Category Archives: Songplugging

Inside vs. Outside Songs- And Why It Matters

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

FREE GIFT

Hey, ya’ll! At the bottom of today’s post, I’m going to let you know about some free stuff I’m giving away to all of you great Man vs. Row subscribers.  Now, on to today’s post…

When an artist is working on an album, there are two types of songs which will (or will not) be considered: inside songs and outside songs. So what are these?

Inside songs are songs which are written by or with the artist, the producer, or a close associate. These are songs written or controlled/owned by someone with a close connection to the project.

Outside songs are basically all other songs- those written or controlled by people who do NOT have a close connection to the artist’s project.

Okay, so that’s pretty simple- some songs come from inside the circle of influence and some songs come from outside the circle of influence. Buy why is this important? It’s very important because, in most cases, inside songs have a much better chance of being recorded. Some artists, like Taylor Swift, write or cowrite all their own songs. If you’re not writing with Taylor, forget about getting a cut. Other artists may be very low key about the fact that they’re even working on a project. If you’re not in the loop, you might not even know the artist is cutting at all, much less what kind of song they want.

That’s why it matters if your songs are inside or outside- it affects their odds of being cut. Examples:

I had two songs cut on Ray Stevens’ “We The People” album. One song was a true inside song. “Caribou Barbie” was written at Ray’s request with two of his staff writers. The other song, “Fly Over Country” was an outside pitch. However, since Ray didn’t advertise that he was doing a record, I never would’ve known to pitch a song (much less that song in particular) without some inside information. I’ve also had two Lady Antebellum cuts (bonus tracks, sadly). “A Woman Scorned” was written with Hillary Scott, and “Last Night Last” was written with all three members of Lady A. Almost every song on that first album was written or cowritten by the band, so it definitely put those songs in a better competitive position.

This is not to say that ONLY inside songs get cut. I’ve had some outside songs get cut, too. “Monday Morning Church” was written before either my cowriter, Erin Enderlin, or I had ever had a cut, and only Erin was working with a publisher at the time. Erin’s publisher played the song for Alan Jackson’s producer, who played it for Alan. Same thing for my Joe Nichols cut- I sent “Crickets” to the head of Joe’s record label (even though we’ve never met). He loved it and sent it to Joe. The song became an outside cut- and the title track to his current album.

So, yes, both inside and outside songs still get cut. But inside songs have a definite advantage- and the inside track (pun intended).  How does this affect how I do business?  I try to get songs on the inside, of course.  It’s worth thinking about how you can do the same.  Yes, I know you might think you’re years away from being able to get any songs on the inside.  But simply knowing that there’s a difference between inside and outside songs will help you make more effective choices, and you’ll get there faster.

God Bless,

Brent

FREE GIFT

As a way to say “thank you” to all of you who subscribe to Man vs. Row by email, I’m going to give away some cool stuff in July (2014).  If you subscribe to MvR, I’ll send you a free report, “10 Things The Pro Knows.”  I’ll also send you the guitar/vocal of “Crickets,” which is the title track of Joe Nichols’ current album.  You’ll get to hear the song as Joe heard it when he decided to record it.  You’ll also receive the lyric file of the song- and this lyric file includes “Baxter’s Boneyard” – all the lines that DIDN’T make it into the song (see if you agree with our choices).  It’s something nobody else has seen, and I think it’s pretty cool.  But, again, this gift is only for those who subscribe to Man vs. Row by E-MAIL.  These gifts will be sent by email, so if I don’t have your email address, I can’t send it to you.  God Bless!

YOU VS…

Anything you’d like to add or ask?  Leave a comment!  Are there any topics  you’d like to see addressed in a future MvR post?  Thanks!

FOLLOW AND SHARE THIS BLOG

If you like this blog, don’t miss a single post!  Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

Brent Baxter Music:  http://www.brentbaxtermusic.com

Cut Study: Drew Gregory, “Farm Hands”

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

Drew Gregory is an indie Canadian country artist from Alberta.  He gets some radio airplay and TV exposure, and he’s building his career.  He ended up cutting a song of mine called “Farm Hands,” which I wrote with Jaron Boyer and Chris Hennessee.

The story of how Drew got the song is pretty interesting, and I’ll let Drew tell you in his own words.

“A song that was not even originally pitched to me managed to find its way on to our album.  I was sent a DropBox by my producer, Aaron Goodvin, with a bunch of songs to consider but within the DropBox, another folder was accidentally sent.  I was never meant to see it, but I thought it was just too good a song to let go.  I remembered the tune, and months later when we were making final selection of songs for the album I let Aaron know I wanted it.  He worked his magic and we were able to cut “Farm Hands” as a perfect addition to our ‘farm boy’ themed record!”

The takeaway for me is a reminder that a song is like a message in a bottle.  After we write the song, we throw it out into the ocean.  After that, we don’t control where it goes or who gets it.  Surprises like this are part of what keeps songwriting fun and exciting.  Thanks to Drew and Aaron for the cut- it sounds great!

You can check out Drew’s music at: www.drewgregorymusic.com

God Bless,

Brent

YOU VS…

Anything you’d like to add or ask?  Leave a comment!  Are there any topics  you’d like to see addressed in a future MvR post?  Thanks!

FOLLOW AND SHARE THIS BLOG

If you like this blog, don’t miss a single post!  Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

Brent Baxter Music:  http://www.brentbaxtermusic.com

How Do You Know Who Is Looking For Songs?

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

After I posted “10 Reasons Songwriters Should Pitch Their Own Songs” (read it HERE), I got a few questions about how to pitch and how to know who’s looking for songs.  Today, let’s dive into the 2nd part- how to know who’s looking and listening for songs.

1. Personal relationships.

If you personally know an artist, producer or label A&R, they can tell you if they’re actively listening for a project.  And they MIGHT even know what they need and when they need it.  But remember, any info is always subject to change at a moment’s notice.

2. Industry chatter.

If you can’t get the scoop directly from the horse’s mouth, publishers and other songwriters are always talking.  Keep your ear to the ground, and don’t be afraid to ask questions.

3. Industry pitch sheets.

RowFax is a paid subscription service which lists projects, points of contact, etc.  It might even say what they’re looking for (usually “hits” or “great songs” or “uptempo positive”).  There are also a few inside-the-industry tip sheets, too.  But you have to know somebody to get them.  Now, these definitely carry some incorrect info- a buddy of mine is on there, and it lists the incorrect producer and music description.  So take it all with a grain of salt.  Oh, and tip sheets don’t provide contact information- you have to get that some other way.

To check out RowFax, click HERE.

4. Liner notes.

If an artist is doing well, you know they’re gonna make another album.  And they’ll probably be looking real hard when they’re on the second or third single from their current album.  Check the album’s liner notes for the name of their label and producer, then do some research for how to find them.  Of course, the artist may be changing producers for the next album, so you never know for sure.

5. Sources I missed.

I’m sure there are some tip-list services I missed.  If you know of any, please add them to the comments- along with any personal recommendations.  Teamwork makes the dream work, ya know.

I hope that helps.  I know there’s no magic bullet, but that’s just the way it is.  That’s one reason why writers that have success can keep it going more easily- they have more accurate information because of their connections.  Good luck out there.

God Bless,

Brent

YOU VS…

Anything you’d like to add or ask?  Leave a comment!  Are there any topics  you’d like to see addressed in a future MvR post?  Thanks!

FOLLOW AND SHARE THIS BLOG

If you like this blog, don’t miss a single post!  Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

Brent Baxter Music:  http://www.brentbaxtermusic.com

The Big Yes

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

When pitching a song, there is a “Little Yes” and a “Big Yes.”  The Little Yes is a person who only has the power to pass your song up the ladder.  The Big Yes is one of those very few people on a project who actually decides what gets cut.

Don’t just assume that the artist is always the Big Yes.  If he’s brand new, the producer or the head of A&R might be the Big Yes.  If you’re pitching for a specific project, don’t be satisfied with just pitching to the Little Yes.  Try to identify the Big Yes.  After all, a Little Yes can’t really say “yes,” but they can say “no.”

God Bless,

Brent

YOU VS…

Anything you’d like to add or ask?  Leave a comment!  Are there any topics  you’d like to see addressed in a future MvR post?  Thanks!

FOLLOW AND SHARE THIS BLOG

If you like this blog, don’t miss a single post!  Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

Brent Baxter Music:  http://www.brentbaxtermusic.com

10 Reasons Songwriters Should Pitch Their Own Songs

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When I signed my first publishing deal with Major Bob Music, I thought, “This is great!  I can just sit in my writer’s room, write every day, and let our three songpluggers pitch my songs and get ‘em cut.”  This was a mistake.  Not that Scot, Mike, and Jesse weren’t smart, hardworking guys who wanted me to succeed.  No, those guys worked hard for all of their writers.  It was a mistake because I spent the first couple years of that deal missing out on the benefits of pitching my own songs.  Here are ten benefits.

1. My odds improve.

It’s HARD to get cuts, so I want all hands on deck.  Simply put, the more songs of mine that are getting pitched, the better the chance of the right song hitting the right ears at the right time.

2. My back catalog stays active.

When you leave a publishing deal, it’s natural for your pluggers to back-burner your old songs and focus on their current writers and their newest songs.  Pitching my own songs helps keep my best old songs in circulation.

3. I hear my songs more honestly.

Sitting across the desk from a producer or A&R rep makes me hear my songs differently.  Little flaws which I might’ve ignored before become more obvious, especially if they pass on the song.  Over time, this kind of listening makes my “flaw-detector” more sensitive when I’m writing.

4. I demo songs more wisely.

On a related note, the experience and feedback I get from pitching helps me demo only my best-chance songs.  My flaw-detector is more sensitive, and I ask myself important questions like, “Do I ever pitch this type of song?  Does this type of song ever get kept or cut?  Is this song going to replace one of the songs I’m currently pitching?  Am I excited about playing this song for so-and-so?”

5. Nobody knows my catalog better than I do.

Sometimes, a song may sit around for years before the right pitch comes along.  A plugger probably won’t remember it if it’s not in the regular pitching rotation.  But I might.  For example, when I heard that comedy legend, Ray Stevens, was doing a political album, I dusted off an old, never-before-pitched song called “Fly Over Country,” which had reverted back to me from my Major Bob deal.  Ray cut it.

6. It builds my personal brand.

An A&R rep may hear five of my songs in a day from five different sources.  That’s great, but they might never know those are my songs.  They might associate the songs with my cowriters or the publishers who brought them.  If it’s ME in the room, though, the rep hears several of my songs in a row and get to put my face to the name on the CD.  And I get to do the same, which is handy if I see them out at an industry function.  Oh,and I hopefully get them to like me as a person, which never hurts.

7. It can lead to cowrites.

When an A&R or producer associates your amazing songs with you- an amazing person – and you happen to be in the room with them… they might just decide to hook you up for a cowrite with another writer they dig or (even better) one of their artists.  It’s a beautiful thing.

8. I get the inside scoop.

The A&R/producer  can tell me what they need, and I can ask followup questions.  That may bring to mind another song from my catalog (from any publisher I’ve had) which I can play right then or send later.  And this info won’t have the chance of getting mis-relayed or not relayed at all to me by my plugger.

9. My songs are the focus of the pitch meeting.

My plugger goes into meetings representing several writers, all of whom are really good.  So while I might land a couple of songs in the meeting, there are others that won’t be mine.  But in my meetings, I’m on all the songs.  More pitches, more chances to win.

10. I develop my own contacts.

What happens if your songplugger gets hit by a bus?  Or if you lose your publishing deal?  If you’re only relying on your plugger’s contacts and don’t have any of your own, your songs aren’t gonna get heard as often.  I’ve been between deals, and it felt good knowing (and not just hoping) that my songs were still getting pitched.

So, there you go.  My top ten reasons songwriters should pitch their own songs.  Now, please forget everything you just read- I don’t need the extra competition.

God Bless,

Brent

YOU VS…

What did I miss?  Anything you’d like to add or ask?  Leave a comment!

FOLLOW AND SHARE THIS BLOG

If you like this blog, don’t miss a single post!  Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

Brent Baxter Music:  http://www.brentbaxtermusic.com