Category Archives: Biz

These posts focus on the business side of songwriting.

Biz

Be Helpful

January 23, 2014 Brent Baxter 2 Comments

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

Zig Zigler is known for saying, “You can have anything you want out of life as long as you help enough people get what they want out of life.” Sounds a little counter-intuitive, right? But it’s true- all of a songwriter’s success is based on helping others get what they want. Here are a few examples of what people want:

A great lyricist wants a cowriter with great melodies.

A great melody writer wants a cowriter with great lyrics.

An artist who is a new writer wants a cowriter who can bring their thoughts to life without making the artist feel self-conscious.

An artist wants a hit song.

Radio wants fun, uptempo songs.

Radio listeners (largely) want songs that make them feel good.

Record labels want songs that sell records.

It’s not about getting an artist to help YOU by recording YOUR song that YOU like. It’s about writing and pitching a song that THE ARTIST has been looking for, that THE ARTIST wants to sing and will help THE ARTIST take their career a step forward.

I don’t think anyone has ever asked me to write or cut one of my songs only to help ME out. People write with me and cut my songs to help THEMSELVES out. And, hey, if the result of them getting what they want is that I also get good cowrites and cuts, I’m fine with that.

So I encourage you to ask yourself, “How can I be of maximum service with my songwriting?” “Is there something in my writing that I can develop into something that people want or need?”

Songwriting is a service business. Improve your service, and you improve your odds of success.

God Bless,

Brent

YOU VS…

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Biz, Craft

“Slash” Songwriters

January 22, 2014 Brent Baxter 19 Comments

There are a few very, very successful writers that make a killing, but most writers can’t feed their families on JUST songwriting. I know a lot of songwriters which are “slash” songwriters. They are songwriter/waiters. Songwriter/producers. Songwriter/demo singers. Songwriter/mentors. Songwriter/real estate agents. Certain exceptions are writers who are young, single, and can live on very little- thanks to sharing rent with roommates. Others have spouses with solid incomes. But the vast majority of songwriters just don’t maintain a strong income over a long period of time.

For example, I was blessed to have a hit with Alan Jackson. Then came marriage, and after Emily finished up school, we had two incomes. Then came our son, Ozark (yes, that really is his name). It is very important to both of us for Em stay home with Ozzy, so that certainly changed the math. We were blessed that Emily was able to take Oz to her job as a nanny for a while. Then that job ended for her not long after I left a publishing deal. And now we have a 2nd baby on the way, due in March of 2014.

A publishing draw does NOT pay enough to feed a family of four unless you’re willing to live in poverty. And while I’ve gotten cuts, cuts that aren’t singles are pretty much just for bragging rights. Therefore, I had to take a full-time job in the summer of 2013. I’m still in the game, writing with some major label artists, pitching songs, getting some cuts, etc. But it’s mostly nights and weekends right now. It definitely makes things more difficult, but it’s best for my family at the moment. We’ll see where God takes us.

If you’re preparing to make a run at a professional songwriting career, what is YOUR slash? Are there certain skills you can develop or a business you can grow which will give you both enough time and money to devote to your songwriting? It’s worth thinking about. It’s worth building something for the long haul.

God Bless,

Brent

YOU VS…

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Biz, Craft

5 Ways Songwriters Make Their Lyrics “Too Old”

January 15, 2014 Brent Baxter 2 Comments

Sometimes songwriters needlessly limit the pitchability of a song by making the song too “old” for most singers. In today’s country, most artists sing “young,” meaning their songs are from a young point of view no matter how old the singer really is.

Here are some ways songwriters “age” their lyrics. Please keep in mind that none of these things are bad in and of themselves. However, they may limit who will sing it. Also, I’m not telling you to never put these into your songs- they may be a vital part of a great song. Just make sure that if you include these points in your songs, they’re there on purpose and with good reason.

1. Shacking up.

Saying things like “you came home” or “you’re moving out” means the singer and their lover/ex-lover are living together. That’s an adult situation.

2. Working.

Have you noticed how almost no one in country music has a job these days? “Worked all week” or “my boss is a jerk” makes the singer seem older.

3. Drinking.

If you’re drinking on the riverside, you might just be 17 or 18. If you’re drinking in a bar, you’re at least 21, unless you have a fake ID.

4. Kids.

You might have a nice love song that works for a singer of any age, but as soon as you mention kids, the singer has to be old enough to have kids. It definitely puts the singer in a more mature phase of life.

5. Old love.

Talking about how you’ve been together “all these years” may be true for the songwriter and his wife, but it might not make sense for the 20-year-old singer who is selling tickets to 18-year-old girls.

Again, none of these things are bad. Just make sure that if you decide to use any of these in your song, that you do it intentionally, with purpose, knowing the effect it might have on the song’s pitchability.

God Bless,

Brent

YOU VS…

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Biz, Mini

$91 vs $91,000

January 6, 2014 Brent Baxter Leave a comment

Right now, the statutory mechanical rate in the US (set by Congress) is $0.091 per unit sold. Meaning, each time someone buys an album at Wal-Mart or iTunes, each song generates $0.091 to be split among that song’s writers and publishers.

Just for the sake of easy math, let’s say you write a song by yourself and own the publishing. All that $0.091 goes into your pocket. If you get one song cut on an indie project which sells 1,000 units, that’s $91. Okay.

Now, say that same song is cut on a platinum-selling album (1,000,000 units) That’s $91,000 you just made- before taxes.

Indie cuts are great, and I’m thankful for every one I get. But I’m careful about how much time I spend on them (pitching, writing for, etc.). After all, it takes 1,000 indie cuts like that to equal just one platinum cut. Yes, there are a LOT fewer platinum cuts to be had, but that’s 91,000 reasons to spend a lot of time working on a song and a cut with platinum potential.

To see the current mechanical rate for the US, click here.

http://www.copyright.gov/carp/m200a.pdf

God Bless,

Brent

YOU VS…

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Biz

Maximize Your Writer’s Round… By Not Playing It

December 31, 2013 Brent Baxter 1 Comment

Last week, I posted a blog titled, “10 Tips To Maximize Your Songwriters Night.” You can read it HERE. The last point was worth its own post, though. And that’s because sometimes the best way to maximize your songwriters night is to just NOT play it. A good friend and I explored that thought once, and I think it’s worth sharing with you.

Back before my friend signed his first publishing deal, he and I were talking about how he was prepping for a round he was playing later that week. We started adding up how much time he was investing in just that one round. It came out to about ten hours once we added up:

-Picking and practicing the songs

-Driving to the venue

-Arriving early

-Playing the round

-Staying at least one round later

-Driving home

10 hours.

And what is the result? Well, my friend enjoys playing his songs for a crowd. But his big reason for playing the round was to raise his profile and to network. Your reasons might be the same.

That might be worth it if at every round, you met two or three strong contacts. But most of the time, you don’t. You could easily have 50 to 60 hours over the course of 6 months invested before you meet one or two strong contacts.

Does that seem like the best use of your time?

Now, my friend isn’t stupid. In Nashville, it’s just standard operating procedure for unsigned writers to play a bunch of rounds while building up their networks. But we figured that in the 10 hours of one round, he could identify one or two people he’s like to connect with and figure out a way to meet them.

Maybe you find where your targeted contact will be playing. Or you start asking around your current network to see if someone you know can arrange an introduction. Call their office and offer to buy them coffee (you never know…). Just playing writers nights hoping to run into a great contact is… random.

There’s nothing wrong with writers nights. You just have to make certain that they are helping you get where you want to go in the most effective, efficient way possible.

God Bless,

Brent

YOU VS…

What did I miss? Anything you’d like to add or ask? Leave a comment!

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Biz, Mini

Hurt Like A Man: Luke Bryan & “Drink A Beer”

December 30, 2013 Brent Baxter 5 Comments

In today’s country market, male artists generally don’t like to be seen as weak, vulnerable, or too sensitive- it doesn’t fit their brand (for more on this, CLICK HERE). This in in contrast to country music of the 1990’s when artists like Colin Raye, Doug Stone, Vince Gill, and others were often very vulnerable. So, for today’s market, how do you write a song about a guy that is heartbroken about the loss of his friend?

You make him hurt like a man.

Written by Chris Stapleton and Jim Beavers, “Drink A Beer” is undeniably manly. Sure, the singer is hurting and heartbroken, but he keeps it locked up inside. No tears are shed (at least not that he says), and he doesn’t call his mom to talk about it for hours. No, he goes for a walk alone and ends up drinking a beer in memory of his friend.

Not that real men don’t cry- “I Drive Your Truck” by Lee Brice is a great example of this. But even when that manly singer sheds a tear, it is balanced by knowing his brother would punch him in the arm for it.

God Bless,

Brent

YOU VS…

Anything you’d like to add or ask? Leave a comment! Also, are there any topics you’d like to see addressed in a future MvR post? Thanks!

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

Biz, Mini

Busy Is Lazy

December 23, 2013 Brent Baxter 3 Comments

Too many times, our busy-ness is really just laziness. We keep ourselves busy with organizing our writing room, checking email, or checking out an artist’s new record. And none of these are bad things- but neither are they usually the BEST thing.

Too many times, these activities are just a way to avoid the important things. And why do we avoid the important things? Usually, it’s because they’re difficult, unpleasant, or scary.

Staring at a blank page is hard. Staring at a full email inbox is easy, and we fool ourselves into thinking we’re being productive. But we aren’t. We’re just scared and lazy. Or sometimes it’s easier to work on a song than to make those uncertain phone calls that might land that big cowrite.

So put on your big-boy or big-girl pants and do what you know is the important thing- not the lazy thing.

God Bless,

Brent

Here’s a great book on trading busy for simple and effective. I’ve read it multiple times, and I recommend it.

YOU VS…

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Biz, Craft

10 Tips To Maximize Your Writer’s Round

December 18, 2013 Brent Baxter 1 Comment

Ok, I’m a lyricist, and I don’t play out. So, no, I’ve never really played a writer’s night. But I’ve been to a ton of them, and I’ve picked up some things I want to share. Writer’s nights can be an effective tool, but you want to make sure you make the most out of them. Here are 10 tips to do that.

1. Determine WHY you’re playing the round.

Then choose your songs accordingly. If you’re there to network as an aspiring hit country songwriter, it doesn’t serve you well to play that lullaby you wrote for your dog. Play songs that aim in the direction you want to go.

2. Practice your songs.

You might’ve written a great song, but we might never know it if you can’t remember the melody and lyrics. Having to start over is a big groove-buster.

3. Bring a crowd.

You’re more likely to be invited to join in somebody else’s round if you prove you can bring a crowd. More rounds can equal more opportunities.

4. Play uptempo!

Most new writers play ballad after ballad. The easiest way to stand out is to play something uptempo (and fun).

5. Bring business cards and CDs.

Throw some CDs of your songs in your guitar case- be sure and have your contact info on each one. Keep business cards handy. Make it easy for someone who likes your music to remember you and find you later.

6. Get there early.

It shows professionalism. It also makes you more likely to be booked for your own round or be invited to join someone else’s round if you’re reliable. Nobody likes to sweat, wondering if their buddy is going to flake out on them.

7. Stay for at least one round after yours.

It gives you the chance to discover potential cowriters in the next round. It also gives folks who like your music the chance to approach you.

8. Get a pro writer in your round.

If you can get a professional songwriter in your round, you look more legit by association. It also may bring out better potential contacts. Maybe they come to see the pro, but they also discover you.

9. Don’t ignore your peer group.

Odds are, there won’t be a hit writer or publisher or A&R rep in your audience. But the unknown writer in the round with you or in the round before/after you may just be a future hit songwriter. Identify and build a relationship with them now, while they’re still accessible.

10. Sometimes, you DON’T play the round.

This deserves its own post, so check back next week- or better yet, subscribe to Man vs. Row so it’s delivered right to your inbox.

God Bless,

Brent

YOU VS…

What did I miss? Anything you’d like to add or ask? Anything you’d like for me to cover in a future MvR? Leave a comment!

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

Biz, Craft

Shark Tank and Songwriters

December 16, 2013 Brent Baxter Leave a comment

Just like on the TV show “Shark Tank,” when an entrepreneur comes in with a great idea but has little or no sales… the sharks usually want no part of it. Their potential partner hasn’t proven the product (demand, etc.), and they haven’t proven themselves as businesspeople. There are just better places the sharks can invest their time and money- safer bets with more of a track record.

It’s the same deal if you’re a singer, singer/songwriter, or songwriter looking for a record deal or a publishing deal. The label/publisher isn’t just looking for a decent place to invest- they’re looking for the BEST place to invest. You need to prove your business if you want them to invest in it. Play shows, write songs, get indie cuts, and build your business.

God Bless,

Brent

YOU VS…

What did I miss? Anything you’d like to add or ask? Also, are there topics you’d like to see covered in an upcoming MvR? Leave a comment! And, as always, thanks for reading and sharing Man vs. Row.

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Biz, Craft, Cut Study, Video

Cut Study: Ray Stevens “Caribou Barbie”

December 11, 2013 Brent Baxter 1 Comment

Disclaimer: The song, “Caribou Barbie,” is a political song with a definite point of view. This post, however, is NOT political. The point here is to share the process by which the song got cut. It appears on Ray’s album, “We The People.”

I was blessed to have written “Caribou Barbie” for Ray Stevens. Ray is a comedy legend with songs like “The Streak” “The Mississippi Squirrel Revival” and “Everything Is Beautiful.” Today, I’d like to briefly discuss how we got the song cut and what you might learn from it.

I captured the title in my hook book.

I heard Sarah Palin referred to as “Caribou Barbie” during the 2008 Presidential campaign. My brother-in-law, Matt Cline, was contemplating a political comedy album, and we thought it would be a good title- even though we didn’t know how to write it. When McCain / Palin lost, I tucked the title in my hook book, figuring it would never be relevant again.

I had access to the artist’s camp.

Matt was published by Ray Stevens at the time, and we were hoping Ray would do a political album. When he finally decided to, we started pulling ideas together for it. If I hadn’t had access to the camp via Matt, I wouldn’t have even heard about the project until it was already finished.

I squeaked my wheel.

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, “I’ll write it!”

I picked my cowriters strategically.

Since the artist had already said he wanted to hear my idea, I knew it would be easy to find a cowriter. So, the question was, “who’s best?” It was an easy call- Matt Cline and Max T. Barnes. Both these guys wrote for Ray’s publishing company, so he’d have extra incentive to cut it. They were also dialed in to the project, having songs in the mix already. Plus, they’re a great hang and really good writers. I called them up, and we met at Ray’s the next morning.

We wrote the song with the artist in mind.

Obviously, we kept Ray top-of-mind as we wrote the song. What does Ray want to say? What’s his musical style? Is X-Y-Z his brand of humor? We wrote it and laid down a worktape that day.

We pitched the song directly to the artist.

The next day, Matt and Max played “Caribou Barbie” for Ray. We were open to his suggestions, but other than a few tweaks Ray made in the studio (including the word ‘jackass’- that wasn’t me), it was pretty much the same.

There you go. Preparation (hook book) + access (cowriter) + action = a cut. Every cut has its own particular details, but I hope my story helps you on your journey.

God Bless,

Brent

YOU VS…

You can check out “Caribou Barbie” on iTunes by clicking here. Don’t say I didn’t warn you!

What did I miss? Anything you’d like to add or ask? Leave a comment! (Unless you just want to go on a political rant- that isn’t the point of this blog or post.)

SHOUT OUT…

Big shout out to Gord Bamford, who has the #1 country song in Ireland this week (Dec. 2013) with a song we wrote called, “When Your Lips Are So Close.” It hit #1 in Canada a couple weeks ago, and it’s good to see it making its way across the globe!

www.gordbamford.com

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1. Shacking up.

2. Working.

3. Drinking.

4. Kids.

5. Old love.

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10 hours.

Does that seem like the best use of your time?

You make him hurt like a man.

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1. Determine WHY you’re playing the round.

2. Practice your songs.

3. Bring a crowd.

4. Play uptempo!

5. Bring business cards and CDs.

6. Get there early.

7. Stay for at least one round after yours.

8. Get a pro writer in your round.

9. Don’t ignore your peer group.

10. Sometimes, you DON’T play the round.

YOU VS…

I captured the title in my hook book.

I had access to the artist’s camp.

I squeaked my wheel.

I picked my cowriters strategically.

We wrote the song with the artist in mind.

We pitched the song directly to the artist.

SHOUT OUT…

Helping songwriters turn pro.