Tag Archives: Jesse Frasure

Smart Songwriters Are Nice To The Nobodies

Smart songwriters- the ones who are both good at life and good at the long game of the music business, are nice to the “nobodies” they meet.

Because nobody is a nobody.  And someday that nobody just might be somebody you wish you knew.  Let me give you some examples.

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A lot of songwriters are really focused on “writing up” – cowriting with a big name (or at least bigger name than them) songwriter.  They also focus on getting in contact with a current popular artist.

And there’s nothing wrong with that… as long you don’t ignore the “nobodies” around you in the process.  These might be the interns at the publishing company, record label, PRO or NSAI.  It might be the tape copy guy at the publishing company where you’re starting to get meetings.  It might be a songwriter who has some good chops but doesn’t have anything going yet.

Some of these “nobodies” will climb the music biz ladder and come into positions of power and influence.  But by then you might’ve missed your chance to forge a connection with them.  Or worse, they might remember you as the songwriter who treated them like dirt because you had no use for them.  Don’t be that songwriter, because…

Nobody is a nobody.

Did you know that country music star, Faith Hill, was once a secretary for a music publisher?  I bet there were some songwriters around town kicking themselves in the 1990’s for not being a little more chatty with that blonde nobody behind the desk.

There are a lot of hit songwriters and major publishers who started off in the tape copy room of a publishing company.  How many songwriters who are now looking for a deal wish they’d been nicer to the nobody in the tape copy room?

The people you meet on the way up are the same people you’ll meet on the way down.  So be nice.

Back when I was writing for Major Bob Music (2005-2007), there was a young sungplugger there named Jesse Frasure.  You know what Jesse’s doing now?  He’s producing and writing hits for Florida Georgia Line, Rascal Flatts, Jon Pardi, Meghan Trainor, TobyMac, Billy Currington, Lauren Alaina and more.  Thankfully, I wasn’t a jerk to Jesse.

Be nice to that young sungplugger.

A few years ago, I was doing some work for NSAI (Nashville Songwriters Association International), and I met an awesome young lady named Tali Giles (now Tali Canterbury).  I was already a pro songwriter, so I didn’t really “need” Tali for much in her role as Membership Director at NSAI.  Guess where she is now.  She’s currently at Big Machine Label Group as the Director of A&R Project Management.

Tali’s gonna run this town, and I’m glad I was nice to her.

Here’s another one.  I first met Courtney Allen at NSAI.  Heck, I can’t even remember what her job was there.  Again, I was just hanging out before I’d teach a workshop or special event.  She was super-nice, and we’d usually chat for a few minutes.

Courtney is now a creative director at BMG Music, one of the top music publishers in Nashville.

The lesson here is just to be nice.  Don’t be so busy looking up the ladder that you forget the CLIMBers next to or below you.  This is a people business as much as it is a music business. Did I know those people would ascend to these positions?  Is that why I was nice to them?  No.  I’m not that strategic.  I can’t see the future and know who’s going to be in a position of influence 5 or 6 years down the line.

You probably can’t either.  So it’s good to get in the habit of just being kind and friendly to everyone.  Not only is does it make good sense for your future in the music business, it makes good sense for your life in general.  Remember: nobody is a nobody.

So what about YOU? Do you need to be more aware of the “nobodies” around you?  What if you don’t even know any “nobodies” yet?  Did someone treat YOU like a nobody, only to come knocking on your door after you had some success?

Let me help you meet a somebody who’s already a somebody!

Songwriting Pro’s next Play For A Publisher event is coming up, and our next guest is none other than my former “nobody” contact, Courtney Allen of BMG Nashville.  Courtney works closely with hit songwriters Travis Meadows, Wynn Varble, Lucie Silvas, and more.  If YOU have the country or pop song, SHE knows what to do with it!

CLICK HERE TO GET ALL THE DETAILS AND SEND IN YOUR SONG!

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens and more. He’s written a top 5 hit in the US, a #1 Single Of The Year in Canada, and a top 10 in Texas.  His songs appear on 5 industry-certified gold & platinum albums & singles… so far.  He also hosts a top-rated songwriting and music business podcast called, “The C.L.I.M.B.” which can be found on iTunes or your favorite podcast app.
SWP 4

Songwriting Coaches Don’t Make You Do Push-Ups

 

First of all, what is a coach?

A coach is an experienced and trusted advisor. A songwriting coach could be a more seasoned, experienced cowriter. It could also be a publisher or PRO representative (ASCAP, SESAC, BMI, SOCAN, etc.) who takes time to meet with you. It could also be a pro-songwriter coach from NSAI (Nashville Songwriters Association International) or GSC (Global Songwriters Connection), or Songwriting And Music Business. There are several good independent coaches out there, too.

A quality coach can help you get where you want to go more effectively and efficiently- if you’re willing to learn. Here are five specific ways songwriters can benefit from a coaching relationship.

1. Your coach knows things you don’t.

He may or may not have some #1s to his credit. He may or may not have a song on the charts this week. But the important thing is that he has been down the road ahead of you and can point the way. He’s seen more, learned more, and accomplished more than you have (yet). He can help accelerate your learning curve and avoid some of the pitfalls.

2. Your coach is not your mom.

A coach doesn’t have to see you at Thanksgiving or worry about the quality of the nursing home you’ll choose for her. Therefore, while a quality coach will not be mean, she has the freedom to be honest about your writing- as she sees it. She also doesn’t know your backstory. This means your writing has to stand on it’s own- singing about Jenny you dated in high school means ONLY what the song says. Your coach can’t fill in the gaps from your shared experience- your coach won’t know that Jenny was Prom Queen unless your song tells her.

3. It’s good practice.

If you want to get songs recorded on a professional level, you’re going to have to get comfortable throwing your babies into the real world. It can be scary and frustrating, but it’s something you need to get used to. A quality coach is a safe place to get that professional feedback. It’s a step into the music business where you’ll be challenged and have to toughen up. But it’s also safe because being “just okay” or even “bad” doesn’t close the door to them in the future. Your coach doesn’t expect you to be professional-level, and it’s not about, “Well, did you bring me a hit today?”

4. A coach is a potential entry point into the music business.

If you want to be a professional writer, you won’t get there alone. You need a network of relationships in the business, and a coach is a great start. A coach might recommend potential cowriters or publishers. He or she can be your champion- especially at places like NSAI or GSC. A coach might even write with you. Eventually. (But you should never be the one to mention it first.)  None of this is guaranteed, and when you sign up with a coach, do not expect it.  But if you EARN it, it MIGHT happen.

5. A songwriting coach won’t make you do push-ups.

I hate push-ups, and thankfully… no matter how bad my songs were… I’ve never had one of my songwriting coaches say, “drop and give me 20.”  So, there’s that.

Coaching has had a profound impact on my songwriting. There were coaches I only met with now and then (and sometimes only once). These included guys like Chad Green and Ralph Murphy at ASCAP. It also includes publisher Clay Myers, who gave such blunt, honest and challenging feedback that I wanted to throat-punch him 10 minutes into our first meeting… and wanted to write for him 30 minutes later.

It includes my songpluggers- Mike Doyle, Jesse Frasure and Scot Sherrod at Major Bob Music, Sam Ramage at RPM Music, and Paul Compton at Writers Infinity. These guys wouldn’t just pitch my songs. They encouraged me when I was down, they celebrated our victories, and they challenged me to write better.

Are there songwriting (or other) coaches who have made an impact in your life or on your writing? Give them some love in the comments!

Coaching can make a big positive difference in your songwriting. But let’s face it, even the best, most knowledgable songwriting coach in the world won’t do you any good if you’re not willing to do the work it takes to implement their suggestions and rise to their challenges. Seeking out a coach and then ignoring their advice only annoys the coach and wastes your time. Don’t do that, okay?

But, if you ARE ready to get some coaching, and you ARE ready to do the work, I have a cool opportunity for you. It’s called The C4 Experience, or C4X. It’s a series of workshops in January and February in 2016. What does “C4” stand for?

Creative
Commercial
Coaching
Community

The C4 Experience is about celebrating your creative spirit and sharpening your commercial songwriting, guided by expert coaching and encouraged by a supportive community.

Click on the image below or CLICK HERE TO FIND OUT MORE!

c4x

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.