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Do Business Like A Pro, Know The Row

6 People Who Can Introduce You To Songwriting Pros

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Trying to connect with pro songwriters in towns like Nashville can feel like standing knee-deep in a river and dying of thirst.

Pros are all around you- you see them at the coffee shop, walking up and down the sidewalks of Music Row, at lunch in midtown, and out at songwriter nights.  But it’s also like they’re hundreds of miles away. And what if you live out of town, and they literally ARE hundreds of miles away.  How do you connect?

Maybe someone can introduce you.

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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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I know.  “Have someone introduce you.”  Easier said than done, right?  But here are some people who have the possibility of connecting you to a pro.  By “connecting,” I don’t necessarily mean booking a cowrite.  I mean anything from “Bill Hitmaker, this is Manny Row,” to “Bill, you and Manny should write sometime!” to “Manny, let me book you with Bill.”

1. Your PRO Rep

If you’re a member of ASCAP, SESAC, or BMI, try to get a meeting with a membership representative.  If you can make a fan out of him (or her), he might connect you with some other up-and-coming songwriters.  Absolutely blow your rep’s mind, and he might connect you to a pro.

2. A Music Publisher

If a publisher really digs what you do, he/she might book you with some pro cowrites.  Of course, connecting with a publisher isn’t easy.  But I’ve written about that before.  CLICK HERE to learn how to get on a music publisher’s radar (in my FREE ebook “Think Like A Pro Songwriter“).

3. Industry Contacts

Pro songwriters know people at organizations like NSAI and Global Songwriters Connection.  As the folks at these places get to know you (and become a fan of your writing and of you as a person), they may just grab you one day and say, “I want you to meet Bill Hitmaker.  Bill, this is Manny Row…”  Those kind of personal introductions are great.

4. Other Songwriters

Who do your current cowriters and songwriting friends know?  Who are their cowriters?  Maybe you can arrange a lunch or (better yet) a cowrite between the three of you.

But don’t expect your cowriters to just do you a favor.  Make it easy on them by presenting an amazing idea or melody that you want to write with a pro.  It could be pretty attractive for your cowriter to hook up your amazing idea/melody with an established pro who has connections.  Your cowriter wins by bringing both sides value and being in the room, too.  And “great idea” + “pro songwriter” increases his chances of a cut, so he should be happy to get all three of you together.

5. Personal Relationships

If you live in Nashville, odds are you know somebody who knows a pro songwriter.  Don’t abuse your friendships, but do be on the lookout for opportunities to meet those pros.  Maybe it’s at your kid’s birthday party.  Maybe it’s at a Christmas party.  Maybe it’s at the corner sports bar.  Or at church.  You never know.  Just be aware of the situation, and act appropriately.  And be patient.  Nobody wants a CD slammed in their hand at the neighborhood swimming pool.

Please remember that all of these people don’t just exist to solve your problems and make you happy (you don’t even exist for the sole purpose of making yourself happy, but that’s for more of a theological post…).  You have to be patient.  Don’t just walk in these folks’ doors and expect them to pick up the phone and call a pro on your behalf.  It’s a big compliment for someone to make a professional introduction.  Treat it- AND THEM- with respect.  Build a relationship.

Hopefully, these folks will become a fan of both you and your songs.  If it’s not happening, keep working to write better songs.  Also, take a look at how you present yourself.  Are you coming off as too aggressive, too negative, too desperate, too unprofessional, etc.?  Every time a person makes a contact/recommendation on your behalf, it’s a reflection on them.  Do your best to make them look good by introducing people to you!  Now… on to #6!

6. Frettie & Songwriting Pro

That’s right, part of the mission of Frettie.com and Songwriting Pro is to connect YOU to the pros.  I don’t want to just give you ADVICE, I want to give you ACCESS.

At least every quarter, I host Frettie’s “Know The Row,” with an industry pro.  And our next event is coming up in May with music publisher, Joe Dan Cornett of Daywind Music!

This is your chance to sit down face-to-face (online) with a real-deal professional music publisher. Joe Dan, a Nashville native, is Creative Director at Daywind Music Publishing where he serves the staff writers and works within the Southern Gospel, Mainstream Country, and Worship/CCM markets. He has worked in several different facets of the music industry, which range from major market rock and country touring to the Film and TV department at BMI. He also serves as the Worship Pastor at his church. His heart is to serve others and to help guide “creatives” towards their goals and aspirations.

You and I BOTH want to hear what Joe Dan has to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, May 14, 2019 from 7:30pm-8:30pm Central time.  And this special event is FREE to subscribers of Frettie.com!

CLICK HERE TO GET ALL THE DETAILS & MEET MUSIC PUBLISHER JOE DAN CORNETT.

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US, a #1 in Canada & a top 10 in Texas… so far.

Know The Row, Think Like A Pro, Write Like A Pro

Songwriting advice from Hall of Fame songwriter, Byron Hill!

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Here’s golden advice from a Hall of Fame songwriter.

Byron Hill is a multi-hit songwriter and producer whose songs have generated more than 700 recordings and have been released on 91 industry certified Gold and Platinum albums and singles. They have earned 10 ASCAP Awards, 34 US and Canadian top-10 chart hits and have become hits in many other worldwide markets.

In 2018, Byron was inducted into the Nashville Songwriters Hall of Fame.  His many hits include George Strait’s first #1, “Fool Hearted Memory,” Alabama’s “Born Country,” and Gary Allen’s “Nothin’ On But The Radio.”

Byron was a recent guest on Frettie.com’s “Know The Row,” and he shared some great, real-world advice for songwriters.  Here’s some of what he had to say.

Read on!

________________________________

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

_________________________________

Here is a bit of Byron’s advice (paraphrased):

I try to eliminate the “flaw factors” right from the beginning of writing a song, such as deciding on uptempo-or-ballad or male-or-female-or-either or positive-or-negative. You have this precious moment at the beginning where you get to decide these things.

It’s best to spend your time trying to write something iconic verses something novelty or divisive (such as current political topics).

In the late 70’s or 80’s, you could write a song where the singer is a down-and-out character. These days, it’s smart to write that song where the singer is singing ABOUT that down-and-out character, instead of the singer BEING that character.

If you’re writing an idea that is too painful or personal, writing it in the 3rd person can make it more accessible for more artists.

To stay relevant over time, try to find current stuff you like. Do a lot of listening. If you give up on it, that’s going to hurt you. Don’t give up on a genre if you don’t like what’s in the top 20.

If you feel like your chosen market has abandoned you, look around for other markets – some places where something excites you. Stay flexible and engaged.

The music business is less song-driven and is more relationship-driven that I’ve ever seen it. The song is still very important, but the relationship with the artist, producer, etc. is more important than ever. Find the up-and-coming artists and producers.

Learn the craft of songwriting first. Then you can start focusing on the relationships / business-side of songwriting.

There are so many new artists. Consider who would be the best investment of your time. Do they have the drive? Do you write well with them? Then go with your gut.

I’ve had my songs torn up in front of me. I’ve been told to go home. Between deals, I’ve been told things that make you want to go home and quit. Rejection is part of the business. You just have to keep going and not worry about it.

As a professional, I don’t worry about rejection. I just keep working my songs until something positive happens.

If you’d like to hear EVERYTHING Byron had to share, the full video replay is available in Frettie’s Member Area.  It’s right there along with full video replays of other events with hit songwriters, Chris Lindsey & Jimmy Yeary, music publisher Scot Sherrod, artist/writer Aaron Goodvin, and more.

CLICK HERE TO FIND OUT MORE

If you want to join our next event live, “Know The Row” is a cool opportunity for us to hang out together (online) with a music industry pro.  It starts off with a brief conversation between me and our guest, as he or she reveals information YOU need to know about the music biz.  After that, we’ll open it up to YOUR questions.

Next month, our guest is hit music publisher MATT LINDSEY!  Matt has published a ton of hit writers, and he has gotten songs recorded by Garth Brooks, George Strait, Blake Shelton, Kenny Chesney, Willie Nelson, George Jones, and more.

This is something you do NOT want to miss!

This event will be on Tuesday, February 5, 7:30pm-8:30pm Central.

Can’t make it to the live event?  Every “Know The Row” is recorded and added to the Frettie Members Area.  These videos are a resource for Frettie subscribers.

CLICK HERE TO GET ALL THE INFO.

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.  His songs appear on 5 industry-certified gold & platinum albums & singles… so far.  He also hosts a top-rated songwriting and music business podcast called, “The C.L.I.M.B.” which can be found on iTunes or your favorite podcast app.

Know The Row, Think Like A Pro, Write Like A Pro

Songwriting advice from hit songwriter, Jimmy Yeary!

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Here’s golden advice from a #1 songwriter.

Jimmy Yeary’s Lee Brice hit, “I Drive Your Truck” was awarded Song of the Year honors at the 47th annual Country Music Association Awards, as well as Song of the Year at the 49th annual Academy of Country Music Awards. More recently, he landed another chart-topper with David Lee Murphy and Kenny Chesney’s “Everything’s Gonna Be Alright.”

Yeary’s songwriting credits also include Kenny Chesney’s #1 hit “Til It’s Gone,” Rascal Flatts’ #1 single “Why Wait”, Jake Owen’s #1 “Anywhere With You,” and Martina McBride’s top 10 hit “I’m Gonna Love You Through It.” He’s also had songs recorded by George Strait, Leann Rimes, Troy Olsen, Heidi Newfield, and more.

Jimmy was a recent guest on Frettie.com’s “Know The Row,” and he shared some great, real-world advice for songwriters.  Here’s some of what he had to say.

Read on!

________________________________

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

_________________________________

Here is a bit of Jimmy’s advice (paraphrased):

You don’t necessarily need to write with the artist. It certainly helps, but the right song can overcome that. I’m a firm believer that the best song wins.

If I write with an artist, I generally let that artist lead and guide. Nobody knows what the artist wants to say better than the artist.

If I feel the emotion of the song, you (the listener) will feel it. If I don’t feel it, you won’t either.

It’s really important to be yourself- to do what YOU do. Expose that to other people and let them decide if the value you bring is something they want. And it helps to be a writer that people want to be around.

I go through a ritual every day to get my brain revved up. Reading, vigorous exercise and brain exercises get me ready to write. I can’t just wake up, hop in the truck and go write.

Get going early. Bring in ideas so you can find the idea quickly.  Then you have more time to work on the song.

I know what makes me be my best. And then I make sure I do those things that make me the best I can be.

If you want a Blake Shelton cut, you better have every Blake record and study ALL the songs. Because if you haven’t, other songwriters have. If you want to give yourself the biggest advantage, you have to study their music.

The key to everything I do is the prep I do. I have a healthy diet, I exercise, I read, and I study artists and the market- on a very consistent basis- to give myself the best chance for success.

I don’t want to write a good song. I want to write a great song.

What’s important between cowriters is not having ego. You can’t get easily offended. You have to be able to be honest with each other.

One of the worst attributes you can have as a new songwriter is thinking you’re really really good. You need humility to get better. The more stuff you can figure out that you’re doing wrong, the more stuff you can fix.  And that’ll make you better.

If you’d like to hear EVERYTHING Jimmy had to share, the full video replay is available in Frettie’s Member Area.  It’s right there along with full video replays of other events with hit songwriters, Byron Hill & Chris Lindsey, music publisher Scot Sherrod, artist/writer Aaron Goodvin, and more.

CLICK HERE TO FIND OUT MORE

If you want to join our next event live, “Know The Row” is a cool opportunity for us to hang out together (online) with a music industry pro.  It starts off with a brief conversation between me and our guest, as he or she reveals information YOU need to know about the music biz.  After that, we’ll open it up to YOUR questions.

This month, our guest is hit songwriter KENNA WEST!  Kenna has had over 31 #1 singles in the gospel and southern gospel markets.  She currently writes for Word Publishing.   He’s has been nominated for multiple Dove Awards, multiple “Songwriter Of The Year” nominations (AGM, SGM), and over twenty “Song Of The Year” nominations.  Artists who have recorded Kenna’s songs include Karen Peck & New River, Jeff & Sheri Easter, Marty Raybon, Brian Free & Assurance, and more.

This is something you do NOT want to miss!

This event will be on Thursday, November 29, in the evening.

Can’t make it to the live event?  Every “Know The Row” is recorded and added to the Frettie Members Area.  These videos are a resource for Frettie subscribers.

CLICK HERE TO GET ALL THE INFO.

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.  His songs appear on 5 industry-certified gold & platinum albums & singles… so far.  He also hosts a top-rated songwriting and music business podcast called, “The C.L.I.M.B.” which can be found on iTunes or your favorite podcast app.

Know The Row, Think Like A Pro, Write Like A Pro

Songwriting advice from hit songwriter, Chris Lindsey!

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Here’s golden advice from a #1 songwriter.

Chris is a Grammy-nominated songwriter and producer, and his cuts include “Amazed” by Lonestar, “Every Time I Hear That Song” by Blake Shelton, as well as cuts by Carrie Underwood, Keith Urban, Tim McGraw, The Civil Wars and more.  He also has a great podcast called, “The Pitch List.”

Chris was a recent guest on Frettie.com’s “Know The Row,” and he shared some great, real-world advice for songwriters.  Here’s some of what he had to say.

Read on!

________________________________

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

_________________________________

Here is a bit of Chris’ advice (paraphrased):

You need to be writing edgy material, because it could be 6-8 years out from hitting the radio. “Every Time I Hear That Song” was 6 years old when it went #1 for Blake Shelton.

However honest you can be with yourself about your songs, that’s how far you can go in the music business. It’s key to honestly evaluate yourself and your music. Be vicious with yourself.

When you work with artists, you’re really trying to assist them.

If it’s not working, try something different- different cowriters, different style of writing, etc.

Songwriters tend to be precious with their songs- their babies. But if a producer passes on a song, it’s not personal. Your song just isn’t what they need at that time for that project.

No matter how much this town (Nashville) beats you up, if you can take a beating, you’ll come out of it… good. You’ll be a better writer.

If you just want to make money, there are easier businesses than the music business.

After your “finish” your song, play it in person for someone you respect. You’ll hear the song in a whole new way and find things you need to fix that you never noticed before. It’s hugely helpful.

Even if you come out of the gate with a hit, it doesn’t get easier. It’s always competitive. Even if you’ve written a hit, you have to write today’s song TODAY. You have to get today’s cut TODAY.

I tend to reject a song idea if there’s no “service” in that idea. As songwriters, we should be trying to add value to people’s lives. If a song doesn’t seek to serve others or add value, I’ll reject it. Value could be giving someone a smile after a hard week at work. Or value could be validating someone’s love. We make the most money by serving the most people.

Instead of being so focused on “writing up” (writing with big-name hit songwriters), you need to find YOUR people. Write together, stay together, form a wedge and bust through as a group.

If you’d like to hear EVERYTHING Chris had to share, the full video replay is available in Frettie’s Member Area.  It’s right there along with full video replays of other events with hit songwriters, Byron Hill & Jimmy Yeary, music publisher Scot Sherrod, artist/writer Aaron Goodvin, and more.

CLICK HERE TO FIND OUT MORE

If you want to join our next event live, “Know The Row” is a cool opportunity for us to hang out together (online) with a music industry pro.  It starts off with a brief conversation between me and our guest, as he or she reveals information YOU need to know about the music biz.  After that, we’ll open it up to YOUR questions.

This month, our guest is hit songwriter KENNA WEST!  Kenna has had over 30 #1 singles in the gospel and southern gospel markets.  She currently writes for Word Publishing.   He’s has been nominated for multiple Dove Awards, multiple “Songwriter Of The Year” nominations (AGM, SGM), and over twenty “Song Of The Year” nominations.  Artists who have recorded Kenna’s songs include Karen Peck & New River, Jeff & Sheri Easter, Marty Raybon, Brian Free & Assurance, and more.

This is something you do NOT want to miss!

This event will be on Thursday, November 29, from 7:30pm-8:30pm Central time.

Can’t make it to the live event?  Every “Know The Row” is recorded and added to the Frettie Members Area.  These videos are a resource for Frettie subscribers.

CLICK HERE TO GET ALL THE INFO.

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.  His songs appear on 5 industry-certified gold & platinum albums & singles… so far.  He also hosts a top-rated songwriting and music business podcast called, “The C.L.I.M.B.” which can be found on iTunes or your favorite podcast app.

Do Business Like A Pro, Frettie, Know The Row

Should a songwriter hold back their best ideas?

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Are you sitting on your A-list song ideas, waiting for someday when you might get in the room with a hit songwriter or an artist?

Are you intentionally NOT writing these titles/ideas with your current cowriters because they’re unknown, unproven, or don’t have publishing deals?

That can be tempting.  After all, you don’t want to “waste” your brilliant idea with anyone less than a hit songwriter or an artist.  It’s tempting.  But it’s also a mistake.

Read on if you want more songwriting success. ________________________________

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

_________________________________

Here are four reasons you should NOT save your best ideas for “someday.”  This is why you should bring your best stuff to EVERY cowrite.

1. Today’s unknown cowriter might be tomorrow’s hit writer.

Erin Enderlin was definitely higher up the Nashville ladder than I as when we started writing together (she still is, by the way).  But back then, she was still a college student with no cuts to her credit.  It’s a good thing I decided to pitch her the idea of “Monday Morning Church” instead of waiting till “someday when I get to Nashville and get to write with a hit songwriter.”  ‘Cuz you know what?  Erin WAS a hit songwriter.  And so was I.  It just so happened that we’d write our first hit… with each other.  If an unknown writer is talented and hardworking, don’t hold back your best stuff.  I’m certainly glad I didn’t.

1 today unknown tomorrow hit

2. Your best work creates better opportunities.

Simply put, your B-list work isn’t going to open A-list doors.  Always bring your best.  And as your best gets better, you’ll start to get noticed by folks higher up the ladder.  If nothing else, think of your best stuff as bait for better cowrites.  Here’s an example.  You’re a lyricist, but you’ve only written with “B-list” melody people.  Opportunity might happen when a publisher says, “Wow- what a great lyric and idea.  Let me get you with some of my melody writers.”

1 best work better opps

3. There’s more where that came from.

If you keep writing, you’ll have more ideas.  You’ll get better ideas.  You’ll write better grooves, better guitar licks.  Your creativity is a renewable resource.  Trust that your current “best stuff” is not the only “best stuff” you’ll ever have.

1 more best ideas

4. The clock is ticking.

For one thing, your current best stuff might not even be relevant in a year or two.  The market may change.  Trends may shift.  Strike now, while the iron’s hot.  Also, you are (or at least, you should be) growing as a songwriter.  Most of your A-list stuff today will become your B-list stuff tomorrow.  But the clock slows down for really good work.  A great song stands the test of time, and you can only write one if you’re writing the very best you can, not holding back for “someday.”  So do your best work as often as you can.

Does this mean that EVERY best idea is right for EVERY cowriter?  No.  But the point is that you want to do your very best work, regardless of who else is in the room.  Your songwriting skill is like a sport- you play like you practice.  If you don’t make it a habit to always do your best (acting like some cowrites are just “practice”), your best may not be there when you need it- when you finally do get in the room with that hit songwriter or artist.

What about you?  Have you held back on presenting your best stuff to cowriters.  How’d that work out?  Have you presented your best stuff to an unproven cowriter only to be happily surprised by the results?  I’d love to hear from you.  Please leave a comment.

Also, if you’re looking for an opportunity to connect with some music industry pros, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with not one but TWO legit music business pros!

On August 14, you can hang out online and ask YOUR questions to music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

Then on August 16, you can hang out online and ask YOUR questions to songwriter and recording artist, Aaron Goodvin.  As a songwriter, Aaron has had songs recorded by country stars Luke Bryan and Cole Swindell.  Goodvin is also a rising artist on Warner Bros. Canada with a few hits and award nominations to his credit.  And he just signed as a songwriter with Reviver Records.  Reviver is home to hit-making artists such as LoCash and David Lee Murphy.

This is YOUR chance to sit down face-to-face (online) with two real-deal music biz professionals.

You and I both want to learn what Scot and Aaron have to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time and Thursday, August 16, 2018, exact time that evening TBD.  And these special “Know The Row” events are FREE to members of Frettie.com!  (But don’t worry- you can still purchase a ticket even if you don’t want to take advantage of all of Frettie’s membership benefits.)

CLICK HERE TO GET ALL THE DETAILS & MEET HIT MUSIC PUBLISHER, SCOT SHERROD, AND RECORDING ARTIST, AARON GOODMAN.

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US, a #1 in Canada & a top 10 in Texas… so far.

Do Business Like A Pro, Frettie, Know The Row

Should you copyright all your songs? Well…

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Should I copyright all my songs?

That’s a question I used to ask, and it’s one I’ve heard a lot over the years from other songwriters. Here are my thoughts on it. Hopefully, this will give you some answers, some guidance and some peace. By the way, I am NOT a lawyer, so this is NOT legal advice.  Always check with a legal professional before making big decisions.

Read on.

________________________________

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

_________________________________

What do the pros do?

I used to work in the royalty department of Bluewater Music. We wouldn’t send off a copyright registration until the day a song was commercially released. The last time I checked, it cost $40 to register a work, and it’s just financial suicide for a prolific writer or publisher to invest that much per song. I’ve had years when I’ve written 100 songs – that’s $4,000 just to register the copyrights! Even if you only register the songs you demo and pitch, it’s still not a good use of time and money.

What if somebody steals your song?

First of all, it’s hard to sue and prove plagiarism. You can’t copyright a title, idea or approach. Secondly, you have to prove the “thief” had access to your song. Thirdly, and most importantly, they’d have to make enough money off your song to make it worth your time to take legal action. Basically, it would have to be a hit. And that is VERY hard to do! The odds of that happening is so very slim that it’s a non-issue. Don’t let it stop you from pitching your songs or playing them out.

Do you protect your songs at all?

Yes. I leave a paper trail to prove the date of creation (which is a huge part of proving ownership). But, honestly, this is more to protect ME from someone suing me. I keep a paper calendar where I write my cowrite dates and cowriters. I write on a laptop, but I also copy the lyric into a series of notebooks with the date on each page. Additionally, I keep the Garageband file of each worktape. For songs which are part of a publishing deal, there’s an additional paper trail- assignments, Schedule A, etc.

You own the song the moment you write it down or record it. Registering your song with the copyright office just helps to prove it.

So, that’s me. I don’t copyright a song until it is commercially released. But how you handle it is up to you. If it’s worth $40 a pop to help you feel comfortable sharing your top songs with the world, that’s cool. I hope that gives you some answers.

If you have other questions (copyright or otherwise), and you want to ask a music industry pro, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with not one but TWO legit music business pros!

On August 14, you can hang out online and ask YOUR questions to music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

Then on August 16, you can hang out online and ask YOUR questions to songwriter and recording artist, Aaron Goodvin.  As a songwriter, Aaron has had songs recorded by country stars Luke Bryan and Cole Swindell.  Goodvin is also a rising artist on Warner Bros. Canada with a few hits and award nominations to his credit.  And he is also signed as a writer with Reviver Records.  Reviver is home to hit-making artists such as LoCash and David Lee Murphy.

This is YOUR chance to sit down face-to-face (online) with two real-deal music biz professionals.

You and I both want to learn what Scot and Aaron have to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time and Thursday, August 16, 2018, exact time that evening TBD.  And these special “Know The Row” events are FREE to members of Frettie.com!  (But don’t worry- you can still purchase a ticket even if you don’t want to take advantage of all of Frettie’s membership benefits.)

CLICK HERE TO GET ALL THE DETAILS & MEET MUSIC PUBLISHER, SCOT SHERROD AND RECORDING ARTIST, AARON GOODVIN.

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US, a #1 in Canada & a top 10 in Texas… so far.

Do Business Like A Pro, Frettie, Know The Row

Music biz professionals must think these 3 things about you.

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Songwriting opportunities will come to you more and more as professionals in the music business (publishers, artists, producers, other songwriters) think three particular things about you.

The more people who think these things about you, the more doors are going to open for you, the more inside information you’re going to get, and the more successful you’re likely to become. So what are these three magic beans that can grow your songwriting career? Buckle up, ‘cuz I’m about to drop some serious, deep philosophy on ya.

Read on if you want more songwriting opportunities. ________________________________

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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You want people to think…

“I know you.”

“I like you.”

“I trust you.”

There ya go. Are you surprised that these are the keys to the doors of opportunity? If so, on behalf of the people of Earth, I welcome you to our planet. I hope you enjoy your visit. While you’re here, I suggest you check out The Grand Canyon and pancakes. If you only have time for one, go for the pancakes.

It’s just simple human nature that people want to work with and help folks they know, like, and trust. Let’s look at each one.

“I know you”

You have to get out there and shake hands- whether in person or digitally. Complete strangers rarely bring good opportunities. (Although there is a promising email in my inbox right now from a prince in Nigeria…) I can’t tell you that a new artist on Sony is looking for your type of song if I don’t know you or what type of music you do. Without someone knowing you, you’ll never get to the next step…

“I like you”

The music biz is rarely like a serious medical condition (I know what you’re thinking- don’t say it) where there’s only one or two doctors in the world who can help. In that case, the doc can be a complete jerk, but you don’t care because he’s the only one who can sew your face back on or whatever. It doesn’t matter if you like him. But that isn’t the case in the music biz where we’re surrounded by talented people. If we’re going to extend a good opportunity, it’s going to be someone we like and can think…

“I trust you”

Let me tell you about my brother-in-law, Matt. I’ve known Matt for over a decade. He’s a great guy. But if I were to get on an airplane and hear his voice come over the intercom saying, “This is your pilot speaking…” I’m getting off the plane! Why? Because I don’t trust him to fly an airplane. He has a lot of skills, but that isn’t one of them. He’s not a good fit for that job.

Folks in the biz are less likely to attach their name to you if they don’t trust you for that particular opportunity. For example, let’s say you’ve had a couple meetings with a publisher. He’s gotten to know you, and he likes you. Awesome.

But he doesn’t think your songs are very good. Is he going to set you up on a cowrite with his best hot-streak writer? Probably not. Because he doesn’t trust that you’ll bring the goods. And he doesn’t want Mr. Hot Streak knocking on his door asking why his day got wasted.

See, it takes all three components for the opportunities to really start rolling in. They may start as small opportunities as people get to know you. But if you knock those small opportunities out of the park, people will begin to trust you more often and with bigger opportunities.

More “know-like-trust” leads to bigger opportunities.

But it all starts with folks getting to know you. So reach out in person at industry events, writers nights, workshops, online groups, etc.  Be likable.  Then knock their socks off with your songs and professionalism.  And enjoy those pancakes.

If you’re looking for an opportunity to connect with some music industry pros, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with a legit music business pro!

On August 14, you can hang out online and ask YOUR questions to music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

This is YOUR chance to sit down face-to-face (online) with a real-deal music publisher.

You and I both want to learn what Scot has to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time.  And these special “Know The Row” events are FREE to members of Frettie.com!  (But don’t worry- you can still purchase a ticket even if you don’t want to take advantage of all of Frettie’s membership benefits.)

CLICK HERE TO GET ALL THE DETAILS & MEET HIT MUSIC PUBLISHER, SCOT SHERROD.

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US, a #1 in Canada & a top 10 in Texas… so far.

Do Business Like A Pro, Frettie, Know The Row, Think Like A Pro

Six songwriting tiebreakers that can make or break your cut

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Let’s say you’ve written a very, very good song and it’s on hold for an artist named Luke Paisley.  There’s room for one more track on the album, and the choice is between your song and one other.  Which one are they gonna cut?

The artist likes both songs, so it’s basically a tie going in.  That’s when the tiebreakers might kick in.  These tiebreakers may include…

Personal relationships.

Is one of the songs written or published by a friend of the artist?  It’s more fun to call your buddy and say you just cut his song than it is to explain that you didn’t.  Same goes for the producer’s relationships.

Business interests.

Would a publisher, manager, or someone else owe the artist or feel thankful if the artist cut one song over the other?  Is there some hidden long-term advantage to be gained?  Or would the artist, label or producer be returning a favor by cutting a particular song?

Read on if you want to learn more of these tiebreakers.

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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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Financial interests.

If the artist or producer is a writer or publisher on one of the songs, he makes more money by recording that one.  Same goes if the label has publishing interest on one song or the other.

Safer bets.

If one song is written by a proven hit songwriter and the other isn’t, the artist (and his team) may lean towards the hit writer’s song.  Since it’s always a bit of a guessing game as to which songs are hits, a song written by a hit writer feels like a safer bet.

Branding.

Does one song fit the artist and his brand a little better?  Will it speak to his audience in a way that’s a little more “on point?”  That can make the difference.  Or is one song too much like what he’s already recorded, and it doesn’t take him anywhere new?

Singability.

Is one song more easy and/or fun to sing?  Does one song have some weird, jumbled, hard-to-nail phrasing or some this-will-kill-my-voice notes?  That might just knock that song out of the running.  Of course, some artists make their living on those big money notes, so it really depends on the artist.

Now, you obviously can’t control which songs are your competition.  And you can’t control the interests of the people on the artist’s team.  (As a music biz veteran once told me, “they’re not anti-Brent.  They’re just pro-something-else.”)  

All you can control are the songs you write, so do what you can to give them the best chance to win.

Write the very best song you can.  Always.  But also spend time thinking about the tiebreakers and how you can turn them in your favor.  It’s not easy, and it won’t happen overnight.  But if you are mindful of this stuff as you build your career, it’ll pay off big time down the road.

What about you? What are some other tiebreakers I might’ve missed?  I’d love to hear your thoughts!

Also, if you’re looking for an opportunity to connect with some music business, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with a music business pro!

On August 14, you can hang out online and ask YOUR questions to music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

This is YOUR chance to sit down face-to-face (online) with a real-deal music biz professionals.

You and I both want to learn what Scot has to share!

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time.  And “Know The Row” events are FREE to members of Frettie.com!  (But don’t worry- you can still purchase a ticket even if you don’t want to take advantage of all of Frettie’s membership benefits.)

CLICK HERE TO GET ALL THE DETAILS & MEET HIT MUSIC PUBLISHER, SCOT SHERROD .

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US, a #1 in Canada & a top 10 in Texas… so far.

Frettie, Know The Row, Write Like A Pro

How to stay focused on your songwriting journey.

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If you’re a professional songwriter living in Nashville, it’s pretty easy to keep your head in the game. It’s no sweat to keep your goals in mind because it’s in your face every day.

That’s very much NOT the case if you’re working a regular job in another town. Add to that any family obligations you may have, and it can be pretty easy to stop thinking like a songwriter. One day you might look up and realize it’s been two months or more since you’ve really even picked up the pen or guitar.

Yes, there are natural ebbs and flows to the creative life. And, yes, there are times when family needs will limit your writing time (I couldn’t do any co-writing for about 3 months right after Ruby Jean was born and Emily needed me at home every night). Hey, stuff happens.

But overall, you need to keep you head in the songwriting game if you are pursuing it as a profession. You can’t afford to take months off “just because life got busy.” You have to keep thinking like a songwriter. If you don’t, you’ll look up to find 20 years have passed without many songs and music business progress being made. And I don’t want that to happen to you.

Read on if you want to keep focused on your songwriting dream.

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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

_________________________________

I want you to keep your head in the game.  I want you to keep focused. And two things can help you do that: appointments and subscriptions.

APPOINTMENTS:

Solo Writing:

Nothing will keep you thinking like a songwriter like actually writing. You and your skills get rusty if you don’t “keep the machinery up and running.” Trouble is, it’s easy to skip out on solo writing in the midst of daily life. Try to have a standing appointment with yourself, even if it’s just every other week. Hopefully, you’ll find some other times, too. But if nothing else, you (and your family) know that every other Thursday night is your writing time.

But don’t just schedule it. Actually show up, sit down and do the work!

Cowriting:

Still, it’s easy to not show up for solo writing appointments. So try scheduling regular cowriting appointments. You might let yourself down, but you’ll probably be less likely to bail out on someone else.

Even if you don’t live around many potential cowriters, the internet is a wonderful place to find them. Facebook groups such as the Songwriting Pro Facebook Group and The CLIMB Community are good, non-spammy places to meet potential cowriters. And these days, writers are much more comfortable writing over videoconferencing platforms like Skype and Facetime.

Cowriting keeps your head in the game more than just during that write. You won’t just start thinking about the cowrite as you’re walking in the door of the writer’s room or logging into Skype. You’ll think about it ahead of time. The fact that you have an appointment coming up and a cowriter expecting you to take it seriously will encourage you to spend time gathering ideas, prepping, etc.

Education:

Books, online songwriting courses, and other resources are a great way to keep your dream in front of you. You may be in a season where you don’t have hours of time to sit down and write. Maybe your appointment is just that few minutes you have to read in bed. Well, reading that book (heck, just having it on the nightstand) will keep reminding you that you have a dream to chase.

Books and online classes will also give you tools to write better songs and make progress in the music business. And progress makes you hungry for more progress, so you’ll spend more time thinking and working toward that.

Events:

Workshops and other events can be very beneficial. You may find potential cowriters (and friends) at live events, and you’ll leave fired up and motivated. You’ll also leave wiser and with a few more songwriting tools in your tool belt. Plus, you’ll be in the company (in person or online) of other motivated, inspired and inspiring songwriters. Sometimes you just need to know you’re not alone.

If you’re on the market for a cool community with monthly online events at a super-affordable price, I happen to have one. It’s Frettie.com.

SUBSCRIPTIONS:

Blogs:

Get informed, educated, entertained and inspired- all from your email inbox. I humbly suggest SongwritingPro.com, which you’re reading right now.  Subscribing here will send a few helpful posts directly to your inbox every week. But there are several other good blogs, too.

Podcasts:

If you’re like me, you have more time for listening than you do for reading. And lucky for you, podcasting is exploding. This can turn your daily commute, jog or dog walk into a songwriting and music business workshop and inspiration refill!

There are several good ones, including Bobbycast, And The Writer Is, Made It In Music Podcast, Pitch List, NSAI Coffee Break, Songcraft, and one that I co-host twice a week, “The C.L.I.M.B.” These shows are each a little different, but they all give you a valuable insider’s look at the music business from a songwriter’s perspective.

YouTube:

YouTube is a huge search engine. Just do a search for “songwriting advice from hit songwriters” or something like that. You’ll have more to look at than you know what to do with. I can’t vouch for how accurate or authoritative everything will be. Actually, I can. Some will be GREAT. And some will be junk. But either way, it’ll keep reminding you that YOU are a songwriter.

Magazines:

Check out American Songwriter and Music Row Magazine, among others. Turn the hall bathroom into your own personal “inspiration zone.”

What about you? How do you keep your head in the game?

Also, if you’re looking for an opportunity to get inspired by (and hang out with) some music industry pros, I have a great opportunity for you.  In August, I’m hosting a “Know The Row” event with a special music business pro!

On August 14, you can hang out online and ask YOUR questions to hit music publisher, Scot Sherrod, of Rare Spark Media.  Scot has had his hand in several hit country songs and film/tv placements, and his current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)

This is YOUR chance to sit down face-to-face (online) with a real-deal music biz professional.

You and I both want to learn what Scot has to share.

Here’s the deal.  You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time.  And “Know The Row” events are FREE to members of Frettie.com!  (But don’t worry- you can still purchase a ticket even if you don’t want to take advantage of all of Frettie’s membership benefits.)

CLICK HERE TO GET ALL THE DETAILS & MEET HIT MUSIC PUBLISHER, SCOT SHERROD.

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US, a #1 in Canada & a top 10 in Texas… so far.

Frettie, Know The Row, Write Like A Pro

Don’t demo that song until you ask yourself these 8 questions.

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So you’ve written a bunch of your new favorite jams, and you’ve flipped a lot of burgers for demo money.  But heading into the demo studio right now might be a huge mistake.

Read on if you want to level up your songwriting game.

________________________________

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 big question you should be asking yourself right now is not when to demo, where to demo, or how to demo.  The big question to ask is should you demo this song?

After all, demos cost time and money.  If you have an unlimited amount of both, then rock on.  Hit the studio, and hit it hard.  But if you want to spend your time and money efficiently and effectively, you want to take a little time and thoughtfully and honestly answer the following questions.

1. Is the song finished?

I love the emotional high of having just finished a song and feeling like it’s a big ‘ol hit.  That never gets old!  But it’s important to step back and make sure it’s really finished.  90% right and 100% right might mean the difference between a pass and a keep or a hold and a cut.  Or even a cut and a single.  That can be a difference of hundreds of thousands of dollars.

Have you played your song for an industry pro and gotten their feedback?  Have you played it for your songwriting peers and asked them for their honest opinions?  Even pros usually run songs by their publishers before spending money on it.  If they know to get some outside feedback, shouldn’t you get some, too?

2. Is it a wide pitch?

A wide pitch is a song that fits a large number of artists.  A narrow pitch is one that only a very limited number of artists could record.  For example, if you say, “If George Strait doesn’t cut this, I don’t know who will,” that’s a narrow pitch.  If you can say, “Well, if Luke Bryan doesn’t cut this, I can still take it to Old Dominion, Chris Young, Kenny Chesney, etc.” then it’s a wider pitch.

As a general rule, I’m going to demo the wide pitch, because there are more pitch possibilities- there are more paths to victory.  It just puts the math more in my favor.

3. Is it commercially relevant?

Is this a song that a large audience will want to hear?  Will it make the listener laugh, cry, dance, or think?  It’s not about you- it’s about the audience.

You can write a great, well-crafted song, but if only 12-year-old foreign exchange students from Bulgaria will “get it,” an artist is not going to record it.  Why spend money on it?  Or if it’s a moving song about the plight of the orange-billed hoof-footed salamander that only lives in one drainage ditch in California… who’s gonna care, other than a few people?

And don’t be fooled into thinking that just because a type of song used to be commercially popular, that they still are.  For example, what if you write a great rodeo song, but nobody’s recording and releasing rodeo songs?  At least not in numbers big enough to justify the investment?  The pros think about these things, and you should, too.

4. Who could sing this?

A wise artist is really only looking for songs that fit their brand and speak to their audience.  Like the rodeo example, are their enough artists that talk about your song’s subject matter or take on the character in your song?

For example, if your song is from the point of view of a man crying over his daughter having a baby… what artists are willing to sing, “I’m A Grandfather?” Not many.  Not in commercial music.  Who could sing that?  Or who in the current market would sing about being a cheater?  Not many.  There have been some at different points in history, but not many in country music right now.

Also, does this song fit the general branding of the format?  Is it hitting on all sonic cylinders, but it’s an anti-gun, anti-Second Amendment song?  Well, that’s probably not going to fly in today’s country market.  Maybe in another market, but not in country.  Same thing about a pop song that says you need to get your hot booty off the dance floor and into church.  There may  be a few artists who would sing that… but not many.

Also, is the melody one that many artists could sing?  Is it such a small range that your “big-voice” singers won’t be interested?  Or is it such a rangy song that most guys can’t sing it?  That’s worth paying attention to.

Again, we want to get the math in our favor when we can.

5. Does the song have a fresh melody and lyric?

You HAVE to bring something different, especially if you are a new, unknown writer.  YOUR vanilla has no chance.  An artist has no reason to invest in your vanilla when they can get vanilla from friends, established hit songwriters, or just write it themselves.

Let’s face it, none of us were invited to the music business party.  Virtually nobody in the business was invited in.  So if you’re gonna crash it, you better bring something new to the party.

6. Will I pitch it… really?

If you have already demoed ten songs like this one (and they’re not getting cut), and this one isn’t any better… what’s the point?  Will you really pitch it?  Maybe you should spend your time writing a song that you will pitch instead of demoing a song you won’t.

7. Does this song NEED a full demo?

You should do what’s best for your song.  Some need a full demo- rocking uptempo anthems, for example.  Certain ballads and midtempos might be best presented with two guitars, a drum loop, and a great singer.

8. Is it great?

I’ve never had a so-so song get pitched to and cut by a major artist.  I just haven’t.  My cuts are each different- fast, slow, funny, sad – but, to me, each one has something really strong about it.

If you’re an outside writer, and you’re not already one of the “cool kids,” you HAVE to write better songs.  Otherwise, they’ll just record songs from known, trusted sources.  Hey, if a proven hit songwriter pitches a dud now and then, no big deal.  But if you, who doesn’t have a track record, pitches a couple duds, the industry will just assume you’re not a great writer, and they’ll close their doors to you.  They’ll assume you’re a waste of time.

9. Are you serious?

Here’s one more bonus question for you.  Are you serious?  Are you really serious about getting your songs recorded by major artists?  If so, I have a great opportunity for you.  In May, I’m hosting Frettie’s “Know The Row” event with multi-hit songwriter, Jimmy Yeary!

Not only did Jimmy write “I Drive Your Truck,” a CMA & ACM Song Of The Year and a #1 hit for Lee Brice, he’s also written hits for Kenny Chesney, Jake Owen, Rascal Flatts and more.

This is YOUR chance to sit down face-to-face (online) with a real-deal professional, hit songwriter.

You and I both want to learn what Jimmy has to share.

Here’s the deal.  You can join us online from anywhere in the world on Thursday, May 24, 2018 from 7pm-8pm Central time.  And this special event is FREE to members of Frettie.com!  (But don’t worry- you can still purchase a ticket even if you don’t want to take advantage of all of Frettie’s membership benefits.)

CLICK HERE TO GET ALL THE DETAILS & MEET HIT SONGWRITER JIMMY YEARY.

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US, a #1 in Canada & a top 10 in Texas… so far.