Tag Archives: Florida Georgia Line

C4X, Cut/able Songwriting, Write Like A Pro

Cut/able Songwriting: FLORIDA GEORGIA LINE & “TALK YOU OUT OF IT”

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Florida Georgia Line is climbing the country singles chart with their new song, “Talk You Out Of It.”

Alysa Maria Vanderheym, Hunter Phelps, Jameson Rodgers and Michael Hardy are the songwriters behind “Talk You Out Of It,” and they use several techniques that help the song stand out- and stand a chance of getting cut.  In short, they made this song “Cut/able.”  Here are a few of those techniques.

YOU GOTTA TALK TO HER.

This song is all about the sexy.  And that type of song is perfect for direct address.  That’s when the singer sings directly TO the listener.  In this case, he’s saying “I just wanna talk YOU out of it.”  The writers could have written the singer to sing “I just wanna talk HER out of it,” about how his girl is getting ready to go out on the town and how she looks so good.  But, you know what?  Talking ABOUT your love interest isn’t nearly as powerful as talking TO your love interest.  This is especially true for sexy songs.  The difference between “you” and “her” can be the difference between “hit” and “miss.”

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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!

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PAINT THE PICTURE.

They use some great imagery in this song, and it really helps the story to come to life. They give us so much to “see,” from the downtown lights to the bottle in a bucket of ice to him watching TV.  And that’s just in the first verse!  The chorus is also full of imagery.  The “playlist you play when you’re in the shower” brings in not just a visual image, but the audio image of music.  It’s important that you don’t forget your other senses.  Visual imagery is important, but sound, smell and other types of sensory images can really bring an authenticity to your lyric.

DOUBLE THE MEANING, DOUBLE THE IMPACT.

Country songs love double meanings, and this song is no exception.  The chorus starts off with “I talked you into…” getting ready to go out.  And they could’ve just said, “you look so good, I want to talk you out of it,” meaning, “I want to talk you out of going out on the town.”  But the writers brought the chorus to an image of her in “that fine little dress.”  Now, when the singer says, “I just wanna talk you out of it,” it means, “I wanna talk you out of going out on the town” AND “I wanna talk you out of that dress.”  It adds another twist on this hook, making it a lot more powerful.  You want your hook to land with impact, and a well-crafted double-meaning can help you do that.

THE VIBE MATCHES THE LYRIC.

Last, but certainly not least, the vibe (melody, groove, production) fits the meaning of the lyric.  Now, you can have great success with sad songs that feel happy, for example.  But for sexy songs, it really works when the lyric and vibe match.  And it certainly does here.  A big fun melody/groove might’ve still been cut/able, but it sure wouldn’t have been sexy.  And that is definitely the goal here: sexy.  So the vibe reflects that.  There’s a focus to this song.  The writers know what they want the listener to feel, and everything moves in that direction.

Knowing pro techniques like this can make a big difference in YOUR songwriting.  Applying them will help you write market-smart songs: songs that have a competitive advantage in the market.

If you want to dive into songwriting craft; if you want learn how to write songs that will get you noticed in the music business, I have a great opportunity for you.

Every Tuesday night in April, I’m hosting The C4 Experience.  It’s an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting.  I want you to win, and I’m going to help you write songs that artists want to sing, radio wants to play and fans want to hear.

CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT IN THIS EXCLUSIVE ONLINE EVENT!

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, Ray Stevens and more. He’s written a top 5 hit in the US, a #1 Single of the Year in Canada, and a top 10 in Texas… 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.SWP 4

Frettie, Know The Row, Write Like A Pro

Your Song’s First Line Really Needs This!

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Imagine yourself in a dark movie theater.  The movie starts to play, but there is just sound- no picture.  You’d be upset, right?  Then why do we often write songs that way?

Why don’t we give our listeners some pictures right at the beginning of our movie/song?  After all, the hit songwriters know how important this is, and they do it consistently.

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

Songs are basically 3-minute movies.

And just like someone making a movie, we want to hook our audience immediately.  We want to draw them into our story as quickly as possible.  And you know what does this extremely well?

Imagery.

Well-written imagery quickly lets the listener know the setting for our story or gives them a sudden emotional punch.  Or it builds mystery or interest.  And, along with good melody and production, that will keep the listener listening further into the song.

The main job of your song’s 1st line is to make the listener want to hear the 2nd line.

Here are the first lines of a few of my songs that have been recorded.

You left your Bible on the dresser, so I put it in the drawer – “Monday Morning Church” sung by Alan Jackson

Sunday morning was a fight, I was runnin’ from that clip-on tie – “Every Head Bowed” sung by Alan Jackson

Past the cotton fields and the old Spring Mill, we laid a blanket out where the world was still – “Crickets” sung by Joe Nichols

There’s a towel on the bathroom door, a t-shirt in my dresser if you like – “Last Night Last” sung by Lady Antebellum

But don’t just take MY lyrics for it.  Here are the first lines of 9 of the current top 10 songs on Billboard’s Country Airplay Chart.

I believe kids oughta stay kids as long as they can, turn off the screen, go climb a tree, get dirt on their hands – “Most People Are Good” sung by Luke Bryan

I ain’t heard you laugh like that in a long time – “Singles You Up” sung by Jordan Davis

Baby, lay on back and relax, kick your pretty feet up on my dash – Bebe Rexha & Florida Georgia Line

She wants to get married, she wants it perfect, she wants her grandaddy preaching the service – “Marry Me” sung by Thomas Rhett

Don’t think I’ve ever seen your kind of pretty wandering ’round this midnight mad house city – “The Long Way” sung by Brett Eldredge

Like a rainy Sunday morning makes me wanna stay in bed, twisted up all day long – “You Make It Easy” sung by Jason Aldean

This is perfect, come kiss me one more time – “Heaven” sung by Kane Brown

When the devil’s knocking at my door, when I’m broken and I’m battle worn, down in the valley, on my knees – “She’s With Me” sung by High Valley

Seen my share of broken halos, folded wings that used to fly – “Broken Halos” sung by Chris Stapleton

The song in the #10 spot, “All On Me” by Devin Dawson, doesn’t have an image in the first couple lines, but all the rest do.   That’s 90% of the current top 10, and it’s something you should pay attention to.

And note that not all the images are literal.  In “She’s With Me” and “Broken Halos,” the images are more metaphorical.  But they STILL put a picture in the mind of the listener.  So you don’t have to JUST paint a literal picture of the situation.

But in case you aren’t quite convinced yet, here are a bunch more first lines from other hit country songs over the past several years:

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

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.

Put images in your song’s first lines to draw your listener in.

One more great example is from a recent CMA and ACM Song Of The Year:  “I Drive Your Truck,” written by Jessi Alexander, Connie Harrington, and Jimmy Yeary and recorded by Lee Brice.

“89 cents in the ashtray, half-empty bottle of Gatorade rolling on the floorboard”

It’s like the opening shot of a movie that starts with a close-up of change in the ashtray, panning over to a Gatorade bottle rolling on the floorboard.  The song follows the camera as it moves over to the dash, the backseat, etc.  This pulls us in.  It also gives us clues about the truck’s owner.  It’s such a well-written song!

If you’re interested in writing commercial songs- if you want to give your songs their best chance to succeed, I have a great opportunity for you.  In May, I’m hosting Frettie’s “Know The Row” with one of the writers of “I Drive Your Truck,” Jimmy Yeary!

Not only did Jimmy write this Song Of The Year, he’s also written hits for Kenny Chesney, Jake Owen, Rascal Flatts and more.

And this is YOUR chance to sit down face-to-face (online) with a real-deal professional, hit songwriter.

You and I BOTH want to learn what Jimmy has to share.

Here’s the deal.  You can join us online from anywhere in the world on Thursday, May 24, 2018 from 7pm-8pm Central time.  And this special event is FREE to members of Frettie.com!  (But don’t worry- you can still purchase a ticket even if you don’t want to take advantage of all of Frettie’s membership benefits.)

CLICK HERE TO GET ALL THE DETAILS & MEET HIT SONGWRITER JIMMY YEARY.

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., Write Like A Pro

The C.L.I.M.B. #43: 5 Ways Songwriters Make Their Lyrics Too Old

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On today’s episode: shacking up, drinking, plastic surgery, Barney the dinosaur, and making your lyrics too old!

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The C.L.I.M.B. Podcast Episode 43 is live and ready for download!

In this week’s episode, Johnny and I discuss 5 ways that some songwriters make their lyrics too OLD.  It’s a “young” market, and you can torpedo your song’s chances of success by putting these 5 things in your songs!  (Be sure and subscribe so you never miss another helpful episode!)

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

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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:

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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.

Think Like A Pro

That’s Who I Am!

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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 just said that last week and the week before, and I’m still saying it.

So, for the next few weeks, I’m going to be pointing out some things you can build into your song 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.”    This week, let’s talk about…

all about the listener

“That’s Who I Am (or want to be)!”

“She wears short skirts, I wear sneakers.  She’s cheer captain and I’m in the bleachers.”  How many young girls hear themselves in those lines?  Not only does Taylor Swift say in that song what so many girls want to say, she IS who so many girls ARE.

When the listener sees him or herself in your song, it’s powerful.  Let’s be honest- most folks’ favorite topic is themselves.

But you can also connect with a listener by being who they WANT to be.  Jimmy Buffett is a great example of this.  So much of his music is escapism.  Most Parrotheads aren’t beach bums, but we sure want to be!  I want to  crank it up in my earbuds while sitting by the neighborhood swimming pool and pretend I’m really on the beach, where I’ll be again tomorrow… and the next day… and the next day…

How many country boys are big-time ladies men like Luke Bryan and Florida Georgia Line present themselves?  Not many.  But a lot of them sure want to feel that cool.  He wants to feel like the girl’s right in the palm of his hands, dancing for him in the truck headlights by the river, right before she slips out of that sun dress and invites him into the water for a skinny dip.

Really, if that happened as much in real life as it happens in country songs, the out-of-wedlock birth rate would be a whole lot higher.  It’s who a lot of the young male listeners want to be.  It’s male fantasy.  But, hey… it sells.

If you want to immediately connect with a listener, sing their life (or the life they want) back to them.

One way to make your song more “cut/able” is to have your lyric say sing the listener’s life back to him.

So here’s your homework.  Turn on the radio or your favorite playlist.  Find a song or two that answers the question, “What’s in it for the listener?” with “That’s who I am (or want to be)!”  (Either you yourself as the listener or who a listener of the other gender would want to be.)  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.

SWP 4

Craft, Think Like A Pro, Write Like A Pro

What Songwriters Can Learn From Jason Aldean & “Lights Come On”

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 Jason Aldean has a new single out, called, “Lights Come On.”  If you’ve heard it, you know it’s not exactly an artistic stretch for him.  It might be easy for you to write it off as “just another Aldean song,” but that would be a mistake.  You see, there’s always something to learn from a successful song.  After all, this song is on the radio.  Is yours?

I don’t know the backstory of why he cut this song  (written by Tyler Hubbard, Brian Kelley, Jimmy Robbins, Jordan Schmidt, Brad Warren, and Brett Warren).  I’m not in his inner circle, but here are some elements of the song which probably made it appealing to him…

1. The song sings to the listener.

Aldean gets to sing directly to his audience- and he identifies them as HIS audience.  That’s a good way to build your relationship with them and their loyalty to you.  Fans want to connect with the artist, and the artist wants to connect with this fans.  Talking to them through the lyrics is a good way to do this.

2. The listener is the hero.

Not only does Aldean talk directly to the listener, he’s complimenting them.  They’re the hero of the story.  The listener is the hardworking guy or the cool girl who deserves a good time.  he makes them feel good about themselves, which of course, makes them feel good about the singer.  (Don’t we all tend to like people who compliment us?)

3. The singer is Yoda.

Complimenting the listener automatically casts a positive light on the singer, but the song doesn’t stop there.  It’s not just “you deserve a good time.”  No, it also says, “and I’m the guy that’s hosting the party!”  The listener is Luke Skywalker, and Jason Aldean is Yoda.  The listener is the hero, and the singer is the hero’s helper.

4. The song fits the brand.

The song perfectly fits Aldean’s image as a rocking, partying good-time loving country boy.  Sonically, it fits right in with what he’s done time and again.  Lyrically, it definitely fits his artistic voice.  If the Florida Georgia Line guys (Tyler and Brian) hadn’t been writers on this, I’d have sworn it was written specifically for Jason.

5. It’s built for “live.”

Most artists make their money by selling tickets.  And this song is a three-minute commercial selling you on coming to a Jason Aldean concert.  It’s positive, fun, and loud.  It’s something to get the crowd pumped, let them know they’re in for a good night… and hopefully, get them to the merch table.

6. The power of imagery.

When Aldean is telling the male listeners that they are awesome, hardworking men, he doesn’t just say, “you’re an awesome, hardworking man.”  No, he paints the picture of strong coffee, a power stroke diesel engine, backhoe, etc.  And he doesn’t just say, “you’re coming to a show,” he shows them hanging speakers over the crowd.  That kind of imagery makes the lyric a LOT more interesting.

I’d love to hear your thoughts on this.  What do you think we can learn from this song?  Maybe you disagree completely and think there’s nothing to learn.  Either way, please leave a comment!

If you want to become a songwriting pro (in how you think, write songs, and 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 TAKE YOUR SONGWRITING TO THE NEXT LEVEL.

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.

Craft

Make a songwriting “Confession!”

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Are you ready to make a moonlight soaked, ring of smoke, right hand on a cold one “Confession?”

The new single by Florida Georgia Line does a great job of painting a picture for the listener.  There’s so much to see in this lyric!  Great job by songwriters Ross Copperman, Matt Jenkins, and Rodney Clawson.  Let’s take a look into this hit lyric.  I’m going to put the imagery in bold blue.

“Confession”

Rusty barbed wire lines these fields
Gravel dust behind the wheels
Drifting like my mind into the rearview
Jet trails cutting across the sky
I’m rolling through the open wide
Searching for a song to drink beer to
And trying to find a place to disappear to

CHORUS:

I light up the night and let it burn
Lean back and watch the sundown fade
Do what I do when life’s a little sideways
I take a sip and say a prayer
Wait for a shooting star and stare
Off at the headlights on the highway
That guy in the windshield looking back looks just like me
But there’s a crack in the reflection
This is just a moonlight soaked, ring of smoke
Right hand on a cold one confession

Embers in the ashtray glow
like memories that won’t let go
I’m out here trying to get ’em untangled
In the darkness on the edge of town
A little lost, a little found
Waiting on a call from an angel

REPEAT CHORUS TWICE

That’s a ton of images!  I really puts the listener into the scene.  Right away, the listener knows where the song is taking place.  We don’t have to drift around without an anchor.  We immediately see fields lined with barbed wire.  I’m watching the movie.

The writers also do a nice job of showing the singer’s emotional state.  Notice how they compare “memories that won’t let go” to embers glowing in the ashtray.  And how they put an image to how he feels broken by putting a crack in his windshield reflection.  Great stuff.

SHOWING is so much more interesting than just TELLING that he feels broken and has memories he can’t forget.  Show me, don’t tell me.

If you want your songs to stand out, put killer imagery in your lyrics.

Since strong imagery is such an important part of professional-level songwriting, I’ve put together a course on imagery. It’s called, “Use Imagery To Supercharge Your Songwriting (Like The Pros Do)” and it’s available now!

I’ve also created two LIVE, ONLINE workshops for “Use Imagery To Supercharge Your Songwriting (Like The Pros Do).”  Each workshop includes ALL the regular course materials- and they are now available for less than the price of the regular course!

Time is about to run out, so don’t delay. The workshops are on February 16 and 18, and a ticket comes with ALL the materials for the full course:

*2 hours of video teaching

*1 hour of audio (great for listening on-the-go)

*50-page ebook

*course workbook

And, of course, you get an hour of additional coaching on the live, online workshop.  I’ll cover materials not included in the regular course, and we’ll do plenty of Q&A.  It’s your chance to ask me your songwriting questions.

As long as you have an internet connection, you can join us! (We’ll be using the Fuze online platform, which is free.)

By the end of the course, you’ll have the basic skills to:

  1. Effectively use both literal and figurative imagery.
  2. Make your story come to life using imagery.
  3. Prove your character’s personality using imagery.
  4. Make your listener connect to your character’s emotions using imagery.
  5. Hook your listener in the song’s first few lines using imagery.
  6. And to begin more songs (more easily) using imagery exercises as the start of your songwriting process.

To find out more, just…

CLICK HERE for the FEB. 16 ONLINE WORKSHOP and COURSE.

CLICK HERE for the FEB. 18 ONLINE WORKSHOP and COURSE.

If you can’t make either workshop, but you’re ready to “Use Imagery To Supercharge Your Songwriting (Like The Pros Do)” CLICK HERE or on the image below.

God Bless,

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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 Man vs Row