Tag Archives: Blake Shelton

Songwriting advice from hit songwriter, Chris Lindsey!

Here’s golden advice from a #1 songwriter.

Chris is a Grammy-nominated songwriter and producer, and his cuts include “Amazed” by Lonestar, “Every Time I Hear That Song” by Blake Shelton, as well as cuts by Carrie Underwood, Keith Urban, Tim McGraw, The Civil Wars and more.  He also has a great podcast called, “The Pitch List.”

Chris 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!

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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

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Here is a bit of Chris’ advice (paraphrased):

You need to be writing edgy material, because it could be 6-8 years out from hitting the radio. “Every Time I Hear That Song” was 6 years old when it went #1 for Blake Shelton.

However honest you can be with yourself about your songs, that’s how far you can go in the music business. It’s key to honestly evaluate yourself and your music. Be vicious with yourself.

When you work with artists, you’re really trying to assist them.

If it’s not working, try something different- different cowriters, different style of writing, etc.

Songwriters tend to be precious with their songs- their babies. But if a producer passes on a song, it’s not personal. Your song just isn’t what they need at that time for that project.

No matter how much this town (Nashville) beats you up, if you can take a beating, you’ll come out of it… good. You’ll be a better writer.

If you just want to make money, there are easier businesses than the music business.

After your “finish” your song, play it in person for someone you respect. You’ll hear the song in a whole new way and find things you need to fix that you never noticed before. It’s hugely helpful.

Even if you come out of the gate with a hit, it doesn’t get easier. It’s always competitive. Even if you’ve written a hit, you have to write today’s song TODAY. You have to get today’s cut TODAY.

I tend to reject a song idea if there’s no “service” in that idea. As songwriters, we should be trying to add value to people’s lives. If a song doesn’t seek to serve others or add value, I’ll reject it. Value could be giving someone a smile after a hard week at work. Or value could be validating someone’s love. We make the most money by serving the most people.

Instead of being so focused on “writing up” (writing with big-name hit songwriters), you need to find YOUR people. Write together, stay together, form a wedge and bust through as a group.

If you’d like to hear EVERYTHING Chris 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, Byron Hill & 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.

This month, our guest is hit songwriter KENNA WEST!  Kenna has had over 30 #1 singles in the gospel and southern gospel markets.  She currently writes for Word Publishing.   He’s has been nominated for multiple Dove Awards, multiple “Songwriter Of The Year” nominations (AGM, SGM), and over twenty “Song Of The Year” nominations.  Artists who have recorded Kenna’s songs include Karen Peck & New River, Jeff & Sheri Easter, Marty Raybon, Brian Free & Assurance, and more.

This is something you do NOT want to miss!

This event will be on Thursday, November 29, from 7:30pm-8:30pm Central time.

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.

Ask hit songwriter Chris Lindsey YOUR questions!

You’re invited to “Know The Row!”

Hello!
  Frettie’s “Know The Row” is a cool opportunity for us to hang out together (online) with a music industry pro.  And this month, we have a great one!  Oh, and it’s 100% FREE.

This event will start off with a brief conversation between me and our guest, as he reveals information YOU need to know about the music biz.  After that, we’ll open it up to YOUR questions (so think ahead).

Read on for more details.

________________________________

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

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This month, our guest is hit songwriter CHRIS LINDSEY!  Chris is a Grammy-nominated songwriter and producer, and his cuts include “Amazed” by Lonestar, “Every Time I Hear That Song” by Blake Shelton, as well as cuts by Carrie Underwood, Keith Urban, Tim McGraw, The Civil Wars and more.  He also has a great podcast called, “The Pitch List.”

This is something you do NOT want to miss!

This event will be on Tuesday, October 16, from 7:30pm – 8:30pm CENTRAL TIME.

Oh, and these events are normally only for Frettie subscribers.  But I’ve decided to open this one up to the public, so feel free to show up and send this link to your songwriting buddies! You do NOT have to be a Frettie subscriber to join this great event!

Please note that this Know The Row event WILL be recorded and added to the Frettie Members Area.  These videos are a resource for Frettie subscribers.  In other words, just be aware that what we talk about will not stay just between those of us online that night.

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.

The C.L.I.M.B. #121: Building A Hit with Blake Shelton’s “I Lived It”

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON iTUNES –  HERE FOR STITCHER (Android) –  HERE FOR THE C.L.I.M.B. WEBSITE

Want to write a hit song?  Then you’re in the right place!  On this week’s episode, Johnny and I reveal a few of the pro songwriting techniques that went into the song “I Lived It” and made it into a big hit for country superstar, Blake Shelton.

If you want the world to hear your music, you wanna hear this.  The link to listen is above and below.

The C.L.I.M.B. Podcast is live and ready for download!

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON ITUNES

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON STITCHER (for Android)

CLICK HERE TO LISTEN ON THE C.L.I.M.B. WEBSITE

The C.L.I.M.B. stands for “Creating Leverage In The Music Business,” and that’s the goal of this podcast- to help singers, indie artists and songwriters like YOU to create leverage in the music business.  What is leverage?  It’s “strategic advantage; the power to act effectively.”  We want to help YOU make stuff happen in the music biz.

It’s exciting to see how folks are digging the show- and being helped on their CLIMB.  If YOU like it, we’d really appreciate it if you’d subscribe and leave a rating or review on iTunes.  Positive ratings and reviews help us to climb the iTunes rankings so more people become aware of the show and we can help more singers, songwriters, and indie artists like you make The CLIMB!The CLIMB iTunes review 3

CLICK HERE TO LEAVE AN iTUNES REVIEW

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON ITUNES

If you aren’t on iTunes, you can listen to the show at our website:

TheCLIMBshow.com

If you have an Android phone, you can subscribe to the show on:

Stitcher

Thanks for your time. It means a lot to me, and hopefully it’ll be a lot of help for you!

God Bless and keep C.L.I.M.B.ing,

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.

Building A Hit: Blake Shelton & “I Lived It”

Blake Shelton’s current single, “I Lived It,” is living it up on the country singles chart. Today, let’s take a look at some of the ways the songwriters built this song to be a Blake hit.

Great songs don’t happen by accident- they’re a series of wise choices.  And the songwriters (Ashley Gorley, Ben Hayslip, Rhett Akins and Ross Copperman) made some great choices when building “I Lived It.” Now, I wasn’t in the room with them, so I can only speculate at the thought process behind the end results. But as a professional songwriter myself, I can take an experienced and educated guess.

If you want to write hits, too… read on!

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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

_________________________________

1. Stick to the brand.

Overall, this song is built to fit Blakes’s brand of country. The lyric is really country, and the song is about what it’s like to grow up… country.  Really country.  This subject matter fits nicely beside other songs he’s cut, like “Green,” “Boys ‘Round Here” and “Hey.”  The phrasing and production are also a little more traditional than progressive, which also (generally) fit’s Blake’s brand.

 2. Show, don’t tell.

There are a lot of images in the song, and it puts us in those moments. Right in the first line, we see a guy driving a flatbed Ford.  Then we see flies and a hole in a screen door.  Blake’s not just saying he grew up country, he’s showing us what growing up country looks, feels, sounds and tastes like.

These fresh, vivid images help the song stand apart from all the other, vague “I grew up country” songs that no doubt get pitched to Blake for every album.  Not only that, but it helps to…

3. Give the listener a reason to connect.

How many people can relate to growing up this way?  A lot of us remember mama pouring bacon grease in a can, sitting in front of a box fan, and so many more things in this lyric.  It pushes the nostalgia button for many, many listeners.

For example, if it’s been years since you’ve thought about how cool it was to get your hands on a two dollar bill, that line sets off a “nostalgia bomb” in your brain.  And nostalgia is a great way to connect to the listener’s emotions and get them to invest in your song.  It’s not the only way, but it sure is a powerful one.

4. Keep it moving.

Writing a sentimental, nostalgic song might lead some writers to write a slow ballad.  But not these hit songwriters.  They know that their chances of getting a cut go up as they add some tempo, groove or energy to the song.  So that’s what they did.

The song is by no means an uptempo rocker. But they put about as much tempo on it is as they could without breaking the sentimental, nostalgic vibe of the song.

Okay, those are four areas in which Ashley Gorley, Ben Hayslip, Rhett Akins and Ross Copperman built “I Lived It” to be a hit song. Of course, those aren’t the only elements that make “I Lived It” a hit, but they’re four important ones. If YOU want to discover even more of the elements of building a hit song, I have an awesome opportunity for you.

In the month of July, 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.

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 idea 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, never get on the radio, and never change your life.

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. Transform your songwriting today..

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE OF THIS GREAT OPPORTUNITY.

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.

The C.L.I.M.B. #110: Interview with “The Voice” contestant, WILKES!

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON iTUNES

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON STITCHER (for Android)

CLICK HERE TO LISTEN ON THE C.L.I.M.B. WEBSITE

Johnny and I are super-pumped to interview C.L.I.M.B.er and The Voice contestant, WILKES!

We dive into some great info that YOU can use, including how WILKES implemented strategies he heard on The C.L.I.M.B. to get noticed by The Voice, how he embraced his personal quirks to find his musical and performing lane, and so much more.

If you want the world to hear your music, you wanna hear this.  The link to listen is above and below.

Also…

THE C.L.I.M.B. CONFERENCE IS COMING TO UTAH IN APRIL!

That’s right, Johnny and I will be live and in person!  And even better- we’ll be joined by some incredible industry pros to help YOU Create Leverage In the Music Business!  Don’t miss out!

CLICK HERE FOR DETAILS AND TO REGISTER FOR C.L.I.M.B.con!

If you’re a singer, songwriter or indie artist who wants to grow your career, THIS is the podcast for you!

The C.L.I.M.B. Podcast is live and ready for download!

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON ITUNES

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON STITCHER (for Android)

CLICK HERE TO LISTEN ON THE C.L.I.M.B. WEBSITE

The C.L.I.M.B. stands for “Creating Leverage In The Music Business,” and that’s the goal of this podcast- to help singers, indie artists and songwriters like YOU to create leverage in the music business.  What is leverage?  It’s “strategic advantage; the power to act effectively.”  We want to help YOU make stuff happen in the music biz.

It’s exciting to see how folks are digging the show- and being helped on their CLIMB.  If YOU like it, we’d really appreciate it if you’d subscribe and leave a rating or review on iTunes.  Positive ratings and reviews help us to climb the iTunes rankings so more people become aware of the show and we can help more singers, songwriters, and indie artists like you make The CLIMB!The CLIMB iTunes review 3

CLICK HERE TO LEAVE AN iTUNES REVIEW

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON ITUNES

If you aren’t on iTunes, you can listen to the show at our website:

TheCLIMBshow.com

If you have an Android phone, you can subscribe to the show on:

Stitcher

Thanks for your time. It means a lot to me, and hopefully it’ll be a lot of help for you!

God Bless and keep C.L.I.M.B.ing,

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.

Artist Insight Report: Blake Shelton “If I’m Honest”

If you want your songs to get recorded by major artists, you need to understand those artists.

Understanding what an artist has recorded before can help you predict what he or she might record in the future. So, today, I decided to dive into Blake Shelton’s album, “If I’m Honest.” Here’s what I found, track-by-track.  (Note: “PUL’D” is a reference from my workbook “Cut/able: Lessons in Market-Smart Songwriting.” It means “Positive-Uptempo-Love/Depth.”  “Neighborhood” and POV (“Point Of View”) are also explained in “Cut/able.”  Check out the workbook HERE.)

____________________

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

_________________________________

Artist: Blake Shelton

Album: If I’m Honest

Producer: Scott Hendricks

Label: Warner Bros. Nashville

“Straight Outta Cold Beer”

Writers: Marv Green, Ben Hayslip, Justin Wilson

POV: Me-to-the-world

Timeframe: In-the-moment

PUL’D: Positive, Midtempo

Neighborhood: Bro, redneck, blue-collar

Subject: Country life pep rally

Notes: Rap-like lyrics, lots of imagery, “We’re country and that’s awesome” theme.  Play off “Straight Outta Compton,” fun, clever.  Drinking, Verse-Chorus-Verse-Chorus-Solo-Chorus

“She’s Got A Way With Words”

Writers: Andy Albert, Marc Beeson, Wyatt Earp

POV: Me/Her

Timeframe: In-The-Moment (with some looking back)

PUL’D: Negative (but humorous), Midtempo, Love (lost love)

Neighborhood: Country boy.  Lyrically pushes the envelope. Sarcastic.

Subject: Lost Love

Notes: SINGLE, Breakup, fun/funny, clever lyric, quirky, not much imagery, not a very “big” melody.  Verse-Chorus-Verse-Chorus-Chorus

“Bet You Still Think About Me”

Writers: Park Chisolm, Mark Irwin

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Want-you-back, hopeful, mid-ballad, big chorus, love/lost love

Neighborhood: Country

Subject: Love love

Notes: Melodic, hook in the pre-chorus, not a lot of imagery.  Tells the listener (the girl) that she’s still wanted. Verse-Chorus-Verse-Chorus-Chorus.

“Every Time I Hear That Song”

Writers: Chris Lindsey, Aimee Mayo, Brad Warren, Brett Warren

POV: Me/You

Timeframe: In-The-Moment, looking back

PUL’D: Sad, Mid-power ballad, Love/lost love

Neighborhood: Country

Subject: Lost love, music

Notes: Big melody, falsetto.  Tells the girl (listener) that she’s still wanted.  Verse-Chorus-Verse-Chorus-Bridge-Solo-Bridge

“Came Here To Forget”

Writers: Deric Ruttan, Craig Wiseman

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Sad but hopeful, Mid-tempo, Love / lost love

Neighborhood: Country, Pop-country

Subject: Lost love and hooking up with someone new.  Drinking.

Notes: SINGLE.  Mid-groove.  Kinda dark.  Lots of imagery.  Weed reference. Verse-Chorus-Verse-Chorus

“Every Goodbye”

Writers: Busbee, Ryan Hurd, Liz Rose

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Positive, Midtempo, Love/Lost Love

Neighborhood: Blue collar country boy

Subject: I lost her.  You lost him.  Let’s hook up.

Notes: Bouncy feel-good groove, drinking, not a ton of imagery.  Getting over a heartache, but not a sad feel.  Feels very positive.  Verse-Lift-Chorus-Verse-Chorus-Lift-Chorus

“It Ain’t Easy”

Writers: Rhett Akins, Mat Dragstrem, Ben Hayslip

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Positive, mid-groove, love

Neighborhood: Soulful country.

Subject: It ain’t easy for him to leave her place ‘cuz he’s so in love.

Notes: Telling the girl what she wants to hear.  Horns.  Hook-Verse-Chorus-Verse-Chorus-Bridge-Chorus

“A Guy With A Girl”

Writers: Ashley Gorley, Bryan Simpson

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Positive, Uptempo, Love

Neighborhood: Country boy.  Blue collar, kinda redneck.

Subject: When I’m with you, nobody’s paying any attention to me- cuz you’re so beautiful.

Notes: SINGLE. Telling the girl what she wants to hear.  Praising her.  Feels good.  Good imagery.  Verse-Chorus-Verse-Chorus-Bridge-Chorus.

“Go Ahead And Break My Heart”

Writers: Blake Shelton, Gwen Stephani

POV: Me/You (duet)

Timeframe: In-The-Moment

PUL’D: Negative (but feels good), uptempo, love/lost love

Neighborhood: Pop country

Subject: We hooked up getting over other people, but it’s a temporary thing?  But we’re into each other?  Honestly, I’m not really sure what’s going on here.

Notes: Negative, but feels good.  Messed up relationship. On-again, off-again.  Good imagery.  Verse-Verse-Lift-Chorus-Verse-Verse-Lift-Chorus-Bridge-Chorus.

“Friends”

Writers: Blake Shelton, Jessi Alexander

POV: Me/You

Timeframe: Looking back / In-The-Moment

PUL’D: Positive, Uptempo, Friendship

Neighborhood: Movie song.  “Angry Birds.”  Country.

Subject: Friendship

Notes: Buddy song, smile-factor.  Verse-Chorus-Verse-Chorus-Bridge-Chorus.

“One Night Girl”

Writers: Ashley Gorley, Dallas Davidson

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Positive, Uptempo, Love

Neighborhood: Country boy.  Bro.

Subject: It’s daybreak after the 1st date, and he’s telling her he wants to spend more time with her.

Notes: Love, not sex.  New love.  Big chorus.  Good imagery.  Verse-Chorus-Verse-Chorus-Bridge-Chorus.

“Doing It To Country Songs”

Writers: Marty Dodson, Jacob Lyda, Paul Overstreet

POV: Me/Her

Timeframe: In-The-Moment

PUL’D: Positive, Mid-tempo, Music

Neighborhood: Country, honky tonk.

Subject: Country music and sex.

Notes: Features the Oak Ridge Boys.  Storytelling.  Lots of imagery.  Double-meaning.  Clever, fun, funny. Verse-Verse-Chorus-Verse-Chorus-Solo-Chorus-Chorus-Chorus

“Savior’s Shadow”

Writers: Blake Shelton, Jessi Alexander, Jon Randall

POV: Me-to-the-World

Timeframe: In-The-Moment

PUL’D: Positive, Ballad, Depth

Neighborhood: Country gospel.  No angel.  Bluegrass.

Subject: The devil tried to break me, but God pulled me through.

Notes:  Worshipful, acoustic/strings, contemplative.  Verse-Verse-Chorus-Verse-Chorus-Chorus.

TAKEAWAYS:

This record feels good.  The happy songs feel good.  Even the heartbreak songs feel good.  Not a tearjerker in the bunch.  A theme that keeps popping up is curing a fresh heartache by finding someone new (“Came Here To Forget” “Every Goodbye”).

Women are lifted up on tis album.  The possible exception is “She’s Got A Way With Words,” but even that comes off more funny than angry.  Other songs, he wants the girl back (“Every Time I Hear That Song” “Bet You Still Think About Me”).

New relationships: “Came Here To Forget” “Every Goodbye” “It Ain’t Easy” “One Night Girl”

Established relationships: “A Guy With A Girl” “Doing It To Country Songs”

It’s all pretty light, except for “Go Ahead And Break My Heart” and “Savior’s Shadow.”  The only hopeless or lost love is “She’s Got A Way With Words.”  Not much sex or sexy.  Lot of new love, but not much making out except for the double-meaning of “Doing It To Country Songs.”

“If I’m Honest” hits on a lot of commercial principles I advocate in Cut/able. The songwriters really hit the nail on the head with this one.

If you’re ready to take YOUR commercial songwriting to the next level, I have a great opportunity for you.

In August 2017, I’m hosting “The C4 Experience (C4X)” event.  This is YOUR opportunity to really focus in on writing more commercial songs.  You’ll get expert coaching and a small, supportive community.  And with it being online, you can join us from anywhere in the world with an internet connection.  If you want details, just CLICK HERE.  Tickets are on sale now, and space is limited to only 10 songwriters!

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.

Hey, I Remember That!

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.

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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.

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How To Keep Your Phrasing Interesting

Man vs Row

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.

Phrasing is the rhythm of the lyrics (and the spaces in-between) as they fit into the melody. You could say it’s the “bounce” of the words.

Phrasing could be melodic and slow, like the chorus on “Drink A Beer” recorded by Luke Bryan and written by Chris Stapleton and Jim Beavers. It could be more like a rap, like the verses of “Boys ‘Round Here” recorded by Blake Shelton and written by Craig Wiseman, Thomas Rhett, and Dallas Davidson. Or it could be somewhere in between.  (And I’m not talking about lyrical CONTENT here.  I’m not telling you what subject matter to write.  I’m just talking about the rhythm and spacing of the words, whatever those words happen to be.)

It’s hugely important to keep your phrasing interesting.

(Back when I was starting out, I had a pro songwriter- the son of my church’s music minister- listen to some of my songs.  He said, “I can tell you grew up Baptist. The songs all phrase like Baptist hymns.  You need to make your phrasing more interesting.”  My reaction was… “what’s phrasing?”)

Play with your phrasing. Mix it up. If you’re not great at writing uptempo songs, try writing faster, more interesting phrasing within your slower tempos. Brantley Gilbert and Colt Ford did this well when they wrote “Dirt Road Anthem,” which went on to become a #1 country single for Jason Aldean. The tempo wasn’t that fast- the song felt really laid back. It’s the rapid-fire phrasing on the verses which really gives the song its energy (instead of giving it a power chorus or a fast tempo).

You don’t want your lyric to have the same “bounce” all the way through.

Mix up the phrasing between your verse and your chorus. This will help you vary the melody between the verse and chorus, too. That’s really important. Also, make sure your verse doesn’t have the same bounce to every line.  Mix it up there, too.

Right now, rap-like lyrics are pretty popular in country music, but who knows how long that’ll be the case. My best advice is to just keep it interesting, whatever you do.

What do you think?  What are YOUR thoughts or questions on phrasing?  Do you have trouble mixing it up?  I’d love to hear your thoughts!

God Bless,

Brent

1-TO-1 COACHING

Hey, ya’ll! Several of you have been asking about 1-to-1 coaching opportunities.  Well, over the next few weeks, I’ve made a few sessions available.  It’s our chance to sit down together (over the phone or over the web) and discuss your songwriting goals, dig into a few of your songs to see how we can make them stronger, answer questions, whatever.  If you’re interested, just click on the image below or go to the “STEP THREE” tab at manvsrow.com.  Thanks!

-Brent

1-to-1 Coaching

 

Songwriters, Take Your Listeners To The Movies

Man vs Row

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.

Imagine yourself in a darkened movie theater. The movie starts to play, but there is just sound… no picture. You’d be upset, right? Well, then, why do we sometimes write songs that way?

I think the movie analogy is an appropriate one for songwriting.

After all, don’t we basically write 3-minute movies?

Our job is to entertain, to move, or to make the listener think. Just like a movie. But because songs are an audio format, we sometimes forget about the pictures. But they are terribly important!

Take, for instance, “The Thunder Rolls” written by Garth Brooks and Pat Alger. Yes, it’s an oldie, but it’s a classic. This lyric is a movie all by itself. Let’s look at the first verse:

3:30 in the morning / not a soul in sight / the city’s looking like a ghost town / on a moonless summer night / raindrops on the windshield / there’s a storm moving in / he’s heading back from somewhere / that he never should have been / and the thunder rolls

You can SEE that verse. The ghost town, the dark night, the raindrops. Not only that, but you can HEAR it. The thunder rolls. While this lesson will focus on visuals, don’t forget that you have FIVE senses, and you should use as many of them in a song as possible. Let’s look at the second verse:

Every light is burning / in a house across town / she’s pacing by the telephone / in her faded flannel gown / askin’ for a miracle / hopin’ she’s not right / praying it’s the weather / that’s kept him out all night / and the thunder rolls

Again, you can SEE and HEAR that verse. Lights burning, pacing by the phone, the faded flannel gown, the thunder rolls. And the third verse is just as visual as the first two.

It is no accident that some writers refer to sensory details as “furniture.” An empty room is not very inviting. It doesn’t hold your attention very long. However, a room with a great big couch and great art on the walls INVITES you in for a while. It gives you something to look at.

I got this feedback from an old publisher when I didn’t have strong visuals in a song. He said it left him, as he called it, “floating around in space with nothing to hang on to. You’re just telling me how you FEEL.”

There’s a songwriting adage that says, “Don’t TELL me, SHOW me.” Visuals give you something to latch on to. A strong visual or other sensory image at the front end of a song really draws a listener in. It gives you a picture right off the bat.

Take these following first lines from some recent hit songs:

Doublewide Quick Stop midnight T-top Jack in her Cherry Coke town – “American Kids” sung by Kenny Chesney

Quarter in the payphone, clothes drying on the line – “Automatic” sung by Miranda Lambert

Those high heels with that sun dress, turquoise heart hanging ‘round your neck – “My Eyes” sung by Blake Shelton

Summer comin’ through a rolled down window, tearin’ down an almost two lane back road – “We Are Tonight” sung by Billy Currington

And now a few hits that are a couple years back…

Sun shines, clouds rain, train whistles blow and guitars play – “It Just Comes Natural” sung by George Strait

I’ve packed a cooler and a change of clothes – “Want To” by Sugarland

Driving through town, just my boy and me. With a happy meal on his booster seat– “Watching You” by Rodney Atkins

I can take the rain on the roof of this empty house– “What Hurts The Most” Rascal Flatts

She’s a yellow pair of running shoes, a holey pair of jeans– “She’s Everything” Brad Paisley

I could do this for days. Now, I know there are examples out there of purely emotional songs that do well. But if you look at the songs that are not written by the artist or by the producer or by an established hit songwriter, I think you’ll see a trend.

So good luck with your songwriting. Use lots of visuals, and keep at it.

What about you?  Do you tend to write with or without a lot of imagery?  Are there lines from some other songs you think have great imagery that you’d like to share?  I’d love to hear from you!

God Bless,

Brent

ARE YOU READY TO JOIN MvR IN THE TOP 10 THIS WEEK?

The listener’s reaction to your song is only as real as the character in your song. The W.I.L.L.power workshop will teach you tips & techniques to make the characters in your songs come alive and jump out of the radio and into your listeners’ hearts. There are only a handful of tickets available for this intimate get-together, AND THE WORKSHOP IS THIS WEEK! Click on the image below to find out more!

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If you like this blog, don’t miss a single post! Join by putting your email in the “Become An MvR VIP” section on this page. It’s either in the upper righthand corner or down below. Members receive discounts on products and services and well as some other cool stuff. 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!

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