Tag Archives: Alabama

Know The Row, Think Like A Pro, Write Like A Pro

Songwriting advice from Hall of Fame songwriter, Byron Hill!

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Here’s golden advice from a Hall of Fame songwriter.

Byron Hill is a multi-hit songwriter and producer whose songs have generated more than 700 recordings and have been released on 91 industry certified Gold and Platinum albums and singles. They have earned 10 ASCAP Awards, 34 US and Canadian top-10 chart hits and have become hits in many other worldwide markets.

In 2018, Byron was inducted into the Nashville Songwriters Hall of Fame.  His many hits include George Strait’s first #1, “Fool Hearted Memory,” Alabama’s “Born Country,” and Gary Allen’s “Nothin’ On But The Radio.”

Byron was a recent guest on Frettie.com’s “Know The Row,” and he shared some great, real-world advice for songwriters.  Here’s some of what he had to say.

Read on!

________________________________

To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

Here is a bit of Byron’s advice (paraphrased):

I try to eliminate the “flaw factors” right from the beginning of writing a song, such as deciding on uptempo-or-ballad or male-or-female-or-either or positive-or-negative. You have this precious moment at the beginning where you get to decide these things.

It’s best to spend your time trying to write something iconic verses something novelty or divisive (such as current political topics).

In the late 70’s or 80’s, you could write a song where the singer is a down-and-out character. These days, it’s smart to write that song where the singer is singing ABOUT that down-and-out character, instead of the singer BEING that character.

If you’re writing an idea that is too painful or personal, writing it in the 3rd person can make it more accessible for more artists.

To stay relevant over time, try to find current stuff you like. Do a lot of listening. If you give up on it, that’s going to hurt you. Don’t give up on a genre if you don’t like what’s in the top 20.

If you feel like your chosen market has abandoned you, look around for other markets – some places where something excites you. Stay flexible and engaged.

The music business is less song-driven and is more relationship-driven that I’ve ever seen it. The song is still very important, but the relationship with the artist, producer, etc. is more important than ever. Find the up-and-coming artists and producers.

Learn the craft of songwriting first. Then you can start focusing on the relationships / business-side of songwriting.

There are so many new artists. Consider who would be the best investment of your time. Do they have the drive? Do you write well with them? Then go with your gut.

I’ve had my songs torn up in front of me. I’ve been told to go home. Between deals, I’ve been told things that make you want to go home and quit. Rejection is part of the business. You just have to keep going and not worry about it.

As a professional, I don’t worry about rejection. I just keep working my songs until something positive happens.

If you’d like to hear EVERYTHING Byron had to share, the full video replay is available in Frettie’s Member Area.  It’s right there along with full video replays of other events with hit songwriters, Chris Lindsey & Jimmy Yeary, music publisher Scot Sherrod, artist/writer Aaron Goodvin, and more.

CLICK HERE TO FIND OUT MORE

If you want to join our next event live, “Know The Row” is a cool opportunity for us to hang out together (online) with a music industry pro.  It starts off with a brief conversation between me and our guest, as he or she reveals information YOU need to know about the music biz.  After that, we’ll open it up to YOUR questions.

Next month, our guest is hit music publisher MATT LINDSEY!  Matt has published a ton of hit writers, and he has gotten songs recorded by Garth Brooks, George Strait, Blake Shelton, Kenny Chesney, Willie Nelson, George Jones, and more.

This is something you do NOT want to miss!

This event will be on Tuesday, February 5, 7:30pm-8:30pm Central.

Can’t make it to the live event?  Every “Know The Row” is recorded and added to the Frettie Members Area.  These videos are a resource for Frettie subscribers.

CLICK HERE TO GET ALL THE INFO.

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, a #1 in Canada, and a top 10 in Texas.  His songs appear on 5 industry-certified gold & platinum albums & singles… so far.  He also hosts a top-rated songwriting and music business podcast called, “The C.L.I.M.B.” which can be found on iTunes or your favorite podcast app.

Building A Hit, Write Like A Pro

Bring One Of These To Your Next Cowrite (Or You’ll Be Sorry)

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Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.  It was a nightmare…

I was signed with Major Bob Music at the time, and “Monday Morning Church” had recently been a top 5 country hit for Alan Jackson.  But in spite of having a publishing deal and a hit under my belt, I was still pretty much a newbie trying to figure things out.  (I still feel that way to be honest.)  Anyway, Major Bob hooked me up to cowrite with a legit hit songwriter.  This guy had many cuts and hits to his credit, and I was honored to get in a room with him.

We met at his publishing company on Music Row.  After a little chit chat, he got that familiar look on his face.

“So… got any ideas?”  No.  Not really.

I mean, I had a bunch of hooks and some ideas, but nothing great.  Nothing I was busting a gut to write.  And I apparently didn’t have anything that impressed him, either.  After I threw out several “shoulder-shruggers,” he said, “Man, we need an idea like ‘Monday Morning Church.'”  Too bad.  I must have left my stack of “Monday Morning Church” ideas at home that morning.

We chatted some more, eventually moving out to the porch where he smoked a cigarette and I watched my hopes of making a good impression going up in smoke.  We called it a day.  I call it a failure of preparation on my part.  We’ve never written again.  For me, I was embarrassed and in no hurry to risk wasting his time again.

Now for the good cowrite.

________________________________

To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book _________________________________

I met Byron Hill at Chad Green’s ASCAP Country Workshop.  And, if I remember correctly, Carla Wallace at Big Yellow Dog Music also helped connect us.  We got a cowrite on the books, and I was pumped.  Byron has written a bunch of hits including, “Fool Hearted Memory” for George Strait, “Born Country” for Alabama, “Politics Religion & Her” for Sammy Kershaw and many, many more.

This time, I did my homework.  I pulled together several ideas and lyrics that I thought he’d like.  I really wanted to make a good impression on him. When Byron asked, “So… got any ideas?” I was ready.  He loved a lyric sketch I brought in called, “Ring On The Bar,” and we were off to the races.

This first cowrite led to some success and more opportunity.  While “Ring On The Bar” hasn’t been a big hit yet, it’s been recorded by John Pierce (RCA), James Dupre’ (The Voice), and has been on hold by several artists, including Brad Paisley.

But the big thing is that Byron and I went on to write several more songs together, including the 2014 Canadian Country Music Awards Single Of The Year (and my first #1) “When Your Lips Are So Close” with artist, Gord Bamford.

Good thing I showed up with a good idea on that first day, huh?

And that brings me to the point of these two stories.  I believe that a strong idea is the most valuable thing you can bring to a cowrite (other than Tom Douglas).  “Well,” you might say, “how come these big-time songwriters didn’t throw out any of THEIR ideas?”  Here’s why:

A great idea is sometimes the only thing a newer songwriter has to offer a seasoned pro.

Let’s face it, if you get to write with an established pro songwriter, what do THEY need from YOU?

new songwriter offer pro

They have a more valuable name in the business.  They have more connections.  They most likely bring a higher level of songwriting skill.  The only thing they need is a fresh, cool idea or melody.  Unless you’re swinging around a big fat record deal, your job is to bring in the idea or the start of a song.

If the pro has a great idea, he surely has several proven, established cowriters or artists who could write it with him.  Why risk giving 50% of HIS idea to a songwriter who might not contribute very much?

Let me tell you, it’s more fun (and profitable) when you have a strong answer for “got any ideas?” – and I want you to be prepared when that question comes your way.  And that question doesn’t need a good answer ONLY if you get a pro cowrite.  That question comes up in EVERY cowrite.  Every time you step into the writing room, you have the opportunity to blow away your cowriter with a great nugget or idea.

Feeling like I have a stack of strong ideas allows me to walk into any cowrite with confidence.  We might not always write my idea, but I came prepared… and my cowriter knows it and appreciates it.

I want YOU to have that confidence – and those results, too.  I want your cowriters to be glad they showed up to write with you.  But I DON’T want you to have to go through years of trial, error and the occasional embarrassing cowrite like I did!

That’s why, in the month of January, I’m hosting a transformative online songwriting event called, “Building A Hit: From Blank Page To Finished Lyric.” In this powerful 4-week online workshop, I reveal: How to find great song ideas. Kill writers block and fill up that blank page again and again.  Always have an answer for, “So… got any ideas?” How to focus your ideas for maximum impact. Don’t waste any more great ideas by leaving them under-developed or confusing. How to frame your ideas for maximum commercial appeal. Having a great, compelling idea isn’t enough. You have to build your song in a way that an artist will want to sing it and an audience will want to hear it. How to finish your song. Stop leaving your best ideas unfinished! Nobody loves a song they never hear, and a song that’s only 99% finished will never get recorded, get on the radio, or change your life.  Stop leaving your success to gather dust, unfinished, in some old notebook. If you want to join me on a journey that will help you think and write like a pro songwriter, click on the link below. Spots are limited for this event, and I only host it twice a year. Miss out, and it’s gone for another 6 months. Don’t delay- THE DEADLINE TO RESERVE YOUR SPOT IS THIS SATURDAY!

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE OF THIS GREAT OPPORTUNITY.  THE DEADLINE TO RESERVE YOUR SPOT IS SATURDAY, DECEMBER 30!

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, a #1 in Canada & a top 10 in Texas… so far. SWP 4

Think Like A Pro

Hey, I Remember That!

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SWP 2

It’s not about you.  It’s about the listener.  What’s in it for the listener?

As we began discussing a few weeks ago (READ IT HERE), successful songwriters know it’s not about us- it’s about the listener.  When it comes to your song, what’s in it for the listener?  What’s going to make them stick around till the end and hit “repeat?”

If your song doesn’t have something in it for the listener, there’s no money in it for you.

Yep.  I’ve said that over the past few weeks, and I’m gonna keep saying it till I finally run out of this series!

So I’ve been pointing out some things you can build into your songs that can connect with your listeners.  So far, we’ve discussed “It’s What I Want To Hear” and “It’s What I Want To Say.” and “That’s Who I Am.” and “Give The Listener Great Advice!”    This week, let’s talk about…

all about the listener

“Hey, I remember that!”

A powerful way to connect with a listener is to push the nostalgia button.  Take the listener back to a point in their past that they recall fondly.  Use your song like a time machine.

When you do this effectively, your listener isn’t so much connecting to your song as connecting to their own past THROUGH your song.  This can be very powerful.  Let’s look at a few examples.

“Boys Of Fall”

by Kenny Chesney (written by Casey Beathard, Dave Turnbull).  This song takes me back to playing high school football.  It takes me back to running through a banner, the taste of grass in my mouthpiece, all of it.  It makes me miss those days.  Love that song.  It makes me think of my teammates like Steve Caughron, Willy Kuykendall, and Brian Krug.  Good times.

“19 Something”

by Mark Wills (written by David Lee, Chris DuBois).  This song describes a lot of my formative years.  Big hair, parachute pants and Stretch Armstrong all conjure up childhood memories.  It’s fun to remember when getting a microwave was a big deal.  The Challenger disaster is definitely NOT a feel-good reference, but it takes me back to intermediate school, watching it on a big TV rolled into the classroom on a big cart.

“Every Head Bowed”

I dug into my own history and nostalgia for a song I had recorded by Randy Travis, “Every Head Bowed” on Randy’s “Around The Bend” album.

Randy Travis- Every Head Bowed

Twinkies, corduroy coats, clip-on ties and “I Surrender All” each make me recall growing up going to Calvary Baptist Church back in Batesville, Arkansas.  And I know my cowriter, Brandon Kinney, had a lot of the same experiences at his home church back in Texas.  Mining our nostalgia made the song more real, which helped it connect to Randy- and hopefully to a lot of other people, too.

“Old Alabama” “Doin’ It To Country Songs”

by Brad Paisley (written by Brad Paisley, Dave Turnbull, Chris DuBois, Randy Owen) and “Doing It To Country Songs” by Blake Shelton (written by Marty Dodson, Jacob Lyda, Paul Overstreet) each use nostalgic artists to bring an extra “smile” to the songs.  Paisley, of course, builds his song around classic Alabama hits.  Blake doesn’t reference The Oak Ridge Boys in his song, but they add their distinctive sound to the record.

Most longtime country fans probably don’t hear Alabama or Oak Ridge Boys music that often these days, so these newer songs remind us of hits like “Mountain Music,” “Elvira” and others.

So one way to make your song more “cut/able” is to have your lyric connect the listener to his or her own past.

So here’s your homework.  Turn on the radio or your favorite playlist- or dig through your stack of favorite albums.  Find a song or two that answers the question, “What’s in it for the listener?” with “Hey, I remember that!”  Please leave a comment and let me know what you discovered!

If you want your songs to be more “cut/able” – able to be cut – then you should definitely check out my new, expanded and upgraded version of “Cut/able: Lessons In Market Smart Songwriting.” It’s five powerful lessons will help you write songs that artists want to sing, radio wants to play, and listeners want to hear! CLICK HERE TO WRITE CUT/ABLE SONGS.

cutable-2-3d-cover-large

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.

SWP 4

Biz, Do Business Like A Pro, Write Like A Pro

You’ll Probably Regret Not Bringing This To Your Next Cowrite

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This is an encore edition of a recent blog post.  I’m re-releasing it for two reasons: 1) it’s a really important topic and 2) I have a great opportunity for you at the end of it.  Thanks! -Brent

cropped-SWP-2.jpg

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.

I was signed with Major Bob Music at the time, and “Monday Morning Church” had recently been a top 5 country hit for Alan Jackson.  But in spite of having a publishing deal and a hit under my belt, I was still pretty much a newbie trying to figure things out.  (I still feel that way to be honest.)  Anyway, Major Bob hooked me up to cowrite with a legit hit songwriter.  This guy had many cuts and hits to his credit, and I was honored to get in a room with him.

We met at his publishing company on Music Row.  After a little chit chat, he got that familiar look on his face.

“So… got any ideas?”  No.  Not really.

I mean, I had a bunch of hooks and some ideas, but nothing great.  Nothing I was busting a gut to write.  And I apparently didn’t have anything that impressed him, either.  After I threw out several “shoulder-shruggers,” he said, “Man, we need an idea like ‘Monday Morning Church.'”  Too bad.  I must have left my stack of “Monday Morning Church” ideas at home that morning.

We chatted some more, eventually moving out to the porch where he smoked a cigarette and I watched my hopes of making a good impression going up in smoke.  We called it a day.  I call it a failure of preparation on my part.  We’ve never written again.  For me, I was embarrassed and in no hurry to risk wasting his time again.

Now for the good cowrite.

cropped-SWP-2.jpg

I met Byron Hill at Chad Green’s ASCAP Country Workshop.  And, if I remember correctly, Carla Wallace at Big Yellow Dog Music also helped connect us.  We got a cowrite on the books, and I was pumped.  Byron has written a bunch of hits including, “Fool Hearted Memory” for George Strait, “Born Country” for Alabama, “Politics Religion & Her” for Sammy Kershaw and many, many more.

I did my homework.  I pulled together several ideas and lyrics that I thought he’d like.  I really wanted to make a good impression on him. When Byron asked, “So… got any ideas?” I was ready.  He loved a lyric sketch I brought in called, “Ring On The Bar,” and we were off to the races.

This first cowrite led to some success and more opportunity.  While “Ring On The Bar” hasn’t been a big hit yet, it’s been recorded by John Pierce (RCA), James Dupre’ (The Voice), and has been on hold by several artists, including Brad Paisley.

But the big thing is that Byron and I went on to write several more songs together, including the 2014 Canadian Country Music Awards Single Of The Year (and my first #1) “When Your Lips Are So Close” with Gord Bamford.

Good thing I showed up with a good idea on that first day, huh?

And that brings me to the point of these two stories.  I believe that a strong idea is the most valuable thing you can bring to a cowrite (other than Kris Kristofferson).  “Well,” you might say, “how come these big-time songwriters didn’t throw out any of THEIR ideas?”  Here’s why:

A great idea is really the only thing a newer songwriter has to offer a seasoned pro.

Let’s face it, if you get to write with an established pro songwriter, what do THEY need from YOU?

new songwriter offer pro

They have a more valuable name in the business.  They have more connections.  They most likely bring a higher level of songwriting skill.  The only thing they need is a fresh, cool idea or melody.  Unless you’re swinging around a big fat record deal, your job is to bring in the idea or the start of a song.

If the pro has a great idea, he surely has several proven, established cowriters who could write it with him.  Why risk giving 50% of HIS idea to a songwriter who might not contribute very much?

Let me tell you, it’s more fun (and profitable) when you have a strong answer for “got any ideas?” – and I want you to be prepared when that question comes your way.  And that question doesn’t need a good answer ONLY if you get a pro cowrite.  That question comes up in EVERY cowrite.  Every time you step into the writing room, you have the opportunity to blow away your cowriter with a great nugget or idea.

Feeling like I have a stack of strong ideas allows me to walk into any cowrite with confidence.  We might not always write my idea, but I came prepared… and my cowriter knows it and appreciates it.

I want YOU to have that confidence – and those results, too.  I want your cowriters to be glad they showed up to write with you.  But I DON’T want you to have to go through years of trial, error and the occasional embarrassing cowrite like I did!  That’s why I dive deeply into the topic in my upcoming web-workshop series in August called “Song Ideas: From Blank Page To Finished Lyric.”

Blank 2 Finished

This course is designed to take you from a blank page to a new song idea to a fully developed concept to a finished lyric. You’ll learn a repeatable process you can use to discover and develop strong song ideas again and again. And you’ll also learn how to frame and focus those ideas for maximum commercial impact and appeal.

This course is INTERACTIVE! You won’t sit back and just stare at me talking for an hour-and-a-half. You won’t be some number on my dashboard. No. We’ll be face-to-face. You’ll have exercises to practice outside of our sessions. I’ll ask you questions. You can ask me questions. We’re in this thing together. That’s why I keep the workshops small- I want to get to know YOU!

Tickets for this event are on sale NOW. There are only 11 spots open, and I expect them to go fast- so don’t wait too long and miss your chance to take your songwriting to the next level!

I look forward to seeing you in August- CLICK HERE or on the image below to learn more and reserve your spot now!

Blank 2 Finished

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.

SWP 4

Biz, Do Business Like A Pro, Write Like A Pro

The Most Valuable Thing You Can Bring To A Cowrite

9 Comments

Man vs. PRO

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.

I was signed with Major Bob Music at the time, and “Monday Morning Church” had recently been a top 5 country hit for Alan Jackson.  But in spite of having a publishing deal and a hit under my belt, I was still pretty much a newbie trying to figure things out.  (I still feel that way to be honest.)  Anyway, Major Bob hooked me up to cowrite with a legit hit songwriter.  This guy had many cuts and hits to his credit, and I was honored to get in a room with him.

We met at his publishing company on Music Row.  After a little chit chat, he got that familiar look on his face.

“So… got any ideas?”  No.  Not really.

I mean, I had a bunch of hooks and some ideas, but nothing great.  Nothing I was busting a gut to write.  And I apparently didn’t have anything that impressed him, either.  After I threw out several “shoulder-shruggers,” he said, “Man, we need an idea like ‘Monday Morning Church.'”  Too bad.  I must have left my stack of “Monday Morning Church” ideas at home that morning.

We chatted some more, eventually moving out to the porch where he smoked a cigarette and I watched my hopes of making a good impression going up in smoke.  We called it a day.  I call it a failure of preparation on my part.  We’ve never written again.  For me, I was embarrassed and in no hurry to risk wasting his time again.

Now for the good cowrite.

cropped-SWP-2.jpg

I met Byron Hill at Chad Green’s ASCAP Country Workshop.  And, if I remember correctly, Carla Wallace at Big Yellow Dog Music also helped connect us.  We got a cowrite on the books, and I was pumped.  Byron has written a bunch of hits including, “Fool Hearted Memory” for George Strait, “Born Country” for Alabama, “Politics Religion & Her” for Sammy Kershaw and many, many more.

I did my homework.  I pulled together several ideas and lyrics that I thought he’d like.  I really wanted to make a good impression on him. When Byron asked, “So… got any ideas?” I was ready.  He loved a lyric sketch I brought in called, “Ring On The Bar,” and we were off to the races.

This first cowrite led to some success and more opportunity.  While “Ring On The Bar” hasn’t been a big hit yet, it’s been recorded by John Pierce (RCA), James Dupre’ (The Voice), and has been on hold by several artists, including Brad Paisley.

But the big thing is that Byron and I went on to write several more songs together, including the 2014 Canadian Country Music Awards Single Of The Year (and my first #1) “When Your Lips Are So Close” with Gord Bamford.

Good thing I showed up with a good idea on that first day, huh?

And that brings me to the point of these two stories.  I believe that a strong idea is the most valuable thing you can bring to a cowrite (other than Kris Kristofferson).  “Well,” you might say, “how come these big-time songwriters didn’t throw out any of THEIR ideas?”  Here’s why:

A great idea is really the only thing a newer songwriter has to offer a seasoned pro.

Let’s face it, if you get to write with an established pro songwriter, what do THEY need from YOU?

They have a more valuable name in the business.  They have more connections.  They most likely bring a higher level of songwriting skill.  The only thing they need is a fresh, cool idea or melody.  Unless you’re swinging around a big fat record deal, your job is to bring in the idea or the start of a song.

If the pro has a great idea, he surely has several proven, established cowriters who could write it with him.  Why risk giving 50% of HIS idea to a songwriter who might not contribute very much?

Let me tell you, it’s more fun (and profitable) when you have a strong answer for “got any ideas?” – and I want you to be prepared when that question comes your way.  And that question doesn’t need a good answer ONLY if you get a pro cowrite.  That question comes up in EVERY cowrite.  Every time you step into the writing room, you have the opportunity to blow away your cowriter with a great nugget or idea.

Feeling like I have a stack of strong ideas allows me to walk into any cowrite with confidence.  We might not always write my idea, but I came prepared… and my cowriter knows it and appreciates it.

I want YOU to have that confidence – and those results, too.  I want your cowriters to be glad they showed up to write with you.  But I DON’T want you to have to go through years of trial, error and the occasional embarrassing cowrite like I did!

I’d love to hear your thoughts on this.  Have you had similar success or failures?  Please leave a comment!

If you want to become a songwriting pro (in how you think, write songs or do business), then a great place to start is RIGHT HERE.  I want to help you on your songwriting journey.  I’ve been in the music business for years, and I’m here to help you get the cuts – and avoid the bruises.  CLICK HERE TO START HERE.

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.

SWP 4