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Congrats To Our March 2018 “Play For A Publisher” Winners!

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Congratulations to our newest “Play For Publisher” Top Ten songs and songwriters!

First of all, BIG thanks and congrats to each of you who took a chance, took positive action, and submitted one or more songs to the “Play For Publisher” event with Courtney Allen of BMG Music.  Ya’ll are just plain awesome.

Out of over 200 songs, it took a while to whittle it down to just 10.  We have country songs, pop songs, cowrites, solo writes, male songs, female songs, full demos and a worktape!

There were a lot of worthy songs sent in, and I felt bad about leaving so many out.  If your song wasn’t chosen this time, it doesn’t mean that it isn’t a good song.

By the way, here’s a little about how I pick these songs.  Brave, awesome songwriters like you sent in your song or songs.  I downloaded them and listened – BEFORE I looked at who the writers are.  I picked the Top 10 and On Hold songs, THEN I looked up who wrote them.

So these were picked based on the song, not on the songwriter.  As a result… some folks got more than one in the Top 10 and On Hold.  Congrats to them for doing good, consistent work.

You know, one time I turned a song in to my publisher, and they didn’t know what to do with it, so they didn’t want to do anything with it.  My cowriters wanted to demo it, and the publisher said they wouldn’t pay for a demo.

The song was called, “Crickets,” and we got it cut by Joe Nichols.  It’s the title track to one of his recent albums.

joe-nichols-crickets

That’s right.  The song my publisher wouldn’t even pay to demo got cut anyway.  (My cowriters did an out-of-pocket guitar/vocal, and we pitched it ourselves.)

Welcome to Nashville.  So while I listened to each and every song and did my best to pick the ones that have the best chance of catching Courtney’s ear… I could be wrong.  That’s just the way the music biz works.  So if your song wasn’t selected, it doesn’t mean you should give up on it.

Okay, here are the Top Ten (in no particular order):

“Furniture” by John Watts

“I Can’t Blame Her” by Doug Folkins & Keesy Timmer

“What’s It Gonna Hurt?” by Janine de Souza & Russell Fogg

“Cake” by Ashley Taylor

“Vintage” by Dave Quirk, Troy Castellano, Victoria Banks

“Up” by Mikalyn Hay, Maddy Rodriguez, Johnny Simmen

“You’re Not Gonna Hurt Me Anymore” by Mary Hartman

“Fireball” by Davis Weir

“Just Friends” by Donna King & Joe Slyzelia

“Tupelo Trippin'” by Todd Dickinson & Kevin Rowe

 

(The Songwriting Pro community would LOVE to hear your songs, so if you have a link you’d like to post to your “Top 10” song, please post it in the comments below or in the Songwriting Pro Facebook Group!)

Congratulations!  Courtney and I look forward to hanging out with you on March 19.  (In the days before the event, I’ll email the winners the instructions about the online meeting.)

Like I said, the 10 songs above aren’t the only good ones I had the pleasure of hearing.  There are several more that were put “on hold” for the top 10 songs.  This list could be quite a bit longer, but I’d like to spotlight a few of them, too.  (Ya’ll feel free to link up your songs in the comments or in the Facebook group, too!)

“ON HOLD” songs…

“Like That” by Betsy Walter, Adam Doleac, Steve Mitchell

“Pictures Of Us” by Davis Weir, Russell Sutton, Kyle Coulahan, Elvie Shane

“Float” by Davis Weir, Elvie Shane, Russ Sutton, Drew Green

“Short Enough” by Ibby Hausman

“Stars In The City” by Cody Coggins & Cheryl Jividen

“Closer To Home” by Kerry Meacham & Christen Cooper

“The Devil Talks” by Chelsey Stallings, Cody Robbins

“Like A Rose” by Eugene Hanes & Wendell Hanes

“Vibe” by Todd Dickinson & CT Robinson

“All You Do Is Take” by Joe Slyzelia, Mary Beth Stone.

These songs, along with others, were in there battling it out with the top 10, so be encouraged!

________________________________

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

_________________________________

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

P4P, Write Like A Pro

Great Songwriting Advice From Hit Music Publishers!

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Play For Pub

Here are some great lessons from our most recent Play For A Publisher Events!

So far, I’ve had the honor of hosting four great “Play For A Publisher” events.  Our guest publishers, Tim Hunze of Parallel Music  and Chris Oglesby of BMG Music on Music Row in Nashville, Tennessee, have dropped some major value bombs. Today, I’d like to share some of the best takeaways from these evenings.

TIM HUNZE: PARALLEL MUSIC

There are a TON of hooking-up songs in country music right now. I have a ton of those songs in my own catalog. Ideas are key. Take your ideas to a different level.

Artists want songs that are easy to memorize.

Bring your “voice” to your songwriting.

I’m a “title freak.” If you have a great title, I’m already interested.

Don’t just sit in the same situation for the whole song. Have some sort of resolution or journey.

If you can demo it, do it.  Much of what is coming to me has at least a track or loop of some sort.  Most of my writers are writing with track guys. That said, if you’re not in the industry full time, a guitar/vocal will work. A great song will get through.

What’s the “WHY” of your song? Why are you sharing this song/story with the listener? Why should the listener care about hearing your song?

Keep writing up-tempo. I still get 10-to-1 ballads. Even from pro Nashville writers. I always need up tempo.

In songwriting, most of the time girls like sensual more than sexy. So don’t just talk at her, paint her into the scene.

Challenge yourself to come up with a new idea. A unique spin on an old thing. I listen to 100+ songs a day, so ideas, melodies, lines, titles, all need to be fresh.

Sometimes songwriters forget that they know more than the listener- and they don’t get enough of the important information out of their heads and onto the page. As a result, the listener is either confused or emotionally disconnected from the song.

There’s value in bringing a “change-up” song to a publisher or A&R person- a song that’s great but not “the usual.” Even if it’s not exactly what they need, it’ll be a breath of fresh air. (As long as the song is killer, of course.)

If you have a stale melody, the best lyric in the world won’t be heard.

How do songwriters get songs to a guy like him? Events like Play For A Publisher, NSAI, PROs (ASCAP, SESAC, BMI), attorneys…

 

CHRIS OGLESBY: BMG MUSIC

Classic country is pretty fresh right now because everything is so pop. I like to play things that stand out.

When songs are really good, sometimes it’s just about finding an artist that relates to it the most.

After a while, the “trick” of a lyric is over. We get how clever your idea is. Now just focus on the relationship in the 2nd verse. The “tricky” chorus will bring us back. Focus on the takeaway of the song. Everything points to the big takeaway. Focus on the takeaway, not the vehicle for the takeaway. (In other words, don’t get so clever with your theme or gimmick that you forget the heart.)

A song must connect on BOTH a lyrical and emotional level.

Mentioning things like “texting” or other in-the-moment technology (“Facebook” “MySpace”) is a red flag in a song. Those things can make a song obsolete overnight or keep it from aging well.

Just because a line is cool so say, it still has to sing well. Singability is huge!

Sometimes writers get so busy “writing the story” using all kinds of clever craft- that they forget to just TELL the story. Don’t get so much in your head that you forget the heart.

Assume the girl you’re singing about is in the audience and listening.  Especially when it’s a positive love song, make sure to weed out the lines that might offend her.  Just assume she’ll take things the wrong way.

Be sure that it’s clear from the beginning of your song who you’re singing to.  Don’t take me out of the song by making me try to figure it out.

Play songs for publishers that YOU love.  Don’t just play what you THINK the publisher will love.  After all, you probably don’t really know the publisher personally, so you don’t really know what they’ll like.  But songs that YOU love will tell the publisher a lot about YOU, and that’s valuable.

If YOU’D like your chance to play YOUR song for a real-deal Music Row publisher, I have good news!

Our next Play For A Publisher event is in September with hit publisher, Dan Hodges!  Tickets are on sale now, and space is limited.  CLICK HERE to check out all the details and submit YOUR song for Dan!

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

Think Like A Pro, Write Like A Pro

Great Advice For Songwriters From Hit Music Publishers!

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Play For Pub

Here are some great lessons from our most recent Play For A Publisher Events!

So far, I’ve had the honor of hosting three great “Play For A Publisher” events. Our guest publishers, Tim Hunze of Parallel Music  and Chris Oglesby of BMG Music on Music Row in Nashville, Tennessee, have dropped some major value bombs. Today, I’d like to share some of the best takeaways from these evenings.

TIM HUNZE: PARALLEL MUSIC

I’m a “title freak.” If you have a great title, I’m already interested.

Don’t just sit in the same situation for the whole song. Have some sort of resolution or journey.

If you can demo it, do it.  Much of what is coming to him has at least a track or loop of some sort.  Most of his writers are writing with track guys. That said, if you’re not in the industry full time, a guitar/vocal will work. A great song will get through.

What’s the “WHY” of your song? Why are you sharing this song/story with the listener? Why should the listener care about hearing your song?

Keep writing up-tempo. I still get 10-to-1 ballads. Even from pro Nashville writers. I always need up tempo.

In songwriting, most of the time girls like sensual more than sexy. So don’t just talk at her, paint her into the scene.

Challenge yourself to come up with a new idea. A unique spin on an old thing. I listen to 100+ songs a day, so ideas, melodies, lines, titles, all need to be fresh.

Sometimes songwriters forget that they know more than the listener- and they don’t get enough of the important information out of their heads and onto the page. As a result, the listener is either confused or emotionally disconnected from the song.

There’s value in bringing a “change-up” song to a publisher or A&R person- a song that’s great but not “the usual.” Even if it’s not exactly what they need, it’ll be a breath of fresh air. (As long as the song is killer, of course.)

If you have a stale melody, the best lyric in the world won’t be heard.

How do songwriters get songs to a guy like him? Events like Play For A Publisher, NSAI, PROs (ASCAP, SESAC, BMI), attorneys…

CHRIS OGLESBY: BMG MUSIC

Classic country is pretty fresh right now because everything is so pop. I like to play things that stand out.

When songs are really good, sometimes it’s just about finding an artist that relates to it the most.

After a while, the “trick” of a lyric is over. We get how clever your idea is. Now just focus on the relationship in the 2nd verse. The “tricky” chorus will bring us back. Focus on the takeaway of the song. Everything points to the big takeaway. Focus on the takeaway, not the vehicle for the takeaway. (In other words, don’t get so clever with your theme or gimmick that you forget the heart.)

A song must connect on BOTH a lyrical and emotional level.

Mentioning things like “texting” or other in-the-moment technology (“Facebook” “MySpace”) is a red flag in a song. Those things can make a song obsolete overnight or keep it from aging well.

Just because a line is cool so say, it still has to sing well. Singability is huge!

Sometimes writers get so busy “writing the story” using all kinds of clever craft- that they forget to just TELL the story. Don’t get too much in your head that you forget the heart.

Assume the girl you’re singing about is in the audience and listening.  Especially when it’s a positive love song, make sure to weed out the lines that might offend her.  Just assume she’ll take things the wrong way.

Be sure that it’s clear from the beginning of your song who you’re singing to.  Don’t take me out of the song by making me try to figure it out.

Play songs for publishers that YOU love.  Don’t just play what you THINK the publisher will love.  After all, you probably don’t really know the publisher personally, so you don’t really know what they’ll like.  But songs that YOU love will tell the publisher a lot about YOU, and that’s valuable.

If YOU’D like your chance to play YOUR song for a real-deal Music Row publisher, I have good news!

Tim Hunze is coming back to do another Play For A Publisher event in June!  Tickets are on sale now, and space is limited.  CLICK HERE to check out all the details and submit YOUR song for Tim!

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

Do Business Like A Pro, P4P

There’s one thing better for songwriters than being “discovered!”

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I’ve felt it.  Maybe you have, too.  It’s that rush of nerves and adrenaline as you sit across from a publisher, producer, or A&R rep as they listen to your song.

You’re on the edge of your seat with each line of your song, trying to read every little expression on their face for some clue of what might be coming next.  “The bridge!” you think, “If you just listen through the bridge, you’re gonna love it!”

____________________

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

_________________________________

Then the song ends… or they hit “stop.”  Moment of truth.  Do they love it?  Do they hate it?  Are you about to be discovered as a songwriter?  Is your life about to change?

It’s awesome if you get discovered.  What what if you don’t?

It’s frustrating.  I know it is.  (There’s a long list of publishers who didn’t “discover” me before “Monday Morning Church” went top 5.)  It’s easy to think of those meetings as missed opportunities.  But they aren’t.  There’s a hidden opportunity every time you play a song for a pro- even if they pass on it.

Don’t miss the opportunities that come with disappointments.

You have the opportunity to close your ears and your mind to anything the pro says.

You’re free to assume that just because they don’t love your song, they obviously don’t know what they’re talking about.  You also have the opportunity to become bitter, blaming your lack of success on “politics” or “tone deaf music executives.”  Obviously, I don’t recommend you take either of these opportunities.

You have the opportunity to learn where the songwriting bar is set.

You thought your song was there, but now you know you have to elevate your craft.  Just knowing you have to get better is a HUGE gift.  Don’t miss it.

You have the opportunity to display professionalism.

Don’t turn “I don’t love your song” into “I’m never meeting with you again.”  Don’t get angry or defensive or try to talk the pro into liking your song.  They’ll just end up disliking your song AND you.  Instead, be courteous, respectful, and thankful.  Accept any feedback with grace and humility.  That will go a long way towards making you likable.  And if the pro likes you, you have a better chance of getting another meeting.

You have the opportunity to learn and get better.

Too many songwriters are so focused on getting discovered that they miss the chance to get better.  It’s a mistake to tune out once you realize the pro doesn’t love your song.  Sometimes, they’ll give you little reasons why they’re passing on your song.  Or they’ll tell you something they like about it.  Or maybe, they’ll go in depth with their feedback.

But how do you connect with a legitimate music publisher and take advantage of these opportunities?  Well, you’re in luck!

I’m hosting the next round of Songwriting Pro’s “Play For A Publisher” soon!  We have these awesome events- with legit hit music publishers- every quarter, and the deadline to submit your song is coming up quickly!  CLICK HERE TO LEARN MORE ABOUT 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 and a #1 in Canada… so far.