Writing Hit Songs

There are a lot of factors to writing a hit song. First, you should focus on writing a good song. Once you've done that, you are not far away from writing a hit.

Like most other things in life, it takes persistence, patience, drive, knowledge, belief and maybe some luck.

Stop and think about your favorite songs. Really analyze them and figure out what it is that you like about those songs.

Different factors may come to play here. Maybe it is the good beat, lyrics that hit home, a beautiful melody, something spiritual or patriotic, or maybe even that it is humorous.

If you include one of these elements in your songwriting you are well on your way. If you combine two or more of these elements, you may have yourself a hit.

A Good Beat

Rhythm is important in music. I have to laugh and think of Jerry Van Dyke on "The Dick Van Dyke Show" years ago trying to play the banjo and sing, "I've got rhy-rhy-thm, I've got mah-mah-music..."

But, unless you are very funny like Jerry Van Dyke, your audience is not very likely to stay with you.

Your music not only needs to have a good beat, but must fit the genre of music you are trying to write. A Metallica beat in a George Strait type song may not get you very far. A song with a good enough beat might be a hit even with no melody and no lyrics. Remember "Green Onions?"

Along with the beat is the tempo. Country music is easy to write (I did not say it is easy to write well) because it is about people's lives and everyday experiences. However, too often people write slow songs for country music, when in fact the industry is starving for upbeat country material like "Country Roads" and "Rocky Top." It is much harder to write a good up-tempo country song than it is a tear jerker.

Lyrics in popular music can range from broken relationships to political issues, and just about any point in between. Those that tend to be the most popular are about situations you and I may encounter in our everyday lives; "Workin' 9 To 5," "I Just Called To Say I Love You," "Your Cheatin' Heart," "God Bless The USA" (which ingeniously incorporates spiritual, political and patriotic views).

A beautiful or interesting melody can get you into the ranks of hit songwriter with no lyrics required. Going back in time to prove a point about beautiful melodies, you might consider songs like "Last Date" and "Sleepwalk."

Songs with great melody lines are very easy to be found in many hit TV show themes like "Peter Gunn," "Hawaii 5-0," along with many of the 60's surfer songs like "Wipe Out."

Well done humorous songs usually find an audience, such as Ray Stevens "The Streak," and Jerry Reeds "She Got The Goldmine, I Got The Shaft." If you have a knack for both humor and music, you might make a fortune.

Spiritual and patriotic songs, if they are well done and come out at the right time, are easy hits. Every time the U.S. gets involved in any type of world conflict, the songwriters get their pens out.

Keep your ears and eyes open, and keep a shoe box to put your ideas for songs in. Every time you think of an idea for a song or a song title, write it down and drop it in the box. It could be your first, or your next, big hit.

Michael Russell Your Independent guide to Entertainment

How To Write A Song

Did you ever wish that it was your song playing on the radio? It could be. It is not that hard once you know the formula. With a little creativity, a little knowledge, a little luck and a good formula to follow, your song could be one of the next biggest hits.

Songwriting comes easy for some, and is very difficult for others. I have actually written songs in my sleep, and immediately upon awaking, written it as quickly as I could get the words on down on paper.

What I want to discuss here is popular songwriting, like the songs you hear on the radio. A good pop song, whether rock, country, middle of the road, is composed of two things: a catchy tune and some good lyrics.

There is a formula that most great songwriters use to write great songs. It regards the structure used to write a song. Granted, it is music and it is art, so the rules are not hard and fast. But if you want to increase your chances of getting your song on the radio, it is a good starting point.

Here is the formula. Verse, chorus, verse, chorus, bridge, chorus.

Write that down on paper leaving plenty of space between each word and this will be your script.

Verse

The verse is the part of the song that tells the story, the part that leads to the chorus. Each verse is usually different, telling a different part of, or adding to, the story. It usually explains how you got to the things you are singing about in the chorus.

Chorus.

The chorus is the part of the song that is repeated after each verse. The lyrics are usually the same each time the chorus comes around. The verse usually leads to the chorus, and the chorus is usually the pay off for listening to the verse. Does that make sense?

Here is a lame example (you did not think I would give you my best work, did you?):

(verse)
My dog is sick, he's got a tick
He's my best friend, don't let it end

(chorus)
Oh, woe is me, can't you see
Woe is me, will I ever be free

(verse)
My car broke down, just out of town
It got towed in, but it's broke again

(chorus)
Oh, woe is me, can't you see
Woe is me, will I ever be free

Now, if you would kindly stop laughing at my lame song for a minute, I want you to think about whether or not you understand my point. Songwriting is story telling. The verse tells the problems, the chorus expresses the results or the emotions.

All right, now that you have that mastered, let's tackle the bridge. Ah, yeah, there is more to the song than the pain and the release. We need the diversion. That is what the bridge is; it is the diversion from the verse and the chorus.

The bridge may have a slightly different melody to it, or it could even have a different rhythm or a different tempo (Elvis' "Suspicious Minds" did a great job on this technique).

Let's go back to the lame song and add a bridge:

(verse)
My dog is sick, he's got a tick
He's my best friend, don't let it end

(chorus)
Oh, woe is me, can't you see
Woe is me, will I ever be free

(verse)
My car broke down, just out of town
It got towed in, but it's broke again

(chorus)
Oh, woe is me, can't you see
Woe is me, will I ever be free

(bridge)
Tomorrow is a better day, I've got a new truck on the way
My dog just had a flea it seems, so once again I'll live my dreams

(chorus)
Oh, woe was me, can't you see
Woe was me, but now I'm free

The bridge offers a solution to the problems I was having. You don't want to leave your listener on the edge of suicide, you want to give them hope.

Notice, I also changed up the wording of the chorus. This was done to reflect my new found joy.

One more thing on formula. It can be anyway you want, but most verses and chorus come in lines of 4. So, instead of this:

(verse)
Oh, woe is me, can't you see
Woe is me, will I ever be free

(verse)
My car broke down, just out of town
It got towed in, but it's broke again

it would be:

Oh, woe is me, can't you see
Woe is me, will I ever be free
My car broke down, just out of town
It got towed in, but it's broke again

The same goes for the chorus. Again, if you are creative, do it however you want. But for a new songwriter, this gives you some guidelines to scratch out and start carving out your new creation.

One more thing, do not make the notes to the melody so high that your fans cannot sing along. We are certainly all not Stevie Wonder.

Michael Russell Your Independent guide to Entertainment

You Don't Know How Write To A Song ... You're Not A Musician!

This is something I briefly touched on in a previous newsletter - ...over and over I get asked "will I write better songs if I'm a musician"?

What's the answer?

Yes AND no.

Confused?

Let me explain. For the sake of simplicity, here I'll talk about the 'music' aspect of songwriting.

First up, I'll tell you that I'm a musician, songwriter and a vocal coach. And I have worked with both songwriters who play instruments and songwriters who don't. Which group are a better bunch to work with?

It goes like this. Those who play an instrument (to a certain degree) are more prone to understand timing, tempo and perhaps some syncopation. Sometimes, musicians will also understand the creation of melody a little more than non-musicians. They'll understand the structure of harmony and some music theory that goes along with it.

Because of the various 'pieces' or 'songs' they have played with their instruments, these musical and rhythmic elements are more or less naturally embedded in their brain - in practice and in theory.

Of course, this is GOOD thing. It's an advantage. Now yes - there are non-musicians who are gifted with these elements also, but I'm just talking in general terms here. For the most of it, more musicians will have these elements than non-musicians.

Now here's the twist. It's because of this very same reason that many musicians find it hard to write great songs. How? Well, because there are musicians that are pre-programmed into believing that perhaps a melody should flow a certain way, or maybe a chord sequence shouldn't fall in that pattern, etc, BECAUSE they get caught up in the theory that indirectly tells them "this isn't right".

You see, songwriters who don't know anything about music theory or playing an instrument will write freely. Meaning they won't think about whether something is 'musically right' or not. Of course, you can't write a song of pure non-musicality and expect to get a welcoming reception. You'd be mad to.

But it's nice when you don't think too much about something 'sitting right' musically in the song. Why care? It's a song. If the second verse has 10 bars and the first verse has 8 - so what? No big deal.

On the flip side, there are non-musical songwriters who just need that little push to learn some very basic chords on a piano or guitar....just to give them that edge and sometimes to even super-charge their creativity. So....

....here's my conclusion. If you play an instrument and you wish to be a songwriter, then don't think too much about what's musically correct. Let the chords and melody take you away. Don't think about it too much. Yes, stick within the rules of music, but don't get caught up in it.

If you are a non-musician and you write songs, then a great idea would be to learn some very basic chords on the keyboard. This isn't completely mandatory, but it will definitely give your songwriting a boast. Just the basic chords will do. You'll be amazed the kind of music you can make with learning the basic stuff.

And why did I say the keyboard and not the guitar? Well, I believe the keyboard to be fundamentally easier to learn than the guitar, as you can blatantly see the notes for the intervals you are playing face-front.

But please, don't let me deter you from learning the guitar if that's in you to do so. It's a wonderful, natural songwriting accompanying instrument.

If and when you do decide to learn an instrument, I wouldn't get too caught up in the theory, unless it's your desire to really learn about it....

......and if you wish to do so, then try to draw a firm line between your musical ego and your songwriting craft. This is the key here. As much as they may fight against each other, they *can* work together, if you consciously try to find a balance.

About the author
Calvin Rele shows us that anyone can lean how to write a song with his free songwriting tips. Check it out ... http://www.SongwritingTipsOnline.com

Songwriting Tips: Un-original Melodies Can Be A Good Thing...

The moment that people create a melody which they feel is great, many think it already sounds like another song. This is common, and I suffered from this many times. What you've got to understand is that ALL SONGS are RECYCLED MELODIES.

Every song has a 'portion' of the tune which will be the same as another. So don't worry if you feel your song sounds like another.

What's important to know here is that if your melody is a familiar one, then that's a GOOD THING. I'm not talking about a 'rip off' here, I'm talking about a part(s) of your melody that sounds like another song(s).

Why is it a good thing? Because it means PEOPLE can RELATE TO THE MELODY even more. They will want to listen to your song because of the familiarity.

Remember, most people aren't songwriters. So chances are, most people won't even realize where it may or may not have been inspired from. And what if they do? Well... ultimately, as a whole, it will be your own words, your own tune and eventually with your own music. So it will be YOUR SONG. So don't fret.

Here, I'll share some methods that will jump start the process of creating a melody:

- Pick a song that you like and know *quite* well, and when you are NOT listening to it, hum the tune of the song. DON'T' SING THE WORDS, just hum the melody. This way, you will think 'melodically'. Eventually, you should force yourself to sing certain variations of the melody (ie. completely mess around with the tune). When this happens, you'll end with your own melody.

- If you play an instrument (it doesn't matter which or what level you are at) try and figure out the melody of another song on the instrument. If you figure it out easily, then mess around and CHANGE certain parts of it. Then SING (hum, la, etc) this CHANGED MELODY out aloud. If you can't figure it out, then forget about it! CREATE A MELODY YOU FEEL IS CORRECT! Again, don't prejudge while doing this. Just go where your fingers take you and just 'la' the tune simultaneously. Loop this melody once you feel you have something good.

- Grab a song that you DON'T KNOW AT ALL. Listen to the song once, and then listen to it again. The second time around, sing along to it. More than likely, you won't remember the tune. This is normal! What do you do now? Yup. You guessed it. MAKE UPYOUR OWN MELODY to this obscure song. NOTE: This one may work better if you bought a CD of backing tracks that have no guide vocals on the songs. This way, you HAVE TO make up your own melody to a track that's already playing. Just make sure you DON'T KNOW the songs....at all.

You have no idea how powerful this is. I've written fresh songs on one's I had no clue about! And believe me, they are original songs - they don't sound like a copy of anything at all. This is because of what I said earlier - ultimately it will be your own lyrics, your own message and your own music which then translates into your own song.

*Keeping The Melody Simple*

Lastly, there is absolutely no point in making a melody that's 'musically clever'. You're not trying to impress musicians here. What you want is to create a melody that's SIMPLE yet INTERESTING.

So how do you do this? Well, melodies often re-occur several times in a song. In fact, the verses and choruses alone will often have the tune repeating itself. It's the basic structure of nearly all songs under the sun. The verses will repeat and so will the choruses.

SO....IF THE MELODY SOUNDS WORTHY ENOUGH TO BE REPEATED, THEN YOU'RE ON TO SOMETHING.

About the author
Calvin Rele shows us that anyone can learn how to write songs with his 'no nonsense' styled approach ... songwriting tips. Grab your tips here ... http://www.SongwritingTipsOnline.com

Write Songs the Music Industry Wants to Hear!

Sure, "art for art's sake" is cool... but what if you're pursuing a career as a songwriter? This article is full of suggestions for how you can tailor your songs to suit the requirements of music business professionals.

Many of us bemoan the state of commercial music today, but what are you doing to improve things in your own microcosmic corner of the universe? Are you working to create the next wave of great material — songs that have a lifespan of more than a few weeks or months? How can you use your talents to actually make a powerful contribution... and make a living while you're at it?

The first step is to take a good look inside and explore what you as a unique individual have to say, lyrically and musically. What do you think about, believe in, stand for? What makes you tick? These precious truths that bubble up from the soul provide the driving force behind great songwriting. These sparks of inspiration, these "aha! moments," are what listeners crave when they play a song. They're also what People Behind Desks are desparate to find. Do you have the courage to lay bare your personal truth in public? I firmly believe that's what it takes to achieve success with your songs.

The cynical among us will say, "no, you just need the right equipment, a catchy hook and a whole lot of money behind you." Sure, those things help, but if you're trying to break into the business, your song has to simultaneously grab people by the guts, tickle their ears, and slam them over the head like a 2-by-4. Strive to write songs that take risks, tap into the universal via the personal, and motivate people to laugh, cry, feel, dance or take action. Make an effort to innovate, not imitate what's already out there. In other words, write your passion. Songs miraculously translate to listeners the exact emotion you felt while you were writing them. Do your best to work that magic!

Another quality that professionals look for in a song is strong dynamic flow. Skillful use of the many conventions of songwriting can manipulate listeners in the most enjoyable way. Don't be afraid to push those emotional buttons! Here are some ways to go about it:

• Suck listeners in with lyrical, melodic and chordal tension.

• Create a question in their minds: how will this turn out in the end?

• Throw their bodies off balance with chords or melodies that are unexpected or quirky.

• Take a strong point of view that's boldly provocative, unique or intensely felt.

• Paint a vivid picture in the mind's eye.

• Set a palpable mood.

• Construct an entire sonic and/or lyrical environment.

Once you have piqued people's interest, crank up their involvement using all the techniques in your lyrical toolbox, i.e. rhyme, meter, imagery, metaphor, alliteration... you name it. Avoid clichés like the plague, or turn them on their heads somehow. Experiment until you find the melody lines that best show off your lyrics, and vice versa. Salt your song with enough repetition to make it memorable, but not so much that it becomes predictable. Use chord progressions that are fresh, stimulating the ear rather than lulling it into complacency.

When it comes time for the ultimate payoff, your Hook, don't settle! This is your Money Shot, and most music biz pros will hit the "eject" button if they don't hear a strong hook in one listen. One listen! Here are a few ways to enhance your hook:

• Construct your song so that all roads, lyrically and melodically, lead to your hook.

• Remember that famous music business adage: "Don't bore us, get to the chorus."

• More hooks is merrier! Instrumental riffs, backups, rhythmical chord movement, and verse melodies can provide secondary hooks.

• Fear not repetition (up to a point, of course).

• Throw in memorable "monkey wrench" words that stand out.

• Make sure the world can sing along.

• Play with the language: use slang, twists of phrase, even invent a new word!

Finally, People Behind Desks really appreciate it if you know your marketplace. Don't submit a country ballad when their artist is a heavy metal guitar-shredder. And if you're the performer, have at least 3 crowd-pleasing, radio-ready songs in hand before you shop a deal. Make a detailed study of the hits in your chosen genres, and incorporate those lessons into your work. The Internet has made it incredibly easy to educate yourself about what's selling these days, so there's no excuse for ignorance.

Look at the world for a moment from the perspective of a music industry pro: They'll respond positively if they think your song will save their job. By bringing them dynamic, single-worthy, heartfelt material you'll be well on your way to doing just that, and creating a career for yourself as well.

Happy songwriting!

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Award-winning hit songwriter and songwriting coach Alex Forbes (http://CreativeSongwriter.com ) has seen over 65 of her songs released, many of them landing on the Billboard charts, on TV and in feature films. Her hits in the U.S. include “Don’t Rush Me,” “Too Turned On,” "In a Dream" and “Nothin’ My Love Can’t Fix.” Her song, “You Are Water” is featured on the hit Classical/Pop album by Hayley Westenra. Alex's renowned songwriting courses in NYC are summed up in her new book, "The Songwriter's PlayBook," a 10-week self-study guide. She offers one-on-one coaching, song critiques and interactive teleclasses for up-and-coming songwriters on her site, http://CreativeSongwriter.com .

Hooks To Hits: The Key to Writing Songs That Sell

The main ingredient that distinguishes a perfectly respectable "album cut" from a hit song is the presence of a killer hook. But if hooks like that were so easy to create, we'd all be millionaires! How can you enhance the impact of your songs' hooks to appeal to both audiences and the People Behind Desks? Read on!

To make this article more useful, gather up your 3 strongest or most recent titles, hooks or choruses, so that you can apply what we're discussing to the "real world" of your material.

Tap Into Your Personal Experiences For "Nuggets of Truth"

It's my firm belief that the old adage, "write what you know" is applicable to songwriting as well as prose. Although some of us prefer to believe we can write about anyone and anything, our most meaningful and successful songs usually spring from "real life" experiences, and our responses to, and interpretations of, those experiences. Each day we spend on the planet, observed through the prism of songwriting, offers innumerable creative possibilities. The seeds of brilliant songs often lie just beneath the surface, but the writer must be willing to nurture their growth.

Let's say you're starting with a blank slate: germ of an idea brewing, recording device turned on, and instrument, voice or blank page ready and waiting. How do you go about extracting the proverbial Killer Hook from your precious "nuggets of truth":

• First, ask: what is true, real, intensely felt RIGHT NOW in your life? Be attentive to those flickers of realization, your "aha! moments."

• What experiences do you have a burning yearning to share?

• What contribution do you want to make to the world?

• What makes your angle on life unique, compelling, interesting?

• In the movie "Walk The Line," Sam Phillips asks Johnny Cash what song he'd sing if he was dying in a ditch on the side of the road and only had 3 minutes left. What hook would you sing in that situation?

• How can you arrange words and/or musical notes to get your "soul" down in song?

• Get crazy, be bold, bare your deepest truth or your silliest notion.

• Your job as a songwriter is to express what others can't express. Go overboard!

Now take a few minutes and blurt out what comes up for you. Really dig in there and fearlessly sing, write or play something, anything, as long as it rings true. This is a great exercise to try any time you have 10 minutes to spare.

Next, start to put that spark of inspiration into song form. Stay connected with the essence of your personal experience as you begin to experiment with lyrics and music.

Ways to Enhance the Impact of Your Song's Hook(s)

In the Verse/Chorus song form — the most common form these days — the chorus, and especially the hook, is where you "deliver the goods." It's the equivalent to the summation to the jury, the punch line of the joke, the revelation on the mountaintop. Every verse, every pre-chorus, every bridge, every line and every note leads up to this ultimate payoff. A great hook (and chorus) is packed full of meaning, fun, passionate intensity... or all three! It can't be overemphasized that your hook has to really Rock Their World. But first, it has to rock YOURS. It has to ring true to you.

• Boil your Big Idea down into the smallest possible expression of its essence: your hook.

• Stay simple-yet-elegant. Less is usually more.

• Don't pussyfoot around. Be bold and risky. Always take a strong point of view!

• A great line bears repetition. If it's worth saying, it's usually worth saying again.

• Make your song move rhythmically. People want to be SWAYED in more than one way by your song.

• Think of it this way: your hook is the hub of the wheel, and the other song elements are the spokes.

• Marry your melody to your lyric so that each intensifies and deepens the other.

• If you are thrilled by your hook, "they" probably will be too. And if you're holding back, they probably will too!

• Show off your "money" note, your slammin'-est groove, your cleverest line, your most unusual concept in your hook. Aim for the bleachers, emotionally and creatively.

Give Your Hooks Mass Appeal

Singles are distinguished from album cuts by their catchiness, accessibility and freshness. And the hook is the key to that mass appeal. Most listeners and People Behind Desks couldn't sing all of a song's verses back to you if they tried. But most CAN remember a killer hook or chorus. For those of you who are driven by thoughts of financial gain, singles are also where the money is. (But remember: selling doesn't mean selling out!) When you get to your main hook, hit us with fresh language, chords and melodic movement to wake us up physically, emotionally and spiritually. The might mean:

• An impassioned title or lyrical line: a twist of phrase, an unforgettable image, or an emotional outpouring that rings true

• A peak moment for the vocalist. This could be a high note, a long note, a rhythmically cool pulse or movement, a fresh interval, a repeated pattern or melodic sequence, etc.

• A catchy-as-hell instrumental riff or chordal pattern

• An underlying rhythm or groove that sweeps up all in its path

• Enough repetition to be catchy without becoming boring

• A striking contrast to whatever comes before and after (verses, pre-choruses, bridge), so that your hook stands out in an obvious way

Remember, more Hooks-Per-Square-Inch is better! In this day and age of sensory overload, listeners thrive on intense songs that cut through the clutter. We WANT to be moved on all levels. We're hungry for depth, for truth, for emotion, for humor. Strive to discover the universal within the personal, the specifics of real life. Make your song paint a picture or create an environment people can live in.

By following these guidelines, and learning from songs that are hits in your chosen genres, you can make your songs more accessible, satisfying and commercially viable.

Happy songwriting!


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Award-winning hit songwriter and songwriting coach Alex Forbes is the founder of http://CreativeSongwriter.com . She has had over 65 songs released and has placed numerous songs in feature films and on TV. For more free articles, one-on-one coaching, song critiques and more, visit Alex online at: http://CreativeSongwriter.com . Alex is also the author of "The Songwriter's PlayBook: 10 Weeks to Better Songs."

Creating Music's Future

An unimaginable number of people across the country dream of a life in the music business. One only has to look at the droves of people who line up for the "American Idol" tryouts each year to see the public's excitement and interest in the music industry. Whether it's the soundtrack for a Hollywood movie, a workout or a night on the town, music is engrained in all aspects of American culture and is both an exciting and rewarding industry. But how often do most people stop to think about who is actually behind the music?

Many of today's best-known musical artists write and perform their own songs. But thousands of other music creators will rarely appear onstage. Most people associate a hit song with the person who sang it, while the composer or lyricist who wrote the music or lyrics stays behind the scenes. So, though Clay Aiken probably comes to mind whenever "Invisible" is played, few know that a songwriter named Desmond Child wrote the song and is one of the music industry's most prolific and creative forces.

Now, budding and established music creators have a chance to learn how to forge a successful career in today's marketplace and hear from some of the most successful music creators in the business. For the past two years, hit songwriters, composers and producers such as Desmond Child, "Dude, Looks Like a Lady"; Jimmy Jam and Terry Lewis, "No More Drama"; Linda Perry, "Beautiful"; John Rich, "Redneck Woman"; and Michael Giacchino, "Ratatouille" have participated in the ASCAP "I Create Music" EXPO, where they have shared invaluable insights about the music creation process.

In 2008, ASCAP, the leading American performing rights organization, will host its third annual "I Create Music" EXPO. As the only national conference dedicated to songwriting and composing, this event will bring together the world's leading songwriters, composers, publishers and industry professionals with emerging music creators for networking and educational opportunities.

The three-day event, slated to begin on April 10 at the Renaissance Hollywood Hotel in Los Angeles, will cover all genres of music and will provide panels, workshops, master classes, keynotes, one-on-one sessions, song critiquing, product displays, technology demonstrations and even performances for attendees.

With some of the biggest names in music scheduled to show, this truly will be a place where music creators can come together and take their careers to the next level. For more information about the EXPO, visit www.ascap.com/expo.

(NewsUSA)

'Digitizing' Vinyl is Music to the Ears

While modern audio technology, such as compact discs and digital downloading, has quickly taken over the music world in the 21st century, there's still a definitive market for the granddaddy that helped start it all - the vinyl record.

Many record stores across the country still report strong sales of music in record format and for good reason. For many who grew up listening to analog, there's no comparison to the "warm" sound quality that only a record can provide. But for those with dozens of classic albums on record, dragging out an old record player to re-live past music experiences can be an incredibly bothersome hassle.

More importantly, taking music from a record and recording it onto a portable, digital format like a CD has not been a widely available practice. While consumers have been able to record their favorite music from radio and cassette tapes to CDs for some time, the technology required to get those old records up to digital standards has been sorely absent. Lately, however, new technology has paved a road from the past to the present. The LP Saver Phono CD Recorder, marketed by firstSTREET, is an all-in-one audio player that is able to play record albums, cassettes and CDs.

Additionally, the LP Saver Phono CD Recorder gives audiophiles a way to bring their favorite Beatles record albums into the digital age. Using advanced technology, vinyl records can be copied onto a blank, re-writable compact disc -; all with the push of a button and without a computer. The distinct sound quality that a record provides is captured in an easy-to-carry format and can be played on any CD player. As an added bonus, all of this technology is wrapped together in a retro-style cabinet design, blending in anywhere in your home.

Modern technology may be advancing quicker than you can blink, but it's also helping bridge the gap between music's humble beginnings and its digitally bright future. For more information on the LP Saver Phono CD Recorder, visit www.FirstStreetOnline.com or call (866) 681-7107.

(NewsUSA)