have reached an agreement that will expand revenue opportunities, improve the accuracy of royalty distributions, and launch new services for our 175 million monthly active listeners on SoundCloud in 2016."

About PRS for Music: PRS for Music represents the rights of over 115,000 songwriters, composers and music publishers in the UK. As a membership organisation it ensures creators are paid whenever their music is played, performed or reproduced, championing the importance of copyright to protect and support the UK music industry. The UK has a proud tradition of creating wonderful music that is enjoyed the world over and PRS for Music has been supporting the creators of that music since 1914.

PRS for Music provides business and community groups with easy access to over 10m songs through its music licences. In an industry worth over £4.1bn PRS for Music is uniquely placed to be a voice for music and music creators. Collecting £664.3m in 2014, PRS for Music is one of the world’s most efficient combined rights organisations. With over 100 representation agreements in place globally, PRS for Music's network represents over two million music creators.

About SoundCloud: SoundCloud, launched in 2008 by Alexander Ljung and Eric Wahlforss, is the leading audio platform that gives users unprecedented access to the world’s largest community of music & audio creators. With its continued ambition to unmute the web, SoundCloud allows everyone to discover original music & audio, connect with each other and share the sounds they hear. In addition, sound creators can use the platform to instantly record, upload and share sounds across the internet, as well as receive detailed stats and feedback from the SoundCloud community.

Source acknowledgements: PRS for Music


Collective Right Management (CRM) Directive

PRS for Music has announced its support for the Collective Right Management (CRM) Directive which came into force this weekend.

The CRM Directive is intended to provide long term legislative solutions to ensure all collective management organisations operating in Europe meet minimum standards of transparency, governance and customer service generally and also in respect of multi-territorial online licensing.

In welcoming the new UK regulations, PRS for Music believes the CRM Directive will improve the way collective management organisations operate across the EU, which will be in the best interests of rights-holders and users.

Around 60% of PRS for Music’s international revenues are derived from the EU.

Robert Ashcroft, chief executive, PRS for Music, commented: “From its inception we have supported the overarching principles and objectives of the CRM Directive and the intention to create a framework that promotes transparency, efficiency and accountability by collecting societies in Europe. These characteristics are vital to effective rights management, not just for digital online markets but for national licensing.

“The Directive also provides the essential legal framework to support competition among collective rights management organisations for rightholders' mandates rather than for licensees, further encouraging the competitive market for online rights by setting high standards for the delivery of multi-territory licensing.”

Source acknowledgements: PRS for Music


GUILD MEMBERS, BRAM STOKER 1960's / 70's progressive Rock Band Re-issue release


Talking Elephant Records a re issue record label based in Bexleheath Kent, England have just released Guild members, Bram Stoker Prog Rock band's "Heavy Rock Spectacular" on compact disc and digital downloads. "Heavy Rock Spectacular" was originally released in 1972 on vinyl only and contained eight tracks. This re issue contains the original eight track along with four bonus tracks recovered from lost recordings of the same period. If you wish to purchase this limited edition release then contact Talking Elephant Records on 0208 301 2828.

The "Heavy Rock Spectacular" release with different rear tray artwork is also available also from Marquee Inc, Japan on the Belle Antique label and both labels releases can be purchased on Amazon and other stores. Only Talking Elephant Records and Marque Inc / Belle Antique are genuine licensed recordings for worldwide sales. All other recordings of "Heavy Rock Spectacular" which may appear on Amazon and other sites are bootleg copies where action is being taken against the pirates.

The original recordings over the years have suffered from bootleg copies being marketed, but those involved in that practice have mostly now been shut down with further action being taken against two others.

It is very important to get your copyrights registered to protect your song copyrights and any recording rights and performers rights.

See: Songwriting Copyright Protection Service for further information.

Bram Stoker was formed in the summer of 1969 by Hammond organist Anthony Bronsdon, guitarist Pete Ballam and drummer Rob Haines who, as the founding members of Bram Stoker, then recruited bass guitarist John Bavin, all of whom were based in their south coast home town of Bournemouth, England, UK.

Bram Stoker 1969 Guitarist Pete Ballam and drummer Rob Haines had previously been working together in their own local band for two years prior to Bram Stoker being formed and had already formed a tight bond, and in meeting Hammond organist Anthony Bronsdon they found a kindred spirit - young, enthusiastic and inspired by the progressive trend of the time.

Bass guitarist John Bavin (who has worked as a recording engineer on projects with Dave Stewart of Eurythmics fame, Kiki Dee, Bob Dylan, Mick Jagger, Darryl Hall (of Hall & Oates), Rita Coolidge, Sam Moore (of Sam & Dave fame)) brought not only his unique vocals and guitar playing to Bram Stoker but also his abilities at songwriting and composing original material, which complimented the songwriting and composing talents of the other members of Bram Stoker's classically trained Hammond organist, Tony Bronsdon, and guitarist Peter Ballam. Combined with this chemistry the Bram Stoker line up was complete and history was in the making.

In songwriting and composing their own material and experimenting with new musical styles, Bram Soker were choosing their own musical direction, although the band was influenced by the Gothic image, its music varied, and inevitably the band acquired the "progressive classical Rock - Gothic Rock" label tag it is so famously identified by.

Before setting out on the road they rehearsed throughout that summer in a dis-used nightclub in Poole. It was to be the start of a busy schedule. One of the early gigs was as support act for the Who at Bournemouth Pavilion. Roger Daltry front man of the Who, asked for details of the band and invited them to record a demo album at his home in Berkshire. A few months later Bram Stoker was signed up to an independent label owned by Rolling Stones manager Tony Calder. From the vast circuit of clubs, colleges, universities and festivals (booked to play at the Isle of Wight Festival in 1970 with Jimi Hendrix and others) throughout the UK the band developed the loyal following as cult artistes they are today.

Although Bram Stoker was influenced by the Gothic image, its music varied. inevitably the band acquired the "progressive classical Rock" label but strived and succeeded in creating its own identity. Tony Bronsdon's classical training is augmented by a formidable technique; his Hammond organ sound is majestic, biting and haunting. His stirring ability to integrate his classical interpretation into musical compositions written by himself and jointly with Pete and John, with drummer Rob Haines' driving rhythms, resulted in a wide variety of unique performances of Bram Stoker songs and instrumentals. Guitarist Pete Ballam encouraged an original approach and his antics on stage were spontaneous and unpredictable, his legendary "Doppler" (a spinning speaker cabinet) had to be seen - and heard - to be believed.

Bram Stoker drummer Rob Haines and bassist John Bavin also embrace fresh ideas, providing an individual and creative approach to their role as rhythm section. While John's melodic themes and ethereal vocals are integral to Bram Stoker, his musical and dextrous bass lines breathe life and weave unity through every arrangement. Rob Haines applies his own ideas to Bram Stoker's symphonic style, his inimitable spinning cymbal emphasises the mood of the song Poltergeist.

Bram Stoker enjoyed a wonderful period of interest in the music industry during the period from 1969 through to 1972 and this is shown in the wake of the Heavy Rock Spectacular album and its original 12" vinyl release on the Windmill Records label in 1972 with the new re issue releases on Talking Elephant Records and Marque Inc / Belle Antique Japan for worldwide sales

The fan following on the Internet grows daily with fresh interest. Bram Stoker re-formed in 2004. Historical and complete information on the Digimix Records website.


The Music Publishers Association (MPA )has moved to new premises

As of Monday 17 November 2016 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





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 songwriters, composes and music publishers 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.


A successful period for songwriters', composer's and music publishing royalties

The Performing Right Society's (PRSforMusic) 2015 financial results, reveal a record high royalty income of £537.4m. This figure represents an increase of 7% on 2014 when measured on a constant currency basis, with year on year growth across all revenue streams.

MCPS/PRS (PRSforMusic) who represents 85,000 songwriters, composers and music publishers in the UK saw royalty collections rise after a surge in revenues from overseas and digital services. As part of this uplift money from services including itunes , Spotify, Amazon and we7 and others. The licensing of new digital services enabled PRSforMusic to pay additional royalties to their songwriting, composing and music publishing members last year.

The licensed digital market is now delivering a significant income stream for MCPS/PRS (PRSforMusic's) songwriting, composing and music publisher members.

Songwriting, composing and music publishing royalties are a substantial source of royalty income for songwriters, composers and music publishers


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 - Capitol 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, U.S.A


Berklee College of Music - The 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.

Earn a Songwriting Degree Online with Berklee - Berklee Online is the only fully accredited school in the world that offers an online Bachelor's degree in Songwriting. Learn how to enhance your craft and write fearlessly with esteemed Berklee instructors who have taught Grammy Award winners such as John Mayer and Gillian Welch.

Unleash your creativity and master the techniques that have helped Berklee-trained songwriters succeed for nearly 30 years. Learn more and download Berklee Online’s free songwriting handbook, featuring lessons from the new Songwriting degree major.


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