Songwriting Pro

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!

If you aren’t on iTunes, you can listen to the show at our website:

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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.

Artist Insights, C4X, Cut/able Songwriting

Artist Insight Report: Blake Shelton “If I’m Honest”

July 10, 2017 Brent Baxter 6 Comments

If you want your songs to get recorded by major artists, you need to understand those artists.

Understanding what an artist has recorded before can help you predict what he or she might record in the future. So, today, I decided to dive into Blake Shelton’s album, “If I’m Honest.” Here’s what I found, track-by-track. (Note: “PUL’D” is a reference from my workbook “Cut/able: Lessons in Market-Smart Songwriting.” It means “Positive-Uptempo-Love/Depth.” “Neighborhood” and POV (“Point Of View”) are also explained in “Cut/able.” Check out the workbook HERE.)

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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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Artist: Blake Shelton

Album: If I’m Honest

Producer: Scott Hendricks

Label: Warner Bros. Nashville

“Straight Outta Cold Beer”

Writers: Marv Green, Ben Hayslip, Justin Wilson

POV: Me-to-the-world

Timeframe: In-the-moment

PUL’D: Positive, Midtempo

Neighborhood: Bro, redneck, blue-collar

Subject: Country life pep rally

Notes: Rap-like lyrics, lots of imagery, “We’re country and that’s awesome” theme. Play off “Straight Outta Compton,” fun, clever. Drinking, Verse-Chorus-Verse-Chorus-Solo-Chorus

“She’s Got A Way With Words”

Writers: Andy Albert, Marc Beeson, Wyatt Earp

POV: Me/Her

Timeframe: In-The-Moment (with some looking back)

PUL’D: Negative (but humorous), Midtempo, Love (lost love)

Neighborhood: Country boy. Lyrically pushes the envelope. Sarcastic.

Subject: Lost Love

Notes: SINGLE, Breakup, fun/funny, clever lyric, quirky, not much imagery, not a very “big” melody. Verse-Chorus-Verse-Chorus-Chorus

“Bet You Still Think About Me”

Writers: Park Chisolm, Mark Irwin

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Want-you-back, hopeful, mid-ballad, big chorus, love/lost love

Neighborhood: Country

Subject: Love love

Notes: Melodic, hook in the pre-chorus, not a lot of imagery. Tells the listener (the girl) that she’s still wanted. Verse-Chorus-Verse-Chorus-Chorus.

“Every Time I Hear That Song”

Writers: Chris Lindsey, Aimee Mayo, Brad Warren, Brett Warren

POV: Me/You

Timeframe: In-The-Moment, looking back

PUL’D: Sad, Mid-power ballad, Love/lost love

Neighborhood: Country

Subject: Lost love, music

Notes: Big melody, falsetto. Tells the girl (listener) that she’s still wanted. Verse-Chorus-Verse-Chorus-Bridge-Solo-Bridge

“Came Here To Forget”

Writers: Deric Ruttan, Craig Wiseman

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Sad but hopeful, Mid-tempo, Love / lost love

Neighborhood: Country, Pop-country

Subject: Lost love and hooking up with someone new. Drinking.

Notes: SINGLE. Mid-groove. Kinda dark. Lots of imagery. Weed reference. Verse-Chorus-Verse-Chorus

“Every Goodbye”

Writers: Busbee, Ryan Hurd, Liz Rose

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Positive, Midtempo, Love/Lost Love

Neighborhood: Blue collar country boy

Subject: I lost her. You lost him. Let’s hook up.

Notes: Bouncy feel-good groove, drinking, not a ton of imagery. Getting over a heartache, but not a sad feel. Feels very positive. Verse-Lift-Chorus-Verse-Chorus-Lift-Chorus

“It Ain’t Easy”

Writers: Rhett Akins, Mat Dragstrem, Ben Hayslip

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Positive, mid-groove, love

Neighborhood: Soulful country.

Subject: It ain’t easy for him to leave her place ‘cuz he’s so in love.

Notes: Telling the girl what she wants to hear. Horns. Hook-Verse-Chorus-Verse-Chorus-Bridge-Chorus

“A Guy With A Girl”

Writers: Ashley Gorley, Bryan Simpson

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Positive, Uptempo, Love

Neighborhood: Country boy. Blue collar, kinda redneck.

Subject: When I’m with you, nobody’s paying any attention to me- cuz you’re so beautiful.

Notes: SINGLE. Telling the girl what she wants to hear. Praising her. Feels good. Good imagery. Verse-Chorus-Verse-Chorus-Bridge-Chorus.

“Go Ahead And Break My Heart”

Writers: Blake Shelton, Gwen Stephani

POV: Me/You (duet)

Timeframe: In-The-Moment

PUL’D: Negative (but feels good), uptempo, love/lost love

Neighborhood: Pop country

Subject: We hooked up getting over other people, but it’s a temporary thing? But we’re into each other? Honestly, I’m not really sure what’s going on here.

Notes: Negative, but feels good. Messed up relationship. On-again, off-again. Good imagery. Verse-Verse-Lift-Chorus-Verse-Verse-Lift-Chorus-Bridge-Chorus.

“Friends”

Writers: Blake Shelton, Jessi Alexander

POV: Me/You

Timeframe: Looking back / In-The-Moment

PUL’D: Positive, Uptempo, Friendship

Neighborhood: Movie song. “Angry Birds.” Country.

Subject: Friendship

Notes: Buddy song, smile-factor. Verse-Chorus-Verse-Chorus-Bridge-Chorus.

“One Night Girl”

Writers: Ashley Gorley, Dallas Davidson

POV: Me/You

Timeframe: In-The-Moment

PUL’D: Positive, Uptempo, Love

Neighborhood: Country boy. Bro.

Subject: It’s daybreak after the 1st date, and he’s telling her he wants to spend more time with her.

Notes: Love, not sex. New love. Big chorus. Good imagery. Verse-Chorus-Verse-Chorus-Bridge-Chorus.

“Doing It To Country Songs”

Writers: Marty Dodson, Jacob Lyda, Paul Overstreet

POV: Me/Her

Timeframe: In-The-Moment

PUL’D: Positive, Mid-tempo, Music

Neighborhood: Country, honky tonk.

Subject: Country music and sex.

Notes: Features the Oak Ridge Boys. Storytelling. Lots of imagery. Double-meaning. Clever, fun, funny. Verse-Verse-Chorus-Verse-Chorus-Solo-Chorus-Chorus-Chorus

“Savior’s Shadow”

Writers: Blake Shelton, Jessi Alexander, Jon Randall

POV: Me-to-the-World

Timeframe: In-The-Moment

PUL’D: Positive, Ballad, Depth

Neighborhood: Country gospel. No angel. Bluegrass.

Subject: The devil tried to break me, but God pulled me through.

Notes: Worshipful, acoustic/strings, contemplative. Verse-Verse-Chorus-Verse-Chorus-Chorus.

TAKEAWAYS:

This record feels good. The happy songs feel good. Even the heartbreak songs feel good. Not a tearjerker in the bunch. A theme that keeps popping up is curing a fresh heartache by finding someone new (“Came Here To Forget” “Every Goodbye”).

Women are lifted up on tis album. The possible exception is “She’s Got A Way With Words,” but even that comes off more funny than angry. Other songs, he wants the girl back (“Every Time I Hear That Song” “Bet You Still Think About Me”).

New relationships: “Came Here To Forget” “Every Goodbye” “It Ain’t Easy” “One Night Girl”

Established relationships: “A Guy With A Girl” “Doing It To Country Songs”

It’s all pretty light, except for “Go Ahead And Break My Heart” and “Savior’s Shadow.” The only hopeless or lost love is “She’s Got A Way With Words.” Not much sex or sexy. Lot of new love, but not much making out except for the double-meaning of “Doing It To Country Songs.”

“If I’m Honest” hits on a lot of commercial principles I advocate in Cut/able. The songwriters really hit the nail on the head with this one.

If you’re ready to take YOUR commercial songwriting to the next level, I have a great opportunity for you.

In August 2017, I’m hosting “The C4 Experience (C4X)” event. This is YOUR opportunity to really focus in on writing more commercial songs. You’ll get expert coaching and a small, supportive community. And with it being online, you can join us from anywhere in the world with an internet connection. If you want details, just CLICK HERE. Tickets are on sale now, and space is limited to only 10 songwriters!

God Bless and Enjoy the Journey,

Brent

WordPlay, Write Like A Pro

Wordplay Thursday #195

July 6, 2017 Brent Baxter 12 Comments

Welcome to Wordplay Thursday!

Here’s a line to get you started. Feel free to use it to start off YOUR song, then go back and change the original line up a little bit. After all, other people will be using this one, too!

“If I’d ‘a known you’d be here, I’d ‘a brought something stronger than beer…”

I’d love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It’s a family show, after all!

Wordplay Thursday is a fun way to generate new song ideas- and who doesn’t need more song ideas? If you’d like MORE “creative kickstarters,” join the Frettie.com community today! In our private Facebook group, I share a handful of creative kickstarters every week. Plus, there’s plenty more cool stuff for Frettie members!

God Bless and Enjoy the Journey,

Brent

Do Business Like A Pro, The C.L.I.M.B.

The C.L.I.M.B. #73: Cut/able Songwriting- Luke Bryan’s “Fast”

July 4, 2017 Brent Baxter 2 Comments

On today’s episode: Brent dives into Luke Bryan’s recent #1 hit and pulls out songwriting lessons YOU can use to make YOUR songs more commercial- and cut/able!

The C.L.I.M.B. Podcast Episode 73 is live and ready for download!

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)

If you aren’t on iTunes, you can listen to the show at our website:

If you have an Android phone, you can subscribe to the show on:

CLICK HERE TO CHECK OUT FRETTIE!

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

Artist Insights, C4X, Cut/able Songwriting

Cut/able Songwriting: Luke Bryan & “Fast”

July 3, 2017 Brent Baxter 1 Comment

Luke Bryan’s #1 hit, “Fast” is a 90’s country song at heart. But it’s written to appeal to today’s market. As a result, it appeals to both sides of the “bro country” divide. How’d the writers do that? How’d they make “Fast” so cut/able? Let’s take a look.

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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

_________________________________

So what makes the song “Fast” an undercover 90’s song?

Well, there are a few things. The song is more love than just lusty, for one thing. The singer is a little more sensitive than cool (though he’s by no means a sissy). There’s a little more depth. Yes, it’s ultimately a love song, but it’s also a life song. Life goes too fast.

It also flirts with being a 3-act play, where each verse or bridge spotlights a different story or event of the singer’s past, present or future, and each of these sections shines a different light on the chorus.

“Fast” though, riffs off the 3-act play.

Verse 1 talks about high school and wanting a fast car or fast home team athletes. Whereas a standard 90’s style 3-act play would talk about “when I was 16, all I wanted was a fast car. At 17, all I wanted were faster receivers to throw to, etc.” this doesn’t take you there. But it evokes high school days with the universal “you” (more on this later). Verse 2 moves to different theme – young, rebel love. Then the Bridge brings it to the present moment.

Right now, let’s look at “Fast” through the areas I highlight in my workbook, “Cut/able.”

IMAGERY

While this song isn’t overloaded with imagery, the writers do throw a few well-placed ones into the lyric. Verse 1 opens on a fast car when you’re 16. I bet that made you flash back to a memory. What did you see? The “hometown team” line make me picture my high school football days. Those images punch the nostalgia button.

The chorus gives you the hourglass sand. Verse 2 doesn’t have much. I see parents, but that’s about it. Then the bridge really paints the picture of the smiling girl in the dress looking out the window. The writers do the most work to “put you in the moment” when they bring the song to the present… moment. Cool, huh?

GAPS (Growth, Achievement, Preaching/Positioning, Songwriting)

“Fast” fills a gap for Luke Bryan on growth. It allows Luke to talk about love and life from a little more mature perspective. Sure, it isn’t “old grandpa wisdom.” Luke’s not handing out answers to the questions of life, but it’s deeper than his usual tailgates and tan lines subject matter. And it’s also more true love than tailgate lust. It’s the same guy from those other songs – just a little older in love.

PUL/D (Positive, Uptempo, Love / Depth)

Songs simply tend to be more cut/able when they’re positive, uptempo, and about love or something with some depth. “Fast” checks several of those boxes by being positive (yes, there’s a bittersweet emotion to it, but he’s happily in love). It’s a love song, as I just mentioned, and it also pulls off some depth – being about how life moves too fast. No, it’s not an uptempo, but it has a nice mid-tempo feel. The point is- it’s not a slow ballad.

MVPOV (Most Important Point Of View)

This is where the writers, Luke Bryan, Luke Laird, and Rodney Clawson) really pull off something cool. They manage to break a “rule” and make it pay off. Luke sings from the “me to the world” point of view (in Cut/able, I call it the 4th POV) in the Verse 1 and Chorus 1. Then in the 1st POV (“me” singing to “you, specifically”) in Verse 2 and the Bridge.

This is cool because the 4th POV is great for anthems and universal sentiments. And 1st POV is best for romantic love songs. “Fast” plays on both these levels, so the POV does, too.

I’d normally advise against mixing POVs, but these guys are great songwriters (and they wrote it with the artist), so they got away with it. You and I need to be very careful about mixing POVs, though.

NEIGHBORHOODS

Luke Bryan’s neighborhood has mostly been solidly “bro country.” Young, shallow, sexy, tailgates and parties. As I mentioned under GAPS, this song grows him beyond that a little. But it’s not a leap across town. He still keeps one foot planted firmly in “bro.” Here’s how:

Verse 1 begins the song with bro-friendly subjects of fast cars and hometown sports. Verse 2 has some rebellious teenage romance. Her parents disapprove. It’s not grand theft auto, but fast cars and rebellious teen love help him keep his bro cred.

Lastly, and this is a big one, they keep it young!

The theme of the song could have easily led them to write about getting married, getting some gray hairs and watching their kids grow up “too fast.” But that’s not Luke’s neighborhood. They keep it young. For all we know, he and the girl have only been together a year or two (when you’re 20, two years together seems like a long time). But it’s written openly enough that they could be married and they could be middle-aged or older. It’s not vague, but it’s open enough that the listeners can see their own lives in it.

Basically, “Fast” hits on a lot of commercial principles I advocate in Cut/able. The songwriters really hit the nail on the head with this one.

If you’re ready to take YOUR commercial songwriting to the next level, I have a great opportunity for you.

God Bless and Enjoy the Journey,

Brent

WordPlay, Write Like A Pro

Wordplay Thursday #194

June 29, 2017 Brent Baxter 2 Comments

Welcome to Wordplay Thursday!

Here’s a line to get you started. Feel free to use it to start off YOUR song, then go back and change the original line up a little bit. After all, other people will be using this one, too!

“All’s fair in love and leaving…”

I’d love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It’s a family show, after all!

God Bless and Enjoy the Journey,

Brent

The C.L.I.M.B.

The C.L.I.M.B. #72: Nepotism

June 27, 2017 Brent Baxter Leave a comment

This week on The C.L.I.M.B., Johnny and Brent just plain go off on a rant. Ever use “nepotism” as an excuse on why YOU haven’t made it? Well, to paraphrase Samuel L. Jackson from “Pulp Fiction” –

Give this episode a listen as WE work to give YOU the tools you need to succeed in the music business.

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)

If you aren’t on iTunes, you can listen to the show at our website:

If you have an Android phone, you can subscribe to the show on:

CLICK HERE TO CHECK OUT FRETTIE!

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

Do Business Like A Pro, Know The Row

Which PRO should I join – ASCAP, BMI or SESAC?

June 26, 2017 Brent Baxter 1 Comment

QUESTION: I want to be a pro songwriter. So should I join a Performing Rights Organization (PRO) right now? Which one should I join- ASCAP, BMI or SESAC?

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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

_________________________________

ANSWER:

First, let me explain (briefly) what PROs do. Performing Rights Organizations are basically collection agencies. They collect performance royalties for their songwriter and publisher members. Performance royalties come from sources including radio airplay, TV/film synch performances, live music venues, and digital sources.

If you get a hit single, it’s the PRO check you love seeing in your mailbox.

In the rest of the world, you only have the choice of one PRO in each country or territory. However, in the USA, we have 3 PROs: ASCAP, BMI and SESAC.

A songwriter can only be a member of one PRO at a time.

So, should you join one now? The short answer is “YES” – if you have cuts out there being played on the radio, in bars, in film/TV, etc. If you’re getting a decent amount of plays (or if you’re a touring act playing originals), you’re earning money – BUT NO ONE IS COLLECTING IT FOR YOU UNLESS YOU’RE A MEMBER OF A PRO. If that’s not your situation, you’re not in a hurry and I suggest you “shop” PROs patiently.

So, which PRO should you join?

Well, there will be arguments over which PRO pays the most money, which one is best for certain genres, etc. I suggest you don’t worry about that right now. After all, if you’re not making money off your music, it doesn’t really matter if one PRO pays slightly better than another.

Join the PRO where you find your champion.

I suggest trying to get meetings at each of the PROs – with different member representatives at each one. If your songs aren’t good enough, you probably won’t find a champion. Keep writing. Keep learning. Keep getting better. And keep being professional when you DO have meetings.

Eventually, if you’re friendly and professional and your songs keep getting better, you’ll find a rep who will give you more time, more feedback and may even hook you up with cowriters and/or publishers.

Join the PRO that will help you make money, not one that will ONLY collect your money.

I’ve benefitted from having a champion at my PRO. Chad Green was my ASCAP rep, and he helped me land my first publishing deal. (He’s also opened other doors for me, which you can read about with a CLICK HERE.)

Do you have more questions about PROs – what they do, how to get a meeting, or how to get a 2nd meeting? If so, I have a great opportunity for you.

On Tuesday, July11, 2017, I’m hosting an online “Know The Row” event with Senior Creative Director of Daywind Music and former ASCAP rep, Chad Green. This is YOUR chance to connect with a music industry professional and to ask him YOUR questions. With it being online, you can join us from anywhere in the world with an internet connection. If you want details, just CLICK HERE. Tickets are on sale now, and space is limited!

God Bless and Enjoy the Journey,

Brent

WordPlay, Write Like A Pro

Wordplay Thursday #193

June 22, 2017 Brent Baxter 5 Comments

Welcome to Wordplay Thursday!

Here’s a line to get you started. Feel free to use it to start off YOUR song, then go back and change the original line up a little bit. After all, other people will be using this one, too!

“I’m picking up a new old habit…”

I’d love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It’s a family show, after all!

God Bless and Enjoy the Journey,

Brent

The C.L.I.M.B.

The C.L.I.M.B. #71: How One Relationship Can Open Doors All Over The Music Biz

June 20, 2017 Brent Baxter 1 Comment

This week on The C.L.I.M.B., Johnny and Brent discuss how just ONE relationship in the music business can open MANY doors- and what this means for YOU. And we aren’t just talking- we offer examples from one of Brent’s key relationships in the biz.

Give this episode a listen as WE work to give YOU the tools you need to succeed in the music business.

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)

If you aren’t on iTunes, you can listen to the show at our website:

If you have an Android phone, you can subscribe to the show on: