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Do Business Like A Pro, Know The Row

6 People Who Can Introduce You To Songwriting Pros

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Trying to connect with pro songwriters in towns like Nashville can feel like standing knee-deep in a river and dying of thirst.

Pros are all around you- you see them at the coffee shop, walking up and down the sidewalks of Music Row, at lunch in midtown, and out at songwriter nights.  But it’s also like they’re hundreds of miles away. And what if you live out of town, and they literally ARE hundreds of miles away.  How do you connect?

Maybe someone can introduce you.

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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 know.  “Have someone introduce you.”  Easier said than done, right?  But here are some people who have the possibility of connecting you to a pro.  By “connecting,” I don’t necessarily mean booking a cowrite.  I mean anything from “Bill Hitmaker, this is Manny Row,” to “Bill, you and Manny should write sometime!” to “Manny, let me book you with Bill.”

1. Your PRO Rep

If you’re a member of ASCAP, SESAC, or BMI, try to get a meeting with a membership representative.  If you can make a fan out of him (or her), he might connect you with some other up-and-coming songwriters.  Absolutely blow your rep’s mind, and he might connect you to a pro.

2. A Music Publisher

If a publisher really digs what you do, he/she might book you with some pro cowrites.  Of course, connecting with a publisher isn’t easy.  But I’ve written about that before.  CLICK HERE to learn how to get on a music publisher’s radar (in my FREE ebook “Think Like A Pro Songwriter“).

3. Industry Contacts

Pro songwriters know people at organizations like NSAI and Global Songwriters Connection.  As the folks at these places get to know you (and become a fan of your writing and of you as a person), they may just grab you one day and say, “I want you to meet Bill Hitmaker.  Bill, this is Manny Row…”  Those kind of personal introductions are great.

4. Other Songwriters

Who do your current cowriters and songwriting friends know?  Who are their cowriters?  Maybe you can arrange a lunch or (better yet) a cowrite between the three of you.

But don’t expect your cowriters to just do you a favor.  Make it easy on them by presenting an amazing idea or melody that you want to write with a pro.  It could be pretty attractive for your cowriter to hook up your amazing idea/melody with an established pro who has connections.  Your cowriter wins by bringing both sides value and being in the room, too.  And “great idea” + “pro songwriter” increases his chances of a cut, so he should be happy to get all three of you together.

5. Personal Relationships

If you live in Nashville, odds are you know somebody who knows a pro songwriter.  Don’t abuse your friendships, but do be on the lookout for opportunities to meet those pros.  Maybe it’s at your kid’s birthday party.  Maybe it’s at a Christmas party.  Maybe it’s at the corner sports bar.  Or at church.  You never know.  Just be aware of the situation, and act appropriately.  And be patient.  Nobody wants a CD slammed in their hand at the neighborhood swimming pool.

Please remember that all of these people don’t just exist to solve your problems and make you happy (you don’t even exist for the sole purpose of making yourself happy, but that’s for more of a theological post…).  You have to be patient.  Don’t just walk in these folks’ doors and expect them to pick up the phone and call a pro on your behalf.  It’s a big compliment for someone to make a professional introduction.  Treat it- AND THEM- with respect.  Build a relationship.

Hopefully, these folks will become a fan of both you and your songs.  If it’s not happening, keep working to write better songs.  Also, take a look at how you present yourself.  Are you coming off as too aggressive, too negative, too desperate, too unprofessional, etc.?  Every time a person makes a contact/recommendation on your behalf, it’s a reflection on them.  Do your best to make them look good by introducing people to you!  Now… on to #6!

6. Frettie & Songwriting Pro

That’s right, part of the mission of Frettie.com and Songwriting Pro is to connect YOU to the pros.  I don’t want to just give you ADVICE, I want to give you ACCESS.

At least every quarter, I host Frettie’s “Know The Row,” with an industry pro.  And our next event is coming up in May with music publisher, Joe Dan Cornett of Daywind Music!

This is your chance to sit down face-to-face (online) with a real-deal professional music publisher. Joe Dan, a Nashville native, is Creative Director at Daywind Music Publishing where he serves the staff writers and works within the Southern Gospel, Mainstream Country, and Worship/CCM markets. He has worked in several different facets of the music industry, which range from major market rock and country touring to the Film and TV department at BMI. He also serves as the Worship Pastor at his church. His heart is to serve others and to help guide “creatives” towards their goals and aspirations.

You and I BOTH want to hear what Joe Dan has to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, May 14, 2019 from 7:30pm-8:30pm Central time.  And this special event is FREE to subscribers of Frettie.com!

CLICK HERE TO GET ALL THE DETAILS & MEET MUSIC PUBLISHER JOE DAN CORNETT.

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.

Coaching, Frettie, Think Like A Pro

5 Things You Must Know To Become A Songwriting Pro

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Nobody can provide you with an exact roadmap on how to get from being an amateur songwriter to being a professional songwriter.  But here are five things you must know – and act upon – if you want to go pro.  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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1. Nobody turns pro alone.

You have to build a network.  Songs move from hand to hand (or inbox to inbox) and into the right hands based on relationships.  These relationships can range anywhere from business acquaintances to best friends.  You MUST get to know people, and they must get to know your music.  Knowing the “right people” isn’t cheating.  It’s a vital part of succeeding as a pro songwriter.

2. “Professional” means your songs earn money.

In order to earn money, your songs have to have value in the market.  At the end of the day, some artist wants to record them, and a bunch of fans want to buy them.  To become a full-time songwriter or to get and keep a publishing deal, your songs have to earn income.  Your job is NOT to write songs.  Your job is to write songs that make money.

3. Songwriting is NOT your hobby – it’s your business.

If you treat it like a hobby, that’s all songwriting will ever be for you.  Just a hobby.  And that’s fine, if that’s your goal.  But if you want it to be a business, you have to act like a professional.  You have to treat it like a business.  The serious songwriters are the ones who get the serious cuts.

4. Good enough isn’t good enough.

To break into the biz, your songs can’t be “just as good as” the worst stuff on records and radio.  If an artist wants to cut mediocre songs, they’ll cut THEIR OWN mediocre songs, or their buddy’s or their producer’s.  Your song has to compete against everybody else’s BEST songs.

5. You WILL have to sacrifice.

The professional songwriters are the ones who have been willing to sacrifice.  They came home from their day jobs and picked up the guitar instead of the tv remote.  They spent their Spring Break in Nashville instead of at the beach.  They left family to move to Nashville.  They waited tables – even though they had a masters degree – just to be where the music is.  They don’t just TALK like they want success.  They WORK like the want success!

I know some of this may be hard to hear.  I know it may leave you with some questions.  And I want to help.  If you’d like to follow up this blog post with a private consultation, Songwriting Pro provides one-to-one songwriter coaching.  Ask your questions and learn directly from writers who have done what you want to do.

Brent Baxter is a hit songwriter with cuts by Alan Jackson (the top 5 hit “Monday Morning Church”), Lady Antebellum, Randy Travis, Joe Nichols, Lonestar, comedy legend Ray Stevens, guitar legend Steve Cropper, Gord Bamford (the Canadian #1 and CCMA Single of the Year “When Your Lips Are So Close”) and more.  He also has cuts in the bluegrass, Southern Gospel and Christian markets.

Hit songwriter Jenn Schott has had songs recorded by artists including Tim McGraw, Rascal Flatts, The Eli Young Band, Jana Kramer, Gloriana, Francesca Battistelli, Jamie Lynn Spears, Billy Ray Cyrus, Pam Tillis, Lonestar, and Restless Heart.  Jenn co-wrote Mickey Guyton’s debut single, “Better Than You Left Me,” which was named one of Billboard’s 10 Best Country Songs of 2015.  She also penned the title track of Tim McGraw’s Grammy nominated album, “Two Lanes of Freedom.”

You can get all the details and book a session with me or Jenn with a CLICK HERE.  Don’t wait.  Together, we can move you in the direction of your dreams!

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.

Do Business Like A Pro, Frettie, Know The Row

Should a songwriter hold back their best ideas?

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Are you sitting on your A-list song ideas, waiting for someday when you might get in the room with a hit songwriter or an artist?

Are you intentionally NOT writing these titles/ideas with your current cowriters because they’re unknown, unproven, or don’t have publishing deals?

That can be tempting.  After all, you don’t want to “waste” your brilliant idea with anyone less than a hit songwriter or an artist.  It’s tempting.  But it’s also a mistake.

Read on if you want more songwriting success. ________________________________

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 are four reasons you should NOT save your best ideas for “someday.”  This is why you should bring your best stuff to EVERY cowrite.

1. Today’s unknown cowriter might be tomorrow’s hit writer.

Erin Enderlin was definitely higher up the Nashville ladder than I as when we started writing together (she still is, by the way).  But back then, she was still a college student with no cuts to her credit.  It’s a good thing I decided to pitch her the idea of “Monday Morning Church” instead of waiting till “someday when I get to Nashville and get to write with a hit songwriter.”  ‘Cuz you know what?  Erin WAS a hit songwriter.  And so was I.  It just so happened that we’d write our first hit… with each other.  If an unknown writer is talented and hardworking, don’t hold back your best stuff.  I’m certainly glad I didn’t.

1 today unknown tomorrow hit

2. Your best work creates better opportunities.

Simply put, your B-list work isn’t going to open A-list doors.  Always bring your best.  And as your best gets better, you’ll start to get noticed by folks higher up the ladder.  If nothing else, think of your best stuff as bait for better cowrites.  Here’s an example.  You’re a lyricist, but you’ve only written with “B-list” melody people.  Opportunity might happen when a publisher says, “Wow- what a great lyric and idea.  Let me get you with some of my melody writers.”

1 best work better opps

3. There’s more where that came from.

If you keep writing, you’ll have more ideas.  You’ll get better ideas.  You’ll write better grooves, better guitar licks.  Your creativity is a renewable resource.  Trust that your current “best stuff” is not the only “best stuff” you’ll ever have.

1 more best ideas

4. The clock is ticking.

For one thing, your current best stuff might not even be relevant in a year or two.  The market may change.  Trends may shift.  Strike now, while the iron’s hot.  Also, you are (or at least, you should be) growing as a songwriter.  Most of your A-list stuff today will become your B-list stuff tomorrow.  But the clock slows down for really good work.  A great song stands the test of time, and you can only write one if you’re writing the very best you can, not holding back for “someday.”  So do your best work as often as you can.

Does this mean that EVERY best idea is right for EVERY cowriter?  No.  But the point is that you want to do your very best work, regardless of who else is in the room.  Your songwriting skill is like a sport- you play like you practice.  If you don’t make it a habit to always do your best (acting like some cowrites are just “practice”), your best may not be there when you need it- when you finally do get in the room with that hit songwriter or artist.

What about you?  Have you held back on presenting your best stuff to cowriters.  How’d that work out?  Have you presented your best stuff to an unproven cowriter only to be happily surprised by the results?  I’d love to hear from you.  Please leave a comment.

Also, if you’re looking for an opportunity to connect with some music industry pros, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with not one but TWO legit music business pros!

On August 14, you can hang out online and ask YOUR questions to music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

Then on August 16, you can hang out online and ask YOUR questions to songwriter and recording artist, Aaron Goodvin.  As a songwriter, Aaron has had songs recorded by country stars Luke Bryan and Cole Swindell.  Goodvin is also a rising artist on Warner Bros. Canada with a few hits and award nominations to his credit.  And he just signed as a songwriter with Reviver Records.  Reviver is home to hit-making artists such as LoCash and David Lee Murphy.

This is YOUR chance to sit down face-to-face (online) with two real-deal music biz professionals.

You and I both want to learn what Scot and Aaron have to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time and Thursday, August 16, 2018, exact time that evening TBD.  And these special “Know The Row” events are 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 MUSIC PUBLISHER, SCOT SHERROD, AND RECORDING ARTIST, AARON GOODMAN.

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.

Do Business Like A Pro, Frettie, Know The Row

Should you copyright all your songs? Well…

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Should I copyright all my songs?

That’s a question I used to ask, and it’s one I’ve heard a lot over the years from other songwriters. Here are my thoughts on it. Hopefully, this will give you some answers, some guidance and some peace. By the way, I am NOT a lawyer, so this is NOT legal advice.  Always check with a legal professional before making big decisions.

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

_________________________________

What do the pros do?

I used to work in the royalty department of Bluewater Music. We wouldn’t send off a copyright registration until the day a song was commercially released. The last time I checked, it cost $40 to register a work, and it’s just financial suicide for a prolific writer or publisher to invest that much per song. I’ve had years when I’ve written 100 songs – that’s $4,000 just to register the copyrights! Even if you only register the songs you demo and pitch, it’s still not a good use of time and money.

What if somebody steals your song?

First of all, it’s hard to sue and prove plagiarism. You can’t copyright a title, idea or approach. Secondly, you have to prove the “thief” had access to your song. Thirdly, and most importantly, they’d have to make enough money off your song to make it worth your time to take legal action. Basically, it would have to be a hit. And that is VERY hard to do! The odds of that happening is so very slim that it’s a non-issue. Don’t let it stop you from pitching your songs or playing them out.

Do you protect your songs at all?

Yes. I leave a paper trail to prove the date of creation (which is a huge part of proving ownership). But, honestly, this is more to protect ME from someone suing me. I keep a paper calendar where I write my cowrite dates and cowriters. I write on a laptop, but I also copy the lyric into a series of notebooks with the date on each page. Additionally, I keep the Garageband file of each worktape. For songs which are part of a publishing deal, there’s an additional paper trail- assignments, Schedule A, etc.

You own the song the moment you write it down or record it. Registering your song with the copyright office just helps to prove it.

So, that’s me. I don’t copyright a song until it is commercially released. But how you handle it is up to you. If it’s worth $40 a pop to help you feel comfortable sharing your top songs with the world, that’s cool. I hope that gives you some answers.

If you have other questions (copyright or otherwise), and you want to ask a music industry pro, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with not one but TWO legit music business pros!

On August 14, you can hang out online and ask YOUR questions to music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

Then on August 16, you can hang out online and ask YOUR questions to songwriter and recording artist, Aaron Goodvin.  As a songwriter, Aaron has had songs recorded by country stars Luke Bryan and Cole Swindell.  Goodvin is also a rising artist on Warner Bros. Canada with a few hits and award nominations to his credit.  And he is also signed as a writer with Reviver Records.  Reviver is home to hit-making artists such as LoCash and David Lee Murphy.

This is YOUR chance to sit down face-to-face (online) with two real-deal music biz professionals.

You and I both want to learn what Scot and Aaron have to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time and Thursday, August 16, 2018, exact time that evening TBD.  And these special “Know The Row” events are 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 MUSIC PUBLISHER, SCOT SHERROD AND RECORDING ARTIST, AARON GOODVIN.

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.

Do Business Like A Pro, Frettie, Know The Row

Music biz professionals must think these 3 things about you.

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Songwriting opportunities will come to you more and more as professionals in the music business (publishers, artists, producers, other songwriters) think three particular things about you.

The more people who think these things about you, the more doors are going to open for you, the more inside information you’re going to get, and the more successful you’re likely to become. So what are these three magic beans that can grow your songwriting career? Buckle up, ‘cuz I’m about to drop some serious, deep philosophy on ya.

Read on if you want more songwriting opportunities. ________________________________

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

_________________________________

You want people to think…

“I know you.”

“I like you.”

“I trust you.”

There ya go. Are you surprised that these are the keys to the doors of opportunity? If so, on behalf of the people of Earth, I welcome you to our planet. I hope you enjoy your visit. While you’re here, I suggest you check out The Grand Canyon and pancakes. If you only have time for one, go for the pancakes.

It’s just simple human nature that people want to work with and help folks they know, like, and trust. Let’s look at each one.

“I know you”

You have to get out there and shake hands- whether in person or digitally. Complete strangers rarely bring good opportunities. (Although there is a promising email in my inbox right now from a prince in Nigeria…) I can’t tell you that a new artist on Sony is looking for your type of song if I don’t know you or what type of music you do. Without someone knowing you, you’ll never get to the next step…

“I like you”

The music biz is rarely like a serious medical condition (I know what you’re thinking- don’t say it) where there’s only one or two doctors in the world who can help. In that case, the doc can be a complete jerk, but you don’t care because he’s the only one who can sew your face back on or whatever. It doesn’t matter if you like him. But that isn’t the case in the music biz where we’re surrounded by talented people. If we’re going to extend a good opportunity, it’s going to be someone we like and can think…

“I trust you”

Let me tell you about my brother-in-law, Matt. I’ve known Matt for over a decade. He’s a great guy. But if I were to get on an airplane and hear his voice come over the intercom saying, “This is your pilot speaking…” I’m getting off the plane! Why? Because I don’t trust him to fly an airplane. He has a lot of skills, but that isn’t one of them. He’s not a good fit for that job.

Folks in the biz are less likely to attach their name to you if they don’t trust you for that particular opportunity. For example, let’s say you’ve had a couple meetings with a publisher. He’s gotten to know you, and he likes you. Awesome.

But he doesn’t think your songs are very good. Is he going to set you up on a cowrite with his best hot-streak writer? Probably not. Because he doesn’t trust that you’ll bring the goods. And he doesn’t want Mr. Hot Streak knocking on his door asking why his day got wasted.

See, it takes all three components for the opportunities to really start rolling in. They may start as small opportunities as people get to know you. But if you knock those small opportunities out of the park, people will begin to trust you more often and with bigger opportunities.

More “know-like-trust” leads to bigger opportunities.

But it all starts with folks getting to know you. So reach out in person at industry events, writers nights, workshops, online groups, etc.  Be likable.  Then knock their socks off with your songs and professionalism.  And enjoy those pancakes.

If you’re looking for an opportunity to connect with some music industry pros, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with a legit music business pro!

On August 14, you can hang out online and ask YOUR questions to music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

This is YOUR chance to sit down face-to-face (online) with a real-deal music publisher.

You and I both want to learn what Scot has to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time.  And these special “Know The Row” events are 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 MUSIC PUBLISHER, SCOT SHERROD.

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.

Do Business Like A Pro, Frettie, Know The Row, Think Like A Pro

Six songwriting tiebreakers that can make or break your cut

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Let’s say you’ve written a very, very good song and it’s on hold for an artist named Luke Paisley.  There’s room for one more track on the album, and the choice is between your song and one other.  Which one are they gonna cut?

The artist likes both songs, so it’s basically a tie going in.  That’s when the tiebreakers might kick in.  These tiebreakers may include…

Personal relationships.

Is one of the songs written or published by a friend of the artist?  It’s more fun to call your buddy and say you just cut his song than it is to explain that you didn’t.  Same goes for the producer’s relationships.

Business interests.

Would a publisher, manager, or someone else owe the artist or feel thankful if the artist cut one song over the other?  Is there some hidden long-term advantage to be gained?  Or would the artist, label or producer be returning a favor by cutting a particular song?

Read on if you want to learn more of these tiebreakers.

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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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Financial interests.

If the artist or producer is a writer or publisher on one of the songs, he makes more money by recording that one.  Same goes if the label has publishing interest on one song or the other.

Safer bets.

If one song is written by a proven hit songwriter and the other isn’t, the artist (and his team) may lean towards the hit writer’s song.  Since it’s always a bit of a guessing game as to which songs are hits, a song written by a hit writer feels like a safer bet.

Branding.

Does one song fit the artist and his brand a little better?  Will it speak to his audience in a way that’s a little more “on point?”  That can make the difference.  Or is one song too much like what he’s already recorded, and it doesn’t take him anywhere new?

Singability.

Is one song more easy and/or fun to sing?  Does one song have some weird, jumbled, hard-to-nail phrasing or some this-will-kill-my-voice notes?  That might just knock that song out of the running.  Of course, some artists make their living on those big money notes, so it really depends on the artist.

Now, you obviously can’t control which songs are your competition.  And you can’t control the interests of the people on the artist’s team.  (As a music biz veteran once told me, “they’re not anti-Brent.  They’re just pro-something-else.”)  

All you can control are the songs you write, so do what you can to give them the best chance to win.

Write the very best song you can.  Always.  But also spend time thinking about the tiebreakers and how you can turn them in your favor.  It’s not easy, and it won’t happen overnight.  But if you are mindful of this stuff as you build your career, it’ll pay off big time down the road.

What about you? What are some other tiebreakers I might’ve missed?  I’d love to hear your thoughts!

Also, if you’re looking for an opportunity to connect with some music business, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with a music business pro!

On August 14, you can hang out online and ask YOUR questions to music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

This is YOUR chance to sit down face-to-face (online) with a real-deal music biz professionals.

You and I both want to learn what Scot has to share!

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time.  And “Know The Row” events are 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 MUSIC PUBLISHER, SCOT SHERROD .

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.

Frettie, Know The Row, Write Like A Pro

How to stay focused on your songwriting journey.

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If you’re a professional songwriter living in Nashville, it’s pretty easy to keep your head in the game. It’s no sweat to keep your goals in mind because it’s in your face every day.

That’s very much NOT the case if you’re working a regular job in another town. Add to that any family obligations you may have, and it can be pretty easy to stop thinking like a songwriter. One day you might look up and realize it’s been two months or more since you’ve really even picked up the pen or guitar.

Yes, there are natural ebbs and flows to the creative life. And, yes, there are times when family needs will limit your writing time (I couldn’t do any co-writing for about 3 months right after Ruby Jean was born and Emily needed me at home every night). Hey, stuff happens.

But overall, you need to keep you head in the songwriting game if you are pursuing it as a profession. You can’t afford to take months off “just because life got busy.” You have to keep thinking like a songwriter. If you don’t, you’ll look up to find 20 years have passed without many songs and music business progress being made. And I don’t want that to happen to you.

Read on if you want to keep focused on your songwriting dream.

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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 want you to keep your head in the game.  I want you to keep focused. And two things can help you do that: appointments and subscriptions.

APPOINTMENTS:

Solo Writing:

Nothing will keep you thinking like a songwriter like actually writing. You and your skills get rusty if you don’t “keep the machinery up and running.” Trouble is, it’s easy to skip out on solo writing in the midst of daily life. Try to have a standing appointment with yourself, even if it’s just every other week. Hopefully, you’ll find some other times, too. But if nothing else, you (and your family) know that every other Thursday night is your writing time.

But don’t just schedule it. Actually show up, sit down and do the work!

Cowriting:

Still, it’s easy to not show up for solo writing appointments. So try scheduling regular cowriting appointments. You might let yourself down, but you’ll probably be less likely to bail out on someone else.

Even if you don’t live around many potential cowriters, the internet is a wonderful place to find them. Facebook groups such as the Songwriting Pro Facebook Group and The CLIMB Community are good, non-spammy places to meet potential cowriters. And these days, writers are much more comfortable writing over videoconferencing platforms like Skype and Facetime.

Cowriting keeps your head in the game more than just during that write. You won’t just start thinking about the cowrite as you’re walking in the door of the writer’s room or logging into Skype. You’ll think about it ahead of time. The fact that you have an appointment coming up and a cowriter expecting you to take it seriously will encourage you to spend time gathering ideas, prepping, etc.

Education:

Books, online songwriting courses, and other resources are a great way to keep your dream in front of you. You may be in a season where you don’t have hours of time to sit down and write. Maybe your appointment is just that few minutes you have to read in bed. Well, reading that book (heck, just having it on the nightstand) will keep reminding you that you have a dream to chase.

Books and online classes will also give you tools to write better songs and make progress in the music business. And progress makes you hungry for more progress, so you’ll spend more time thinking and working toward that.

Events:

Workshops and other events can be very beneficial. You may find potential cowriters (and friends) at live events, and you’ll leave fired up and motivated. You’ll also leave wiser and with a few more songwriting tools in your tool belt. Plus, you’ll be in the company (in person or online) of other motivated, inspired and inspiring songwriters. Sometimes you just need to know you’re not alone.

If you’re on the market for a cool community with monthly online events at a super-affordable price, I happen to have one. It’s Frettie.com.

SUBSCRIPTIONS:

Blogs:

Get informed, educated, entertained and inspired- all from your email inbox. I humbly suggest SongwritingPro.com, which you’re reading right now.  Subscribing here will send a few helpful posts directly to your inbox every week. But there are several other good blogs, too.

Podcasts:

If you’re like me, you have more time for listening than you do for reading. And lucky for you, podcasting is exploding. This can turn your daily commute, jog or dog walk into a songwriting and music business workshop and inspiration refill!

There are several good ones, including Bobbycast, And The Writer Is, Made It In Music Podcast, Pitch List, NSAI Coffee Break, Songcraft, and one that I co-host twice a week, “The C.L.I.M.B.” These shows are each a little different, but they all give you a valuable insider’s look at the music business from a songwriter’s perspective.

YouTube:

YouTube is a huge search engine. Just do a search for “songwriting advice from hit songwriters” or something like that. You’ll have more to look at than you know what to do with. I can’t vouch for how accurate or authoritative everything will be. Actually, I can. Some will be GREAT. And some will be junk. But either way, it’ll keep reminding you that YOU are a songwriter.

Magazines:

Check out American Songwriter and Music Row Magazine, among others. Turn the hall bathroom into your own personal “inspiration zone.”

What about you? How do you keep your head in the game?

Also, if you’re looking for an opportunity to get inspired by (and hang out with) some music industry pros, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with a special music business pro!

On August 14, you can hang out online and ask YOUR questions to hit music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs and film/tv placements, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

This is YOUR chance to sit down face-to-face (online) with a real-deal music biz professional.

You and I both want to learn what Scot has to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time.  And “Know The Row” events are 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 MUSIC PUBLISHER, SCOT SHERROD.

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.

Frettie, Know The Row, Write Like A Pro

Don’t demo that song until you ask yourself these 8 questions.

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So you’ve written a bunch of your new favorite jams, and you’ve flipped a lot of burgers for demo money.  But heading into the demo studio right now might be a huge mistake.

Read on if you want to level up your songwriting game.

________________________________

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

_________________________________

The big question you should be asking yourself right now is not when to demo, where to demo, or how to demo.  The big question to ask is should you demo this song?

After all, demos cost time and money.  If you have an unlimited amount of both, then rock on.  Hit the studio, and hit it hard.  But if you want to spend your time and money efficiently and effectively, you want to take a little time and thoughtfully and honestly answer the following questions.

1. Is the song finished?

I love the emotional high of having just finished a song and feeling like it’s a big ‘ol hit.  That never gets old!  But it’s important to step back and make sure it’s really finished.  90% right and 100% right might mean the difference between a pass and a keep or a hold and a cut.  Or even a cut and a single.  That can be a difference of hundreds of thousands of dollars.

Have you played your song for an industry pro and gotten their feedback?  Have you played it for your songwriting peers and asked them for their honest opinions?  Even pros usually run songs by their publishers before spending money on it.  If they know to get some outside feedback, shouldn’t you get some, too?

2. Is it a wide pitch?

A wide pitch is a song that fits a large number of artists.  A narrow pitch is one that only a very limited number of artists could record.  For example, if you say, “If George Strait doesn’t cut this, I don’t know who will,” that’s a narrow pitch.  If you can say, “Well, if Luke Bryan doesn’t cut this, I can still take it to Old Dominion, Chris Young, Kenny Chesney, etc.” then it’s a wider pitch.

As a general rule, I’m going to demo the wide pitch, because there are more pitch possibilities- there are more paths to victory.  It just puts the math more in my favor.

3. Is it commercially relevant?

Is this a song that a large audience will want to hear?  Will it make the listener laugh, cry, dance, or think?  It’s not about you- it’s about the audience.

You can write a great, well-crafted song, but if only 12-year-old foreign exchange students from Bulgaria will “get it,” an artist is not going to record it.  Why spend money on it?  Or if it’s a moving song about the plight of the orange-billed hoof-footed salamander that only lives in one drainage ditch in California… who’s gonna care, other than a few people?

And don’t be fooled into thinking that just because a type of song used to be commercially popular, that they still are.  For example, what if you write a great rodeo song, but nobody’s recording and releasing rodeo songs?  At least not in numbers big enough to justify the investment?  The pros think about these things, and you should, too.

4. Who could sing this?

A wise artist is really only looking for songs that fit their brand and speak to their audience.  Like the rodeo example, are their enough artists that talk about your song’s subject matter or take on the character in your song?

For example, if your song is from the point of view of a man crying over his daughter having a baby… what artists are willing to sing, “I’m A Grandfather?” Not many.  Not in commercial music.  Who could sing that?  Or who in the current market would sing about being a cheater?  Not many.  There have been some at different points in history, but not many in country music right now.

Also, does this song fit the general branding of the format?  Is it hitting on all sonic cylinders, but it’s an anti-gun, anti-Second Amendment song?  Well, that’s probably not going to fly in today’s country market.  Maybe in another market, but not in country.  Same thing about a pop song that says you need to get your hot booty off the dance floor and into church.  There may  be a few artists who would sing that… but not many.

Also, is the melody one that many artists could sing?  Is it such a small range that your “big-voice” singers won’t be interested?  Or is it such a rangy song that most guys can’t sing it?  That’s worth paying attention to.

Again, we want to get the math in our favor when we can.

5. Does the song have a fresh melody and lyric?

You HAVE to bring something different, especially if you are a new, unknown writer.  YOUR vanilla has no chance.  An artist has no reason to invest in your vanilla when they can get vanilla from friends, established hit songwriters, or just write it themselves.

Let’s face it, none of us were invited to the music business party.  Virtually nobody in the business was invited in.  So if you’re gonna crash it, you better bring something new to the party.

6. Will I pitch it… really?

If you have already demoed ten songs like this one (and they’re not getting cut), and this one isn’t any better… what’s the point?  Will you really pitch it?  Maybe you should spend your time writing a song that you will pitch instead of demoing a song you won’t.

7. Does this song NEED a full demo?

You should do what’s best for your song.  Some need a full demo- rocking uptempo anthems, for example.  Certain ballads and midtempos might be best presented with two guitars, a drum loop, and a great singer.

8. Is it great?

I’ve never had a so-so song get pitched to and cut by a major artist.  I just haven’t.  My cuts are each different- fast, slow, funny, sad – but, to me, each one has something really strong about it.

If you’re an outside writer, and you’re not already one of the “cool kids,” you HAVE to write better songs.  Otherwise, they’ll just record songs from known, trusted sources.  Hey, if a proven hit songwriter pitches a dud now and then, no big deal.  But if you, who doesn’t have a track record, pitches a couple duds, the industry will just assume you’re not a great writer, and they’ll close their doors to you.  They’ll assume you’re a waste of time.

9. Are you serious?

Here’s one more bonus question for you.  Are you serious?  Are you really serious about getting your songs recorded by major artists?  If so, I have a great opportunity for you.  In May, I’m hosting Frettie’s “Know The Row” event with multi-hit songwriter, Jimmy Yeary!

Not only did Jimmy write “I Drive Your Truck,” a CMA & ACM Song Of The Year and a #1 hit for Lee Brice, he’s also written hits for Kenny Chesney, Jake Owen, Rascal Flatts and more.

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.

Frettie, Know The Row, Write Like A Pro

You will win or lose in the music business based on THIS.

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You will win or lose in the music business based on this one thing.  And the scary thing is, you may not even be thinking about it.

Read on if you want to level up your songwriting business.

________________________________

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

_________________________________

Okay, I won’t keep you in suspense any longer.  You will win or lose as a songwriter based on how much value you add to OTHERS.  This isn’t about you.  You win by helping others win.

So, what does this mean, exactly?  It means that the amount of value you add to others will largely determine how much success you have.

Do you write great lyrics?  This is a big value to songwriters who don’t write great lyrics.  If they’re smart, they’ll want to write with you.  Do you write great melodies?  This is a major value to songwriters who are strong on lyrics but weak on melody.  They’ll want to write with you.  Do you have incredible, commercial songs that are perfect for Artist X?  Artist X is much more likely to want your songs.  That, in turn, earns you royalties.  You win by adding value.  You win by helping others get what they want.  It’s not about you.  It’s about helping others.

Opportunities come to those who add value.

The more value you add, the more opportunities you will have.  Let me give you a few personal examples.

“Caribou Barbie” recorded by Ray Stevens

Ray is a comedy legend with songs like “The Streak” “The Mississippi Squirrel Revival” and “Everything Is Beautiful.”  So how’d I get my song “Caribou Barbie,” recorded by Ray?  I brought value.

I was over at Ray’s office one day, and he was in a meeting.  When Suzi, Ray’s daughter, poked her head out, I offhandedly said, “Hey, I have a song idea for Ray.  It’s about Sarah Palin, and it’s called “Caribou Barbie.”  She laughed and went back into the meeting.  Later that afternoon, I was over in Ray’s parking lot picking up my car when Ray happened to walk outside.  He said, “Hey, I wanna hear ‘Caribou Barbie’.”  I said, “Yes, sir- I’ll write it!”

Now I had something of value.  I had a title that the artist himself asked me to write.

Since Ray wanted me to write the song, my first question was, “who are the best possible cowriters?”  (I’m a lyricist, so I need a good melody-writer.)  It was an easy call to make- Matt Cline and Max T. Barnes.  Both these guys wrote for Ray’s publishing company, so he’d have extra incentive to record and release it.  They brought the value of publishing income for Ray, which made the song more valuable for him.  This, in turn, made them more valuable to me.

They also brought in the value of being dialed into the project, having songs in the mix already for Ray’s album.  Plus, they’re a great hang and really good writers.  That’s more value they brought to the table.  I called them up, they saw the value in the opportunity, we wrote the song, and Ray cut it.

Each person brought value to the song, and we all won.

“Crickets” recorded by Joe Nichols

I’m blessed to have the title track to Joe Nichols’ recent album, “Crickets,” on Red Bow Records.  This title was not my idea.  Joe himself didn’t ask me to write it.  But I brought a different value to this song.

 Bill Whyte and Lisa Shaffer had the idea for “Crickets.”  I’d never written with Bill, but I’d written several songs with Lisa.  She thought my sense of humor, storytelling and lyrical sensibilities would be a good fit for the song, so they invited me in.   Simply put, I was invited in by two good writers because they believed I would add value.

Bill was in the room because (if I remember correctly) it was his title (and he’s a fine writer).  Lisa was in the room because Bill had originally brought the idea to her because of their friendship and her songwriting skill.  I was added in because Lisa valued my lyrical abilities.

Unlike the Ray Stevens situation, Joe and his team had zero publishing or other direct financial interest in the song.  Neither, Bill, Lisa nor I were in Joe’s “camp.”  Joe cut the song because (I assume) he believed “Crickets” would add something valuable to his album.

What value can you bring?

Artists bring the value of having a record deal.  Published writers bring the value of experience and a team of songpluggers.  What’s your value?  Great hooks?  Do you record your own demos, saving your cowriters money?  Do you have artist potential?  Great melodies?  What can you do to add value?  If you identify your value, you can sell yourself on it.  Because, like it or not, we’re all in the service and sales business.

Here’s some value for you.

If you’re interested in getting cuts and hits, I have a great opportunity for you.  In May, I’m hosting Frettie’s “Know The Row” event with multi-hit songwriter, Jimmy Yeary!

Not only did Jimmy write “I Drive Your Truck,” a CMA & ACM Song Of The Year and a #1 hit for Lee Brice, he’s also written hits for Kenny Chesney, Jake Owen, Rascal Flatts and more.

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.

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.

________________________________

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 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.