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Protest Songs For A Better World
2006 Submissions are open:
Learn More
Years with
Sonicbids: 2
# of Artists Selected in 2006: 12
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1) How many Sonicbids artists did you select?
We selected twelve Sonicbids artists for the
compilation CD ‘Protest Songs for a Better World -
Volume 1’. Due to the large numbers of high caliber
submissions received, we found the evaluation and
selection process to be tremendously difficult.
However, after much deliberation, our team of judges
was able to narrow it down to required twelve tracks
2) What are you looking for in an artist submission?
The motto of A Better World is, ‘We can Use Voice to
Change the World, There is magic in our words’. We
fulfill our mission by encouraging change in the
world through artistic expression. On this project,
we are accepting songs on any topic based around a
central theme of 'change for improvement'. The
tracks we consider cover many related subjects
including war, violence, peace, hunger, abuse,
violation of rights, injustice, minorities, poverty,
prejudice, freedom, homeless, children and more. A
portion of our target market is radio and media
coverage, so we try to listen through the ears of a
program director.
3) What is your review and selection process like?
We have a team of judges who are personally selected
by me. The only upfront information they get is to
ensure they understand the nature of the project,
and have a good awareness of the theme. Then they
are free to make their own selections.
All of our compilation CD’s get good global airplay,
so we need to deliver a professional quality album
to the media to maintain the high standards of
musicality and sonic quality they expect from us.
(This is a different criterion than is used to
evaluate a festival or performance submission)
There are several key stages to our review and
selection process. Every song is listened to several
times. The first listen through is a cursory sorting
process, and unfortunately most of the submissions
don’t make it past this stage. Songs that pass to
the next level exhibit common characteristics such
as high production value; studio quality mixing and
engineering; strong vocals and instrumentation; and
overall inspiring musical experience in their
presentation. We look for songs that are well
written, and prefer an original approach to the
theme. Regrettably, most of the submissions are
rejected at this stage for reasons of weak or
off-pitch vocals, poor musicianship or poor writing,
sonically inferior recordings, or just the overall
low standards used throughout. Songs without
recording or musical flaws are elevated to the next
level.
At this point, all remaining songs are deemed to be
of ‘radio play’ quality. The next stages of
evaluation become more subjective, and the judges
listen with no pre-conceived ideas other than
waiting to be ‘moved’ by the song. (Like the first
time you hear the Beatles). When they are ‘touched’
by the song, it is put into the ‘favorite’ category.
The attraction may be a musical hook, a haunting
lyric, an upbeat or unusual tempo, an emotional
magnetism, the spontaneous energy of a live
recording, some tight harmonies, a bit of studio
polish and more – it’s not always easy to define
this step in the evaluation process as it relies on
artistic selection and personal preference, rather
than a predefined rule set.
There are about 25 songs left at this stage – all of
which are high quality recordings and worthy
candidates - and we have to further narrow the
selection down to only twelve. This is the most
difficult part of the process.
Final selection from this stage is based on criteria
such as the overall ability of the song to comply
with our theme, as well as many other factors. This
is the point in time when we closely scrutinize the
lyrics for interpretation of the messages and
symbolism, and especially to ensure there is nothing
objectionable or offensive. We look for a mix and
balance at this point, and some selections are made
for reasons of cohesion and coherence to the overall
album.
We like to put an upbeat catchy song as the first
track, and a reflective large lasting production as
the last track. We try to ensure no two successive
tracks are recorded in the same key, nor are in the
same style. For example, if there are some acoustic
tracks, we will try to spread out and transition
them with other styles. We are conscious to
continually introduce new sounds as the album
progresses, to maintain high listener interest level
so they are more likely hear the album in it’s
entirety. There is a large challenge to combine
rock, blues, roots, pop, and more on the same
record, and present a strong coherent album - and
not just a collection of assorted songs. So, the
last stage of the selection process may be more
related to how each track fits into the big picture,
rather than the track on its own merits.
We have to look at the goals and the mission at all
times when assembling a compilation CD, and always
upholds a high quality standard and does our best to
keep the vision alive. It’s not an easy undertaking.
4) What can artists do to be better prepared to
submit to your opportunity?
Simple - Submit a well-written, well-recorded song
with good musicianship and high production value.
Then you will get our attention.
Many of the reasons songs are rejected are totally
correctable by the artist prior to submission. We
have received many excellent songs, which we
regrettably could not consider for very simple
flaws, which should have been edited out at the time
of recording. Many times artists send us excellent
songs bursting with passion and commitment – you can
hear the emotion embedded in the recording. Often,
very moving lyrics and beautiful melodies are
trapped within an amateur musical production. We
can’t consider the song for simple reasons such as
the vocal is weak, strained or off key; the guitar
is out of tune or guitar playing (or
instrumentation) is weak; production value is poor,
and more. Often it is apparent the artist hasn’t
mastered the song yet, and should spend more time
practicing prior to recording. Sometimes we get
great songs which have obviously recorded with
mundane studio musicians playing routine patterns,
rendering the product unexciting and lacking
inspiration.
Basement recording studios are fine when used
properly – we are not suggesting that an artist make
a large investment in studio time. You are competing
with every musician in the world. If your tune
stands out it will be noticed – often the production
value make the difference. Great musical artists are
not necessarily great studio engineers. To create a
track of the required sonic quality, an
inexperienced artist should solicit assistance from
an audio engineer and producer with a proven record
of accomplishment. A poor quality recording masks a
good song.
There is no substitute for practice – artists must
practice their songs until they are fluid and
smooth. Prior to recording, a few weeks of
rehearsing the vocals and mastering all the guitar
licks can make a world of difference. Sometimes
artists submit material above their ability to play.
We don’t look for intricacy, speed, or complexity. A
simple well-played clean accompaniment is always
preferable to a sloppily played complex arrangement.
5) What sets this opportunity apart from other
events like it?
We are a not for profit organization registered in
the province of Ontario, Canada. All of the funds
raised through our work go directly into the
community, and we partner with such agencies as
Earthday, and New Songs for peace. We have
recognized the power of artistic expression, and
encourage artists to make a difference in the world
through their artform. We offer our artists
worldwide exposure and open new markets. This is
accomplished through global contacts in radio and
media established by Brian Gladstone through his own
albums releases.
6) What is the importance of this opportunity to an
artist’s career?
We like to feel that we have made a positive impact
to the artist’s career.
Following are a few quotes from artists who have
appeared on our compilation CDS. The artists’ own
words speak for them selves.
“Being on this CD reminded me of my original
mission.”
"Not only did I receive a great deal of positive
feedback as a result of my submission, I also felt I
was contributing a positive message to the world".
“You’ve got me the first airplay in twenty years”
“I've received emails from people around the globe
who are enjoying my song "Change My World" and
thanking me for participating in the project. It
feels good to contribute to a worthwhile effort like
this. Thanks for the opportunity.”
7) Little Known Fact About the Promoter or
Opportunity:
After twenty five years working as a self-educated
engineering director and mad scientist, Brian
Gladstone walked away from a six-figure salary to
intentionally become a starving artist, and then
founded ‘The Association of Artists for A Better
World’.
He is a child of the 1960’s, an attendee of
Woodstock, an aging hippie, and a perpetual quixotic
dreamer, whose lifestyle and belief system was
shaped by a mindset and mentality that is somewhat
foreign today. He grew up during the roots
revolution, and witnessed first-hand how the power
of music can alter the course of history, and turn
underground ideas into the policy of a nation. There
are so many vital causes and injustices in the world
today, and we want to create an avenue for the
artists of today to be heard and make a difference.
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JOE
DOLCE
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Member Since: 2003
Hometown:
Carlton, Victoria, Australia
Featured on the "Protest Songs For a
Better World" 2006 CD.
What's the coolest show you've ever
played?
Here are a couple of memorable ones
that come to mind - with a
thirty-year span between: When I was
in my twenties in the 70s, i was
invited to back up Muddy Waters on
blues harp in a little club in
Boston.
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LENNY SOLOMON
& THE SOLOMON BAND
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Member Since: 2004
Hometown:
Cambridge, MA, USA
Featured on the "Protest Songs For a
Better World" 2006 CD.
What's the coolest show you've ever
played?
I think most of the places I've
perfomed in have been cool in their
own way... a few weeks ago we played
as the open mic feature at a
gathering where all of the other
performers were spoken word folks,
(i.e., writers and poets). That was
very cool.
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