Tag Archives: Max T Barnes

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

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.

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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.

Set Your Cowriters Up For Success

Man vs. PRO

I regretted the words as soon as they spilled out of my blabbermouth.  “Yeah, I have this funny idea…”  I didn’t regret sharing the idea because my cowriters hated it.  No, I regretted sharing the idea because my cowriters LOVED it. 

You see, we were jawboning at the front end of a cowrite, chit chatting and talking music.  Well, my inner “Mr. Entertainer” got the best of me and (for a laugh) I shared this whacky song idea.  Well, it got the laugh, but it also got a “we GOTTA write that!”

Well… shoot.

I wasn’t pitching the idea.  I was just going for a laugh.  My cowriters that day were both talented songwriters with cuts to their credit.  So it wasn’t a matter of them being lousy songwriters.  They’re good at what they do, but their wheelhouse is at one end of the country spectrum.  And this idea, unfortunately, was on the OTHER end of the spectrum.  Truth be told, the idea wasn’t in my wheelhouse, either.  If anything, I needed cowriters to make up for MY lack of strength in that type of song.

Me and my big mouth.

We ended up with a song that was pretty well written, and pretty good (we even demoed it).  But it just didn’t sparkle.  I’m not saying that I would’ve gotten the song cut with any of my other cowriters (it still would’ve been a long shot), but I’ll never know.

Hopefully, I’ve learned my lesson.  Ever since then, I try to be more disciplined about bringing the best appropriate ideas to each cowrite.

I want my cowriters to do what they’re great at.

cowriters great at

Here’s a time I got it right.  Some years ago, I found out comedy legend Ray Stevens (“Mississippi Squirrel Revival,” “The Streak,” “It’s Me Again, Margaret”) was working on a political comedy album.  Just so happened, I had a silly title called, “Caribou Barbie” about Sarah Palin (no, really).  Did I throw this idea out in my next cowrite?  Uh-uh.  I called up Matt Cline and Max T. Barnes.

Matt and Max both wrote for Ray at the time, so I knew our song would get a good listen.  But even more importantly, I knew those two guys would write it right up Ray’s alley.  Max already had a couple songs on the project, and Matt is just plain great at country comedy songs.  I basically just had to throw that T-bone of a hook in between those two Rottweilers and get out of the way.  The result?

Ray recorded the song for his album.  There’s even a silly video… (it’s political comedy, ya’ll… don’t take it too seriously, and don’t get too uptight).

Of course, I can’t guarantee that simply pairing the right idea with the right cowriter will result in a cut.  There are just so many things that go into landing a cut that I’ll never make that promise.  But bringing the right idea into a cowriter who is great at that kinda thing will probably result in a better song and a more enjoyable cowrite.

And you sure won’t regret that.

What about you?  I’d love to hear your thoughts on this.  Do you have any stories about bringing in an idea to just the right cowriter?  Or to the wrong one?  How’d it work out? Please leave a comment!

Also, if you think this post might be helpful for your songwriting friends, please share it through Facebook, Twitter, LinkedIn, email, however you want.  I want to help as many songwriters as possible!

If you want to become a songwriting pro (in how you think, write songs or 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 START HERE.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

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You Win By Adding Value

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You win by adding value.  Opportunities come to those who add value.  For example, I brought the idea of “Caribou Barbie” (a Ray Stevens cut) to Matt Cline and Max T. Barnes because they added value by being in Ray’s camp and because they write that kind of song very well.  The value I brought was a title that Ray himself told me I should write.  Lisa Shaffer and Bill Whyte brought the title and idea of “Crickets” (a Joe Nichols cut) to me because they thought my lyrical sensibilities would make the song better.

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 do your own demos, saving your cowriters money?  Do you have artist potential?  Great melodies?  What can you do to add value?  If you identify it, you can sell yourself on it.  Good luck and God bless!

-Brent

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Brent Baxter Music:  http://www.brentbaxtermusic.com