When trying to get a music publisher’s attention for cowrites or a publishing deal, how produced should my songs be?
Can I play a worktape (imperfections and all), a clean guitar/vocal or piano/vocal, or does it need to have a full band?
I’ve gotten this question from the Songwriting Pro community on several occasions, so let’s talk about it!
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What’s your goal?
Well, like most things in the music biz, there’s no one right answer. Think about your goal for the meeting. If it’s just to get feedback to make your song better, a work tape is preferable. The publisher will feel more free to make suggestions. If you have a full demo, it’s more uncomfortable for them to suggest changes that might mean you having to drop another $800 on a new demo.
But if your goal is to be seen as a pro and treated as a pro, you want everything about you to be professional. And that includes your song’s production. So you want to play the most pro-sounding recordings you have, whether that’s a guitar/vocal, or just your best “one-take” iPhone worktape.
Here’s what I do.
Even though I’m already seen as a pro in the biz, I only play demos or high-quality guitar/vocals for publishers when I’m first getting to know them. Over time, I may feel more comfortable playing work tapes- but not at first. At first I always want to put my best foot forward.
That being said, it’s important to start playing work tapes for a publisher as your relationship deepens and you’re talking about signing a deal. I don’t want to write for a publisher who has to hear a full demo before he knows if the song is any good or not. I want to be able to run into his office and play that day’s worktape and have him do backflips and yell, “we gotta demo that!”
Here’s what I’m NOT saying…
Now, I’m not saying that you should stop trying to make publisher relationships until you’ve dropped a few grand on demos. I’m not saying that. Get feedback through other sources first (Songwriter Pro Coaching, NSAI, etc.). That way you can figure out if your song is worth demoing.
Playing the demo of a bad song just tells the publisher that you don’t have the judgement to know NOT to demo a bad song. It tells the publisher that you probably don’t even know it’s a bad song. So save your money (and your reputation) until your songs are ready.
So to break down playing a full demo for a publisher:
**If the song is amazing, the publisher can run right out the door and pitch it immediately.
**If the song is good, you look like that much more of a professional.
**If the song needs work, the publisher is less likely to suggest changes.
**If the song is bad, you look like that much more of an amateur.
If your song- worktape or demo- is ready for a publisher… if you’re ready to get some honest, helpful feedback… or if you’re ready to knock a publisher’s socks off, I have a great opportunity coming up for you.
Songwriting Pro’s next Play For A Publisher event is coming right up, and our guest is Matt Lindsey of Matt Lindsey Music. Matt has worked closely with several #1 hit songwriters, and he’s been getting songs recorded by major artists for years. If YOU have the songs, HE knows what to do with them!
CLICK HERE TO GET ALL THE DETAILS AND SEND IN YOUR SONG!
God Bless and Enjoy the Journey,
Brent
Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far. He also co-hosts the popular podcast “The C.L.I.M.B.” available on iTunes, Stitcher, and HERE.
I don’t sing, carry a tune (too many holes in the bucket), cannot read nor write music, and Tone Deaf since Vietnam. I’m 72 and just want someone to record this, leave my name as”created by” and send me a copy. This is probably better seen than just heard.
SFC Terry Wilcox
US Army Retired
4120 Eulaton Road
Anniston, AL 36201-5804
(256) 300-0248
Lyrics, 237 words
Title:
Hard Written Love
Man sings this set
When work calls me away
No idea how long I’ll stay
The time I’m away for weeks
And the pay doesn’t show the tweaks
The time I’m with friends
And things are short of mends
Don’t worry about this
When we’re apart
Because your love is
Written on my heart
Woman sings this set
When a woman takes a second glance
And he straightens his stance
Then another woman asks for a dance
He accepts without circumstance
When an old flame comes his way
I don’t worry that he’ll stray
No I don’t worry about this
When we’re apart
Because my love is
Written on his heart
Man sings this line
When rumors run amuck
That someone else is love struck
Woman sings this line
And he’s out with the boys
Enjoying their toys
Man sings this line
When days seem down on luck
And I’m out messin’ with my truck
Both sing this verse
Don’t worry about this
When we’re apart
Because your love is
Written on my heart
Woman sings this line
When a woman takes a second glance
And he straightens his stance
Man sings this line
When an old flame comes my way
Don’t worry… I’ll not stray
Both sing this verse
No… I don’t worry about this
When we’re apart
Because your love is…
Hard written… to my heart.
Woman sings:
No… I don’t worry about this when we’re apart
Man sings:
Because your love is HARD WRITTEN to my heart
Man sings:
You don’t need to worry about this when we’re apart
Woman sings:
Because my love is HARD WRITTEN… to your heart
Both sing:
WE’ve got…
Hard Written Love
Hard Written Love
—————————–
Writer’s NOTE:
Hard Written Love
In red are the attitudes of each singer…
Written to be a fun piece, for stage performances,
With a lot of body language and attitude!
Man sings this set
With an innocence of masculinity…
Hey, when the boss calls me in!
When work calls me away
No idea how long I’ll stay
Man’s Matter of factness
Hey, honey, I can’t help it if I’m away for weeks, it’s my job… and If I don’t get a lot of work…
You know the trucking life
The time I’m away for weeks
And the pay doesn’t show the tweaks
Almost excusatory…
Got to have time with friends
The time I’m with friends
And things are short of mends
Here is the part where attitude, turns to Love and Sincerity…
Don’t worry about this
When we’re apart
Because your love is
Written on my heart
Woman sings this set
Statement of shock… How dare she!
When a woman takes a second glance
This line scolding… How dare HE!
And he straightens his stance
Again in disbelief and shock
Then another woman asks for a dance
Feminine Attitude of “What does he think he’s doing?”
He accepts without circumstance
Whoa! Now this is too much… I’ll bust her chops
When an old flame comes his way
Tone softens into loving belief and self assuredness
I don’t worry that he’ll stray
No I don’t worry about this
When we’re apart
Because my love is
Written on his heart
Man sings this line
Again in the innocence… of a man’s mind…
Chest out, abs tightened… Hey I can’t help it if she’s…
When rumors run amuck
That someone else is love struck
Woman Sings this line
Mocking!
And he’s out with the boys
Instead of being with her
Enjoying their toys
Man sings this line
Again the male innocence of; What else am I gonna do?
When days seem down on luck
And I’m out messin’ with my truck
Both sing this verse
Loving assuredness
Don’t worry about this
When we’re apart
Because your love is
Written on my heart
Repeats of above attitudes and verses
Woman sings this line
When a woman takes a second glance
He stands with chin tucked in, his chest out, abs tightened… Profi’ln
Attitude… Hey I can’t help it if she’s…
And he straightens his stance
Man sings this line
When an old flame comes my way
She looks him up and down… OH NO YOU WON’T! look on her face and body language…
Don’t worry… I’ll not stray
Both sing this verse
Extra emphasis on LOVE and TRUST…
towards each other to the end.
No… I Don’t worry about this
When we’re apart
Because your love is…
Hard written… to my heart.
***********Musical Interlude***********
Woman sings:
No… I don’t worry about this when we’re apart
Man sings:
Because your love is HARD WRITTEN to my heart
***********Musical Interlude***********
Man sings:
You don’t need to worry about this when we’re apart
Woman sings:
Because my love is HARD WRITTEN… to your heart
Both sing:
WE’ve got…
HARD WRITTEN LOVE
HARD WRITTEN LOVE!
©2009 SFC Terry Wilcox
US Army, Retired
Great article, Brent. I recently discovered your podcast and then reconnected with Johnny over lunch. I love what you all are doing. Keep up the good work! I share your stuff with artists i coach all the time.
Paul Secord
Thanks, Paul! Thanks for the kind words. Keep on C.L.I.M.B.ing!
I am a lyricist, a bit of a top line writer, but not really a composer-arranger. I use LinkedIn to find collaborators; have you found them effective? My lyrics are good, emotionally stimulating, appropriate to the audience, mostly country, some pop and rock. I am a strong believer in synergy. What is the best way to approach an artist. Do they generally like to co-write, or is it best to try to pitch it to them as a mostly complete demo?
Hi, Joe! I’ve never used LinkedIn to meet co-writers. I know several writers have used the Songwriting Pro Facebook Group to find co-writers. When approaching an artist “cold”- I’d pitch a finished song- really try to knock their socks off. Then let them know you’d also like to write.