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She began her career back in the 1970's and was initially knownas 'Frankie'. She was signed to the Domino label and recordeda lot of her work at Strawberry Studios in Stockport. She had asingle released called 'Road of Destiny' which charted in Spainand Italy. Her work was also recorded by Frank Chacksfield andhis orchestra, specifically a piece called 'Sign Of Love'. Shegigged unplugged around many university circuits, both in Londonand Manchester and performed in concerts over a period of timeat the Free Trade Hall, the former home of The Halle Orchestra.Further down the line she began to record at Indigo Studios withrecording engineer Bob Auger who produced quite a few of hersongs. Her manager was Rod Taylor who went on to become atop TV Producer. He arranged for Brian Fitzgerald, together withThe Northern Dance Orchestra to arrange and play on her single'Where Is The Feeling'. This nearly resulted in a recordingcontract with Page One Records but negotiations fell through atthe last minute.She changed her stage name to 'Fran Barrie' and her husbandRobert became her Manager. She carried on composingfeverishly and her agent Joan Davy arranged for her to meetHarvey Lisberg. He played her a revised backing track of TheAnimals single 'Please Don't Let Me Be Misunderstood' which wasa collaboration between 10cc and Barclay James Harvest. Hewanted her to record it as a single but it was in a much lower keyand did nothing to showcase her voice. She turned it down flat.She was introduced to a DJ at Liverpool's Radio City whichresulted in sessions with airplay and interviews. Round the sametime she was also introduced to Charles Foster who was anannouncer at Granada TV. He set up a meeting with a producerat Radio Piccadilly in Manchester resulting in a prime time slot ontheir Night Beat programme. Paul Mitchell-Davidson arranged 5of her self-penned songs and the programme was broadcast ontwo separate occasions.She carried on recording with engineer Bob Auger at his newstudio Arrow Sounds. It was round this time that she wrote andrecorded a musical called 'Child Of The 60's' which was aconceptual theme about the 1960's, as seen through the eyes ofa teenage girl. This consisted of 11 songs and was recorded withjust acoustic guitar and voice. She made an appointment with aproducer at The Everyman Theatre in Liverpool where sheperformed several of the songs live. He seemed very interestedin staging it but owing to lack of funds, it was put on a back burner.In London, she was introduced to Laurence Aston of TransatlanticRecords and had lucrative meetings but although he liked whathe heard, he could not generate enough interest within thecompany as a whole. This set a pattern and she had numerousinterviews with many record companies who professed stronginterest but when it came to a unanimous decision, a contract wasnot forthcoming.In Manchester she performed at Band On The Wall regularly.She also had a long residency at The Royal Exchange Theatrewhere the likes of actor Trevor Peacock used to come out of hisdressing room specifically to watch her, with half of his stagemake-up on and a towel thrown round his shoulders! She wentback into Arrow Sounds and recorded a demo called 'People CanSay' arranged once again by Paul Mitchell-Davidson. She wascontinually gigging backwards and forwards between Manchesterand London and met a producer called John Astor who professeda keen interest.Her husband Robert Barrie went into partnership and formed apromotions company. He signed three bands which she did somebacking vocals for. She also composed a variety of jingles forradio which was not creatively stimulating but the money wasgood!!Back in London,Fran met EricLewisfromUnited Artists.John Astor hadbeen hawkingher demo singlearound and hadarranged to meetup with her. EricLewis played thesingleandappearedunimpressed soshequicklyplayed him somelive songs on theguitar and his reaction changed instantly and he phoned up oneof his associates. Soon after he flew to the US with the demo andsaid he would keep in touch. Tragically he died suddenly, as didany further interest with his company.Robert arranged for one of his bands Steroid Kiddies (who havebecome part of punk music history and are still gigging) to backFran on her song 'Stole All My Love' in the studio. The demo washeard by Vibes Records who pressed 1000 copies to 7 inch vinylon their own label to promote it. This single has recently beenre-released in March 2008.Various record companies in London were interested but it wasafter a meeting with Decca that things started to move. Theywanted to hear more songs and paid for Fran to go into a studioof her choice. Bob Auger was very busy with other projects soRobert searched around and found a studio in Manchester calledCentral Sound. Backing musicians were found and a session wasbooked to record 5 of her songs.The owner of the studio was Dave Christie who was also the leadsinger of his own band, Bacchus. He professed interest in her,as his dream was to nurture a stable of artists and promote themthroughout the UK and Europe.Dave forwarded the tape to Decca but he did not charge studiofees as he expressed the wish to manage Fran. In the end itworked out for the best as Decca were undergoing major changes.All his artists were afforded free studio time and advice. Two ofFran's songs were recorded with Bacchus. He then set aboutpromoting her as well as his other artists. As part of this drive heinvited Clive Epstein (Brian Epstein's brother) to the studio to hearall the songs. Clive showed great interest in Fran's work,especially a new conceptual album she had written called'Priestess' which was about mysticism. Subsequently he actuallyphoned her at home and asked if she would consider him as hermanager but she did not want to break away. She also changed3

her name to 'Fran Raya' and has kept the name ever since.Bacchus flew to Denmark as they had been booked to perform forseveral months at a club in Copenhagen City. Fran was still giggingand recording when she received a call from Dave to say that theDanish promoter Erik Thomsen who was then a partner inInternational Concerts Organisation wished to meet her. He flewover and while he was in the UK Fran recorded four more of hersongs with a rock group called Fingers.her original songs. This was advertised as such on the Claptonposter and Fran had a full page spread in the programme.Although the tour went well and a project album was recorded, therewere managerial problems and Fran was caught in the politicalcrossfire, so to speak. She was still gigging, namely at a number ofsmall rock clubs throughout Europe and writing new material.Back in the UK she arranged a collaboration with bass guitaristRyszard Szafranski (who was in her first backing group) and keyboardplayer/arranger Nigel Devereau. They went into the studio andrecorded 3 of her songs with an electronic twist. Later on theyrecorded and filmed another session of songs, along with drummerPhil Watts (who is now a promoter with Bullet Management Ltd.)She had several gigs to promote them and also sang a duet with 60'ssinger P.J.Proby at a private party thrown by a friend.After a while she stopped performing and was accepted as a memberof BASCA and also The Guild Of International Songwriters andComposers. However, a golden opportunity arose to go to performin Nashville through Tom Paxton but there was a last minute hitchand it was called off. Round this time singer Iain Scott, who won aheat in 'Stars In Your Eyes' on ITV (as the singer Peter Noone fromHerman's Hermits) asked her for two original songs. He recordedthem both, namely 'If I Told You' and 'Lesson In Love'.Erik had major contacts and as a result Fran gigged with RitchieBlackmore and Joan Armatrading. She was also flown out toDenmark for publicity shots, and press interviews for TV and radio.She was told that arrangements had been made for her to supportEric Clapton on his forthcoming 'Just One Night' Scandinavian tour.She was booked into a 32 track recording studio in Copenhagen tomake a project album of her songs with Bacchus. The rock groupFingers, together with Bob Marshall who was the lead guitarist fromBacchus, would supply the backing for the live performances. Theywould be Fran Raya & Friends performing a forty minute slot of 9 of4For the past few years she has concentrated purely on her literaryefforts, which have been rewarded. Her own book of poetry entitledThoughts Of The Poet and written under the pen name of FrancesRochelle Barrie is to be published by United Press and will beavailable in the shops and libraries by March 2009.Also Fran Raya the performer has come full circle and is back writingnew songs and aiming for them to be recorded by other artists.Visit Fran’s website for more information about her:https://www.franraya.com/

How To Research Which RecordingArtists Need New Songs and LyricsKnowing which recording artists need new songsand lyrics can be all that separates songwriterswho write songs as a hobby, and those who writemoney-making hit songs. Many hit song writers andagents tell us that this is the most important thing tofind out before sending out your songs & lyrics.songwriting credits that are usually listed inside thealbum cover or liner.The songs are generally listed in the order they appear,followed by the songwriter’s name. This will tell youwhether the recording artist wrote the songs . orwhether the songs were written by other songwriters.The good news is that there are a lot recordingartists who don't write their own songs, and rely onsongwriters and lyricists to supply them with new,original songs and lyrics to record. Many successfulsongwriters tell us that knowing which recording artistsare looking for new songs and lyrics is what helpedthem become a hit songwriter, and is crucial to theirsongwriting success.This is very important, because it will tell you whetheror not the recording artist writes their own songs. Ifthey do, then sending them your songs may not helpyour songwriting career.Another way songwriters can see which RecordingArtists don’t write their own songs is to check theBillboard song charts. There are other, similarpublications, but Billboard has been the industry leaderfor decades when it comes to listing the current top hitsongs for all major markets, including pop, country, hiphop, R&B, dance, etc.After each song title is listed in the charts, thesongwriter’s name is listed, usually in brackets. Thiswill confirm whether or not the recording artist that youare interested in sending your song material to wrotetheir current hit song.Again, you will be looking for songs where the artist isNOT the songwriter. As a songwriter, keep in mind thatyour main objective at this stage is simply to determinewhich recording artists write their own songs andwhich artists don’t. Once you know that, you cannarrow down your list of which artists you should sendyour songs and lyrics to, knowing that recording artistswho don't write all or most of their own songs willalways have to depend on other songwriters andlyricists for fresh, new hit song material.For example, do you know which artists write their ownsongs - and which don’t? As a songwriter or lyricist,this is key information that you will likely want to know.Quite simply, recording artists who write their ownmaterial won’t usually need and may not even acceptnew material from other songwriters.But recording artists who DON’T write their ownmaterial will always need to see new songs coming in,in order to select the songs and lyrics that they feelthey could achieve the most success with. In a sense,they are dependant on songwriters to provide themwith new, original song material, since they don’t writetheir own songs.Keep Up To DateTo keep up to date with current hit songs, it is importantthat you consult the music charts on a regular basis.Some charts reflect the amount of national radio airairplay a songs is receiving. Since hit songs get a lotof airplay, this is a quick and easy way to find them.Other charts like Billboard.com reflect both radioairplay and sales.Do Your ResearchSo before you send out any of your songs and lyricsto Recording Artists, do a few minutes worth ofimportant songwriting research first, to find out whichrecording artists don't write all or most of their ownsongs.Study Hit Song LyricsWhile song lyrics are available online, most websitesthat carry them don’t have publisher permission anddo not pay for the use of the lyrics however, there aresites that do offer lyrics legally although you shouldnever copy or use them in your own songs.MetroLyrics: www.metrolyrics.comCheck the Artist’s Song CreditsWhether you have the actual CD of a recording artist'ssongs or the digitally downloaded mp3 file and digitalalbum cover, you will want to take a look at the5

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Important Facts About Copyright Percentagesand Session Singers you need to knowTSongwriting & Composing magazines signed for eachand every song that is co written. These shares wouldhave to be identified to any publisher when enteringinto a publishing deal, and of course each owner of thepercentage share in the copyright does not all have tosign to the same publisher, as they can assign theirpercentage share rights to what publisher they like if theywish to do so. Also for royalty collection organisationsand you may be a member or become a member of saythe Performing Right Society (www.prsformusic.com) forcollection if any public performance and broadcastingroyalties for payment to you, then you would have to addeach co writer and you would also have to identify whatpercentage share of the copyright they claim and towhether it is a percentage of the authorship (lyrics) orcomposition (melody).o claim a copyright to a song, you must be either thecomposer, author or both in part or in whole.Where a vocalist employed by you to perform a work thatyou are the sole copyright owner of, i.e you have writtenboth melody and lyrical content and you claim the work100% as yours then a vocalist who just comes in to singyour song is not party to the copyright of the song unlessthey had contributed to the writing of the song in part orin whole.If the vocalist has written part of the song melody and orlyrics or both then you would apportion the percentageinput of the writing to each party in the co write who hascontributed to the song. So if you wrote the entire melodyyourself you would claim 100% of the melody which is50% of the song. The other 50% being made up of thelyrical content if written by more than one person in a cowrite and let's say in this example that you wrote 25% ofthe lyrics and you co writer wrote 25% of the lyrics thenyou would claim copyright to the song as composer (c) /author (a) of 75% i.e Garry Benson c/a (75%). you cowriter as author (a) would claim 25% i.e Joe Doe c 25%.As a song has two copyrights, the melody (50% of thesong) and the lyrics (50%) of the song then each partiesinput would be claimed on the percentage they wrote ofthe song. If say you have four writers and one had aninput to only 10% of the writing of the lyrics then thatwould be the share they would claim as author. If anotherwriter contributed 20% of the lyrical content then thatwriter would claim that share as author. If another writerwrote 20% of the lyrical content then that writer wouldclaim that share ad author. So in this example you havethree writers as authors of the lyrical content where theshares claimed for copyright purposes would be 10% 20% - 20%. The other writer may be. the sole writer ofthe melody, the he would claim 50% of the copyright ofthe song as composer, so the final shares in this examplewould be writer 1: 10% (a) writer 2: 20% (a) writer 3: 20%(a) writer 4: 50%(c) in all equals 100%.To clarify, if a production is put to a copyright where theproducer has no input to the writing of any part of thesong then the producer has no claim to any copyrightshare of the authorship or composition.You would also not give the vocalist any part of yourcopyright or any royalties earned from it.Where a vocalist performs on your demos then you wouldpay them a session fee for their services, obtain a receiptfor payment in full and final satisfaction of the fact thatthe performance of their vocals in your recording can beused in any manner, i.e commercial release or just ademo as vocalists performances are protected under part2 of the UK Copyright Act. (Google it and read about it).If two of the authors of the lyrical content also wrote themelody, say the writer with a 10% share of the lyricswrote 35% of the melody then that writers copyright sharewould be 10% as author (a) and 35% as composer (c)of the melody therefore this writers share of the songwould be 10% (a) 35% (c) 45% of the copyright tothe song as composer/ author under the percentages inthe example given. Each and every co write would bedifferent so you have to agree everything to, avoidargument at the time or later.This has nothing however to do with the copyright to asong. Obtaining a receipt for payment for session feeservices where details of use are clearly defined, i.e foruse as a demo promotional recording only, or a contractunder a record deal for commercial release physicalmanufacture of product and digital download sale, thenthat gives you the right to use the vocalists performancesunder the terms of a recording deal if a commercialrelease is the way you are going with it all.IMPORTANTSo when co writing you have to work out and agree withyour co writers just exactly what each has written andwho claims what and get the songwriting collaborationagreement as published in current and previous9

Competition Winners for the GISCCoronaVirus - COVID 19 Songwriting ChallengeWe are pleased to announce the winners of the first GISC Songwriting Challenge which wasadvertised in the 2nd quarter Songwriting & Composing magazine published in May 2020We asked members to write a themed song about the Coronavirus - COVID 19 pandemicand the three categories where:1. Submit a Lyric2. Submit a Song3. Submit an Instrumental trackWe would like to say thank you to all members who took part in this ‘free to enter’competition and after careful consideration the winning entries are:The Lyric Category - The Sky Is Blue by Brenda J Ward(Winning a melody created specifically for the song and a fully produceddemo recording arranged and produced by SCAMP Studio)The Song Category - Never Feel Alone by Susan Odella(Winning a Song Video created and produced by SongandMediaand uploaded to YouTube and also supplied as an mp4 video file)The Instrumental Category - Beautiful Skies by Ian Plested(Winning a Song Video created and produced by SongandMediaand uploaded to YouTube and supplied as as mp4 video file)Thanks to all members who took part in this songwriting challengeand we welcome entries for the next challenge themed aroundCreate a ‘Happy song’ or a ‘Happy song Lyric’or a ‘Happy instrumental Music Theme’Lyricists can submit a ‘well structured lyric’ incorporating a repeating chorus that highlights the‘hook’ of the song.The winning entry will have a melody created for their lyric and be professionally recorded by SCAMP Studio witheither a male or female vocal and you will be given ownership of the finished song to promote as your own.Songwriters can submit an mp3 song of between 3 to 4 minutes in length together with a typed lyric sheet forjudging. The winning song will have a Song Video created by SongandMedia to include stock video footage andhigh quality images (with or without typed lyrics) and uploaded to YouTube and / or supplied as an mp4 Video fileto you to promote your song.Composers can submit an mp3 instrumental composition of 3 to 4 minutes in length that reflects The winningcomposition will have a Song Video created by SongandMedia to include stock video footage and high qualityimages and uploaded to YouTube and / or supplied as an mp4 Video file to help you to promote your instrumental.RULES: Each current Guild member can if desired submit One Lyric entry and One Song entry and OneInstrumental entry or just one of each. The songwriting challenge is free to enter and is OPEN NOW. To submityour entry go to https://www.mailbigfile.com/songwriterchallenge/ to upload your entry. Once uploaded you willreceive an email confirmation advising that you have submitted your entry. Only one entry per member per category.It is important that everyone that enters, follows the instruction to type in their Name, Guild membership numberand their lyric or song or instrumental title in the relevant boxes. The closing date for entries for the next quarterchallenge is 23rd October 2020. Entries will be judged and the winning entries will be announced in the 4th quarterSongwriting & Composing Magazine due out in the first week of November 2020.The winning prizes cannot be exchanged for cash or monetary equivalent.Good Luck to all who are up for the challenge10

https://distrokid.com/DISTROKID is an independentdigitalmusicdistributionservice, founded in 2013 byAmerican entrepreneur Philip J."Pud" Kaplan. DistroKid principallyoffers musicians and other rightsholders the opportunity to distributeand sell or stream their musicthrough online retailers such asiTunes, Spotify, Pandora, AmazonMusic, Google Play Music, Tidal,Deezer, iHeartRadio and others.UPLOAD YOURSTORES TODAY.MUSICTODISTROKID advises they will getyour music into Spotify, AppleMusic, TikTok, Pandora, Amazon,Instagram,YouTube,Tidal,iHeartRadio, Deezer, plus a ton ofother stores & streaming services.DISTROKID allows you to keep100% of your earnings, get paidmonthly.In stores 10 to 20x faster than anyother distributor, at a fraction of theprice.In July 2015, a DistroKid release bymusical act Jack & Jack went to #1worldwide in the iTunes charts. Thiswas particularly notable becauseDistroKid does not take acommission of royalties, making thisthe first time a #1 charting artist wasable to keep 100% of their earnings.In May 2016, DistroKid launched afeature called "Teams" that makesit possible for royalties to beautomatically sent to collaboratorsand shareholders. Since thenDistrokid has made several otherdevelopments including partneringwith Spotify to support crossplatform uploads for Spotify artistswho upload directly or have directlicensing deals with the companyand an investment from SilversmithCapital Partners.What Is DistroKid?DistroKid is a service that musiciansuse to put music into online stores& streaming services. These includeiTunes, Spotify, Apple Music,Google Play, Amazon, Deezer,Tidal, and many more.Pay only 19.99 to uploadunlimited albums & songs for ayear (their compe

SONGWRITING AND COMPOSING Is the Magazine for International Songwriters and Composers, is published by The Guild of International Songwriters and Composers. The range of services available to Guild members, being amateur and professional songwrit