Category Archives: Cut/able Songwriting

C4X, Cut/able Songwriting, Write Like A Pro

One Way To Tell If Your song Is “Dated”

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What does it mean when someone says your song is “dated” or “not appropriate for today’s artists?”  

Recently, a member of the Songwriting Pro community asked me about feedback he recently received from a music publisher.  Regarding this writer’s song, the publisher said:

* The idea comes across as a little too old fashioned for most artists in today’s market.
*The melody is technically good, but doesn’t sound current enough to pitch in today’s market.

What does this mean, and how can you figure out if your song is dated?

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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First of all, I know this can be a very frustrating piece of feedback.  I’ve been there. 

Your song obviously doesn’t sound “dated” to you, or you wouldn’t have bothered to send it in to a music industry professional.  You believe your song has worth, and let me be the first to tell you:

Your song may be good, but not all good songs are commercial songs.

You can write a very well-crafted and emotional song.  That’s great- and it’s not easy to do.  But if that song sounds like it just popped out  of a time machine from 1985, it’s probably not going to get recorded by a major artist TODAY.

Yes, you may find a few exceptions here and there.  There may be some throwback artists or tracks out there.  But even most of those songs bring in some new element so it doesn’t just sound like an old song.  And there may be some indie artists that are retro.  But in any case, aiming for the fringes or small niches is not a great way to start off your career – or for a publisher to make a living.  So most won’t be interested in dated-sounding songs.

Put your song in a playlist of current hits in the same genre.

If you’re a country writer, make a playlist of several current country hits by mainstream artists.  Then add your song somewhere in the middle.  Does it feel like it would be right at home on a radio station playing those songs?  Or would it stick out like a sore thumb?  And why is that?

Is your song lyrically dated?

Does your lyric contain phrases that just aren’t found in current hits- and haven’t been heard on the radio in years?  Does it tell the type of story that went out of style years ago?  Does it use archaic language- words that aren’t used in normal conversation these days?  These can all make your song feel dated.

Is your song sonically dated?

My first inclination is to say, “well, if you can’t hear it, I can’t explain it.”   And part of that might be true.  It’s like what one judge said about pornography.  “I can’t tell you what it is, but I know it when I see it.”  Can you HONESTLY hear a current artist singing this melody?  Would it REALLY fit in on their current album?  Are you using instrumentation that hasn’t been on the radio in years?

You have to be honest with yourself.

What other ways have you found that make songs sound dated?  I’d love to hear from you.  Leave a comment!

Knowing how to avoid mistakes like this can make a big difference in YOUR songwriting.  Keeping your songs current will help them have a competitive advantage in the market.

If you want to dive into songwriting craft; if you want learn how to write songs that will get you noticed in the music business, I have a great opportunity for you.

Every Tuesday night in April, I’m hosting The C4 Experience.  It’s an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting.  I want you to win, and I’m going to help you write songs that artists want to sing, radio wants to play and fans want to hear.

CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT IN THIS EXCLUSIVE ONLINE EVENT!

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, 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… 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

C4X, Cut/able Songwriting, Write Like A Pro

One Single Line Can Cause Your Whole Song To Fail

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Wanna know how just ONE LINE in your song can really mess up its chances for success?  Here are a few ways…

As you may know, each line in your song is important.  Every line needs to be “on point.”  Every line needs to point to the central idea, theme, and vibe of your song.  Every line needs to pull its weight.  Each line has a job to do.

And sometimes, one single line can mess up your song’s chance to get recorded or connect with your listener.

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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Yes.  Sometimes, one single line can mess up your song’s chance to get recorded or connect with your listener.

And I’m not talking about, “Oh, this line or that line was off-topic or was a little confusing.”  Sure, those are things to be avoided because they DO hurt your song.  But I’m talking about a few other types of lines…

The Cornerstone / Stumbling Block

It’s a mistake to make one line of your song TOO important.  “If the listener misses this one line, they’ll get lost,” is a dangerous way to write.  Don’t hang too much of the weight of your song on one line.  Sadly, you can’t expect too much of the listener’s attention.

Listeners usually won’t give your song their full, undivided attention.

I write EXPECTING that the listener will zone out on at least a line or two while they get/send a text, honk at a bad driver, or get some notification on their phone.  If that text comes during that ONE LINE they have to “get” or they won’t “get” your song… they won’t “get” your song!  What you built to be the cornerstone of your song just became a stumbling block to your listener.

And this doesn’t have to be the line that provides “the big surprise twist ending.”  It can be a line in the first verse that sets up that the singer is a single mom.  Or is in prison.  Or just got his heart broken.  Whatever it is.  Don’t hang too much on one line.  Pepper that information throughout your song.

The Wait-For-It Line

This one usually IS the twist, surprise or otherwise killer line where you think, “if the listener will just listen until we get to THAT line (usually in the 2nd verse or bridge), I’ve got ’em!”  Well, I hate to tell you… they probably won’t stick around.

The danger with a Wait-For-It Line is that you CAN’T make the listener wait for it.  Every line needs to keep the listener’s attention.  You can’t put clichés throughout the lyric, expecting the Wait-For-It line to save your song.  The listener will tune out (literally or figuratively) before the line ever gets there.

Keep the listener’s attention with EVERY line.

The Crossed-That Line

This will really depend on your genre, but your song can be chugging along just fine, making the A&R person bob his head and tap his pencil, when all of a sudden you drop an F-bomb that has to be an F-bomb because it’s the rhyme, or you say something really negative about women, or something else that is a cut-killer. (Again, depending on genre.)

Another example of this is when a happy love song has a line that reveals that the singer is a parent or a grandparent.  Nothing wrong with this, but it limits which artists can sing it.  It might even be very important that the singer BE a parent or grandparent.  But just realize the tradeoffs involved.

Those are a few cut-killing and connection-killing lines.  Do you have a few more that you’d like to add?  Have you put some cut-killing lines in your songs (admit it- we all have).  I’d love to hear from you.  Leave a comment!

Knowing how to avoid “lyrical landmines” like this can make a big difference in YOUR songwriting.  Successfully side-stepping them will help you write market-smart songs: songs that have a competitive advantage in the market.

If you want to dive into songwriting craft; if you want learn how to write songs that will get you noticed in the music business, I have a great opportunity for you.

Every Tuesday night in April, I’m hosting The C4 Experience.  It’s an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting.  I want you to win, and I’m going to help you write songs that artists want to sing, radio wants to play and fans want to hear.

CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT IN THIS EXCLUSIVE ONLINE EVENT!

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, 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… 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

C4X, Cut/able Songwriting, Write Like A Pro

Cut/able Songwriting: FLORIDA GEORGIA LINE & “TALK YOU OUT OF IT”

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Florida Georgia Line is climbing the country singles chart with their new song, “Talk You Out Of It.”

Alysa Maria Vanderheym, Hunter Phelps, Jameson Rodgers and Michael Hardy are the songwriters behind “Talk You Out Of It,” and they use several techniques that help the song stand out- and stand a chance of getting cut.  In short, they made this song “Cut/able.”  Here are a few of those techniques.

YOU GOTTA TALK TO HER.

This song is all about the sexy.  And that type of song is perfect for direct address.  That’s when the singer sings directly TO the listener.  In this case, he’s saying “I just wanna talk YOU out of it.”  The writers could have written the singer to sing “I just wanna talk HER out of it,” about how his girl is getting ready to go out on the town and how she looks so good.  But, you know what?  Talking ABOUT your love interest isn’t nearly as powerful as talking TO your love interest.  This is especially true for sexy songs.  The difference between “you” and “her” can be the difference between “hit” and “miss.”

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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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PAINT THE PICTURE.

They use some great imagery in this song, and it really helps the story to come to life. They give us so much to “see,” from the downtown lights to the bottle in a bucket of ice to him watching TV.  And that’s just in the first verse!  The chorus is also full of imagery.  The “playlist you play when you’re in the shower” brings in not just a visual image, but the audio image of music.  It’s important that you don’t forget your other senses.  Visual imagery is important, but sound, smell and other types of sensory images can really bring an authenticity to your lyric.

DOUBLE THE MEANING, DOUBLE THE IMPACT.

Country songs love double meanings, and this song is no exception.  The chorus starts off with “I talked you into…” getting ready to go out.  And they could’ve just said, “you look so good, I want to talk you out of it,” meaning, “I want to talk you out of going out on the town.”  But the writers brought the chorus to an image of her in “that fine little dress.”  Now, when the singer says, “I just wanna talk you out of it,” it means, “I wanna talk you out of going out on the town” AND “I wanna talk you out of that dress.”  It adds another twist on this hook, making it a lot more powerful.  You want your hook to land with impact, and a well-crafted double-meaning can help you do that.

THE VIBE MATCHES THE LYRIC.

Last, but certainly not least, the vibe (melody, groove, production) fits the meaning of the lyric.  Now, you can have great success with sad songs that feel happy, for example.  But for sexy songs, it really works when the lyric and vibe match.  And it certainly does here.  A big fun melody/groove might’ve still been cut/able, but it sure wouldn’t have been sexy.  And that is definitely the goal here: sexy.  So the vibe reflects that.  There’s a focus to this song.  The writers know what they want the listener to feel, and everything moves in that direction.

Knowing pro techniques like this can make a big difference in YOUR songwriting.  Applying them will help you write market-smart songs: songs that have a competitive advantage in the market.

If you want to dive into songwriting craft; if you want learn how to write songs that will get you noticed in the music business, I have a great opportunity for you.

Every Tuesday night in April, I’m hosting The C4 Experience.  It’s an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting.  I want you to win, and I’m going to help you write songs that artists want to sing, radio wants to play and fans want to hear.

CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT IN THIS EXCLUSIVE ONLINE EVENT!

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, 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… 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

Cut/able Songwriting, Think Like A Pro, Write Like A Pro

Songwriting MasterClass: Maren Morris & “Rich”

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Maren Morris might be heartbroken in her new hit single, “Rich,” but she’s laughing all the way to the bank.

Today, let’s dive into a few of the many reasons why this song is racking up the spins and royalties.

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

_________________________________

Keep it simple, songwriter.

This isn’t rocket science, ya’ll.  I’ve heard this basic idea before.  Heck, I’ve written this basic idea before- way back when I was just starting to write songs in the ’90’s.  But it hasn’t been overdone.  And the songwriters, Maren Morris, Laura Veltz, and Jessie Jo Dillon, keep it simple.  They stay on point throughout the whole song.  Every line speaks to money and/or the bad relationship.  We don’t have to keep up with sub-plots, surprise twists or anything else.

They don’t make the listener work to figure out what Maren is talking about.  Since the brain doesn’t have to work too hard, the heart has plenty of opportunity just to feel it.  That’s a win.  Oh, and it’s a universal idea- “you’ve hurt me so many times.”  They don’t re-invent the wheel.  But they sure do roll it well.

Unexpected language.

I’m not just talking about a country singer dropping “s—” and “a–” in a song.  Although, that really does get your attention, for better or worse.  But let’s go with the radio edit, which tones down the language.

Most of the unexpected language comes with an unexpected rhyme. I’m sure not used to hearing “Prada” in a country song.  And then they rhyme it with “water.”  Didn’t see that coming, but “yacht in the water” is perfectly on-theme.  Now, you may be a perfect-rhyme purist, but I’m not.  I like that they stretch it a little.  It keeps my attention.  But they aren’t done yet.  “Mandarin,” “gambling” and “Marilyn” are all on-point and fresh, multi-syllable rhymes.

Also, notice how these “rich” examples are so specific.  Instead of “I’d have a nice car, big house, etc.” they use “Benz,” “Prada,” “Mandarin,” etc.  Not only does the specificity help the song stand out and feel current, it sets up those interesting rhymes.

And she mentions Diddy.  In a country song.  Sure didn’t see that coming.

Hooky heartache.

There’s a phrase around Nashville: “heartache with a beat.”  This isn’t a fast song by any means, but it has a great groove and energy.  The song is about a bad relationship, but it sure feels gooooood.  Right off the bat, we get the vocal sing-a-long, hooky “La-a-a-a-a-di-das,” which repeat through the song.  It’s fun and whimsical, so we know from the beginning that the song isn’t too serious.  And the groove/feel as a whole doesn’t sound like anything else on country radio.  It feels good, and it feels completely fresh.  Win-win.

And the sarcasm fits this perfectly and really helps bring more smile factor to it.

I encourage you to dig deeper into YOUR songs.  Can you write something simple that still does the unexpected?  What can you do to bring something fresh to your language, rhymes, grooves and melodies?  It’s not easy, but that’s the pro-level songwriting that turns your dimes into dollars.

If you want some guidance on how to write “market-smart” songs that artists want to record and audiences want to hear, I have something you should check out.  It’s called, “Cut/able: Lessons In Market-Smart Songwriting,” and it’ll help you give your songs their best chance to get recorded.

Click here to take your songwriting to the next level.

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 in Canada, and a top 10 in Texas… 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

Cut/able Songwriting, Think Like A Pro, Write Like A Pro

Songwriting MasterClass: Chris Janson & “Drunk Girl”

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Chris Janson has served up a Song Of The Year level single with “Drunk Girl.” Cowritten by Janson and two of Nashville’s finest poet-hitmakers, Tom Douglas and Travis Hill, “Drunk Girl” is a masterclass in country songwriting.

Today, let’s dive into a few of the many reasons why this song is one that so many pro songwriters wish they’d written.

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

_________________________________

The title doesn’t give everything away.

When you hear the title “Drunk Girl,” you probably thought what I did: “Okay, he has a fun fling with a drunk girl. Big whoop-de-doo.” But, boy, was I wrong! The first clue was the melody and production. “A song called ‘Drunk Girl’ is a ballad??? What’s going on here?” You have my attention, Janson.

The twist isn’t saved until too late.

The first verse serves up the hook line “take a drunk girl home” twice, both leading the listener to think what we normally think is going to happen in a country song about a drunk girl at a bar: somebody’s hooking up.

And they could’ve played this out all the way to the bridge by having us ride along with the singer and the drunk girl as she leans on his shoulder, maybe trying to kiss him in the parking lot on the way to his car. We could’ve followed them as he drove through the night to her place as she talked about wanting to make her ex jealous. Then the bridge would’ve made it clear that the singer was just getting her home safely to sleep alone. No hooking up.

That would’ve been a huge mistake.

Most listeners would’ve checked out by then. It would’ve been way too creepy. We’d be getting that sick feeling in the pit of our stomachs. Lesser writers might be tempted to save the twist until late in the song in order to maximize the surprise. But there might not have been anyone left to hear it by that point.

No, these writers knew the danger, and they got to the twist at the top of the chorus. Now we can spend the rest of the song rooting for our hero.

The details make it real.

There are so many great little details in this lyric. In the first line we have “couple cover charge stamps got her hand looking like a rainbow.” So right off the bat we know she’s been bar-hopping. And they don’t stop there describing this girl, “dancing with her eyes closed like she’s the only one in the room,” “her hair’s a perfect mess” and “falling out of that dress” let us know she’s drunk before they ever call her that. We know she’s drunk just by the picture they’ve painted of her.

And just like they painted a vivid picture of the drunk girl, the next verse paints a stark picture of his loneliness. He’s watching happy couples pairing off while he gets “something bad to eat.” Then back at his apartment, his tv has the sound turned off and he can hear the “neighbor’s cigarette cough.”

Not only did the guy do the honorable thing, he’s paying a price for it. It’s not like he went back home to his wife and daughter. No. This guy had to go home to a lonely apartment. He could’ve avoided that loneliness for a night by taking advantage of that girl, but he didn’t. It makes you like this guy even more.

In a genre which has more than its share of beer and tailgate hook up songs, it’s a breath of fresh air to hear a song that speaks to our better angels. And it’s a song that works within the context of country music (bars, drunk girls, etc.), but comes at it from a much different place.

I encourage you to dig deeper into YOUR song ideas. Dig deeper into real-life conversations with your cowriters. Fun songs surely have their place in music- and they always will. But now and then, it sure does the soul good to hear music that reminds us that both the song AND the listener can be more than just a country cliche’.

If you want some more guidance on how to write “market-smart” songs that artists want to record and audiences want to hear, I have a great resource for you.  It’s called, “Cut/able: Lessons In Market-Smart Songwriting,” and it’ll help you give your songs their best chance to get recorded.

Click here to take your songwriting to the next level.

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 in Canada, and a top 10 in Texas.  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

Cut/able Songwriting, Think Like A Pro

Stop Calling Your Own Songs “Great!”

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Stop calling your own songs “great.”  YOU don’t get to decide that.  And neither do I, to be fair.  Today, let’s talk about who DOES get to decide if your song is great.

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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

_________________________________

When I was writing my earliest songs back in Arkansas, my cowriter, Tim Meitzen, and I would feel great about some of our songs.  But I remember Tim being reluctant to call those songs “great.”  Now, in the excitement of creation, we probably said things like, “Man, this is great!”  (I’m willing to bet that I did on several occasions.  I was wrong, but I didn’t know that then.)  But when speaking about those songs outside the writing room, it was a different story with Tim.

I remember him saying once, “I have a hard time calling one of my own songs ‘great.’  I’ll say ‘I love it,’ but I don’t think I can call it ‘great.'”  I took it as a healthy dose of humility and uncertainty on his part.  After all, what qualified us to call our own songs “great?”  What had we accomplished, other than recording some work tapes around a campfire?  What gave us the right to proclaim greatness?  Nothing did.

We don’t get to decide if our own songs are great.  Only the market gets to decide that.

If the market (the listeners) decide your music is great, then it IS great.  If the market decides your music is forgettable, then guess what?  It IS forgettable.  If the market decides that your current album isn’t worth their time, then the market is right.  If that same album is “rediscovered” ten years from now and the market decides that it is brilliant… then the market is right.

Like it or not, the market is always right.

But how can that be?  Because the greatness of music is ultimately a qualitative decision.  It’s subjective- a matter of opinion and taste.  Music isn’t math.  2+2=4 no matter what the majority decides.  Music isn’t like that.

Yes, you may be able to point out objectively how your song has a more sophisticated structure, rhyme scheme or melody than “cliche’ and stupid” hit songs on the radio.  But at the end of the day, you haven’t proven that your song is great.  You’ve only proven that is is more sophisticated.

I personally don’t really care if you call your own songs great.  Sure, in certain settings, that will make you sound like an egotistical amateur.  But whatever.  That’s not the biggest problem.

For many of you, your biggest problem is that you’re too busy blaming the market for being stupid and wrong when you should be focused on writing better songs.

If people don’t “get” your songs, it means one of two things:

  1. Your music isn’t for that audience, and you need to find the audience that WILL love it.
  2. You’re in front of the right audience, but your music isn’t good enough yet.  You need to keep working on your craft.

Let’s say you love country music, but you hate “today’s country music.”  That’s fine.  I can respect that opinion.  But if you want to write hits, what are you supposed to do?  Calling the market stupid does you no good.  Instead, study “today’s country music.”  What is it that the market likes about this music?  What makes it relevant to today’s country audience?

Don’t hate.  Investigate.

Once you start to understand that, you can incorporate some of those elements into your own songs – making them more relevant, or market-smart.  Or you can choose to stay inside your current musical box and hope that the market eventually changes its mind abut your music.  Hey, that’s fine.  Some writers stick to their creative guns, and sometimes the market eventually decides to like it.  Either choice you make is fine – as long as you understand the implications.  Just…

Don’t waste your valuable time blaming the market.

If you want some guidance on how to write “market-smart” songs that artists want to record and audiences want to hear, I have something you should check out.  It’s called, “Cut/able: Lessons In Market-Smart Songwriting,” and it’ll help you give your songs their best chance to one day be called, “great.”

Click here to take your songwriting to the next level.

God Bless and Enjoy the Journey,

Brent

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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

_________________________________
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. SWP 4

Artist Insights, C4X, Cut/able Songwriting

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

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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

_________________________________

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

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

Cut/able Songwriting: Luke Bryan & “Fast”

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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.

____________________

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.

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

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.

SWP 4

Cut/able Songwriting, Write Like A Pro

Cut/able Songwriting: Dierks Bentley & “Black”

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So… how do you write a song with a negative-sounding title, and make it a positive, sexy love song?  Well, you write it like Dierks Bentley’s “Black.”

Let’s look at some of the songwriting lessons that make “Black” a cut/able song.

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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

_________________________________

Ok, I know what you may be thinking.  “Didn’t Dierks write that song himself?”  Well… yes.  He wrote the song with Ross Copperman and Ashley Gorley.  But that doesn’t change the fact that it still made the record- and the radio.

I’m sure Dierks doesn’t cut everything he writes.  So “Black” still had to compete- even if was just against other songs he wrote.  There are valuable songwriting lessons to be learned here.  So let’s look at a few.

The song puts a positive spin on a negative phrase.

If a cowriter brought in the phrase “make the world go black,” where would your mind immediately go?  Probably somewhere dark.  (ba-dum-dum!)  That phrase has a negative connotation- slipping into oblivion, passing out, and even dying.

A potential angle would be something like “I want to stop thinking about her blue eyes, that red dress… I’m gonna sit here and drink till the world goes black.”  And that could work just fine.  It could be pretty cool.  But ya know what?

A song with a positive spin… usually gets more spins.

The writers went to the next level, did the extra work, and took the song to a positive, sexy place.  Much more commercial!

The song bridges the confusion gap.

“Black” has a twisty idea (the world going black = good instead of bad).  This means the listener might get lost.  So Bentley and crew just came right out and said what they mean in the bridge: “I don’t wanna see a thing, I just wanna feel your touch.”  They even said it twice to make sure you got it!  This makes it clear that it’s not so much that Dierks doesn’t want to see her, but that he really wants to focus on another of his senses – the sense of touch.

If you confuse, you lose.

This song bridges that gap, so the listener is less likely to be confused.

The song’s images are right on point.

The imagery in the song points to either “black” (the dress on the floor) or the sense of touch (“brush me with your hair,” “find your fingertips, trace them back to your lips”).  Is the “brush” in “brush me with your hair” a paintbrush-with-black-paint reference?  I like to think so.  And some of the images pull double-spins.  “Heart attack” and “put me flat on my back” usually mean bad things.  Here, they mean very good things!

These are a few of the elements that make “Black” a cut/able song. If you want YOUR songs to be more “cut/able” (able to be cut) then you should definitely check out my new, expanded and upgraded version of “Cut/able: Lessons In Market Smart Songwriting.” Its five powerful lessons will help you write songs that artists want to sing, radio wants to play, and listeners want to hear! CLICK HERE TO WRITE CUT/ABLE SONGS.

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.

Cut/able Songwriting, Write Like A Pro

Cut/able Songwriting: Eric Church & “Kill A Word”

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So… how do you get a rough-around-the-edges rock ‘n roll country rebel to sing about “love and truth” and NOT be cheesy?  You write it like “Kill A Word.”

Let’s look at some of the songwriting lessons that make “Kill A Word” a cut/able song.

____________________

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

_________________________________

Ok, I know what you may be thinking.  “Didn’t Eric Church write that song himself?”  Well… yes.  He wrote the song with Jeff Hyde and Luke Dick.  But that doesn’t change the fact that it still made the record- and the radio.

I’m sure Church doesn’t cut everything he writes.  So “Kill A Word” still had to compete- even if was just against other songs Church wrote.  There are valuable songwriting lessons to be learned here.  So let’s look at a few.

The song is in Eric’s neighborhood.

Eric Church is NOT a hippie.  He’s shown no sign of being the sit-in-a-circle-and-sing-kumbaya type of artist.  He isn’t a sissy, and his ideal fan isn’t, either.  So how does he build a song that is pro love-and-truth in a way that fits him and his fans?

His solution is to sing about love in the most violent terms you’ll hear on country radio this year.

He’s not a dreamy-eyed pansy handing out daisies.  No, he’s seen the ugly in this world, and he’s had enough.  He’s mad as hell.  He wants to take all the bad, drag it out back and put a bullet in it.  That fits his artistic brand.

Not every artist could (or would) cut this song- and that’s alright.  Different artists have different styles.  This angle and execution (pun intended) wouldn’t work for everyone, but it sure works for Church.

The song fills one of his G.A.P.S.

Every artist has G.A.P.S. in his or her catalog – (areas of opportunity in Growth, Achievement, Preaching/Positioning, Songwriting).  These are slots the artist hasn’t yet filled with a song.  “Kill A Word” fills G.A.P.S. by being NOT about love, NOT about music, and NOT about being a rebel or outsider.  It’s a topic he hasn’t really covered before, but it still makes sense for him as an artist.  It allows him to grow into a new space as an artist.  It adds some depth to his persona and to his catalog.

The song shows you what can’t be seen.

Country music is a very visual genre.  We like to “see” our songs when we hear them.  But how do you talk about fear, hate, regret, etc. and still give us imagery?

The songwriters chose to show us the various methods of execution!

Yes, it’s all metaphorical, but I still see teeth flying and bare hands around a neck.  Yes, those are dark images, but they’re very engaging and memorable.  They found a way to “show” us thing we can’t see directly (lies, hate, etc.).

These are a few of the elements that make “Kill A Word” a more cut/able song. If you’re ready to dive into concepts like an artist’s “Neighborhood” and “G.A.P.S.” – if you want your songs to be more “cut/able” (able to be cut) then you should definitely check out my new, expanded and upgraded version of “Cut/able: Lessons In Market Smart Songwriting.” Its five powerful lessons will help you write songs that artists want to sing, radio wants to play, and listeners want to hear! CLICK HERE TO WRITE CUT/ABLE SONGS.

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.