Category Archives: Know The Row

Frettie, Know The Row, Write Like A Pro

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

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You will win or lose in the music business based on this one thing.  And the scary thing is, you may not even be thinking about it.

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

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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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Okay, I won’t keep you in suspense any longer.  You will win or lose as a songwriter based on how much value you add to OTHERS.  This isn’t about you.  You win by helping others win.

So, what does this mean, exactly?  It means that the amount of value you add to others will largely determine how much success you have.

Do you write great lyrics?  This is a big value to songwriters who don’t write great lyrics.  If they’re smart, they’ll want to write with you.  Do you write great melodies?  This is a major value to songwriters who are strong on lyrics but weak on melody.  They’ll want to write with you.  Do you have incredible, commercial songs that are perfect for Artist X?  Artist X is much more likely to want your songs.  That, in turn, earns you royalties.  You win by adding value.  You win by helping others get what they want.  It’s not about you.  It’s about helping others.

Opportunities come to those who add value.

The more value you add, the more opportunities you will have.  Let me give you a few personal examples.

“Caribou Barbie” recorded by Ray Stevens

Ray is a comedy legend with songs like “The Streak” “The Mississippi Squirrel Revival” and “Everything Is Beautiful.”  So how’d I get my song “Caribou Barbie,” recorded by Ray?  I brought value.

I was over at Ray’s office one day, and he was in a meeting.  When Suzi, Ray’s daughter, poked her head out, I offhandedly said, “Hey, I have a song idea for Ray.  It’s about Sarah Palin, and it’s called “Caribou Barbie.”  She laughed and went back into the meeting.  Later that afternoon, I was over in Ray’s parking lot picking up my car when Ray happened to walk outside.  He said, “Hey, I wanna hear ‘Caribou Barbie’.”  I said, “Yes, sir- I’ll write it!”

Now I had something of value.  I had a title that the artist himself asked me to write.

Since Ray wanted me to write the song, my first question was, “who are the best possible cowriters?”  (I’m a lyricist, so I need a good melody-writer.)  It was an easy call to make- Matt Cline and Max T. Barnes.  Both these guys wrote for Ray’s publishing company, so he’d have extra incentive to record and release it.  They brought the value of publishing income for Ray, which made the song more valuable for him.  This, in turn, made them more valuable to me.

They also brought in the value of being dialed into the project, having songs in the mix already for Ray’s album.  Plus, they’re a great hang and really good writers.  That’s more value they brought to the table.  I called them up, they saw the value in the opportunity, we wrote the song, and Ray cut it.

Each person brought value to the song, and we all won.

“Crickets” recorded by Joe Nichols

I’m blessed to have the title track to Joe Nichols’ recent album, “Crickets,” on Red Bow Records.  This title was not my idea.  Joe himself didn’t ask me to write it.  But I brought a different value to this song.

 Bill Whyte and Lisa Shaffer had the idea for “Crickets.”  I’d never written with Bill, but I’d written several songs with Lisa.  She thought my sense of humor, storytelling and lyrical sensibilities would be a good fit for the song, so they invited me in.   Simply put, I was invited in by two good writers because they believed I would add value.

Bill was in the room because (if I remember correctly) it was his title (and he’s a fine writer).  Lisa was in the room because Bill had originally brought the idea to her because of their friendship and her songwriting skill.  I was added in because Lisa valued my lyrical abilities.

Unlike the Ray Stevens situation, Joe and his team had zero publishing or other direct financial interest in the song.  Neither, Bill, Lisa nor I were in Joe’s “camp.”  Joe cut the song because (I assume) he believed “Crickets” would add something valuable to his album.

What value can you bring?

Artists bring the value of having a record deal.  Published writers bring the value of experience and a team of songpluggers.  What’s your value?  Great hooks?  Do you record your own demos, saving your cowriters money?  Do you have artist potential?  Great melodies?  What can you do to add value?  If you identify your value, you can sell yourself on it.  Because, like it or not, we’re all in the service and sales business.

Here’s some value for you.

If you’re interested in getting cuts and hits, I have a great opportunity for you.  In May, I’m hosting Frettie’s “Know The Row” event with multi-hit songwriter, Jimmy Yeary!

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

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

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

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

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

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

Frettie, Know The Row, Write Like A Pro

Your Song’s First Line Really Needs This!

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Imagine yourself in a dark movie theater.  The movie starts to play, but there is just sound- no picture.  You’d be upset, right?  Then why do we often write songs that way?

Why don’t we give our listeners some pictures right at the beginning of our movie/song?  After all, the hit songwriters know how important this is, and they do it consistently.

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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 think the movie analogy is an appropriate one for songwriting.

Songs are basically 3-minute movies.

And just like someone making a movie, we want to hook our audience immediately.  We want to draw them into our story as quickly as possible.  And you know what does this extremely well?

Imagery.

Well-written imagery quickly lets the listener know the setting for our story or gives them a sudden emotional punch.  Or it builds mystery or interest.  And, along with good melody and production, that will keep the listener listening further into the song.

The main job of your song’s 1st line is to make the listener want to hear the 2nd line.

Here are the first lines of a few of my songs that have been recorded.

You left your Bible on the dresser, so I put it in the drawer – “Monday Morning Church” sung by Alan Jackson

Sunday morning was a fight, I was runnin’ from that clip-on tie – “Every Head Bowed” sung by Alan Jackson

Past the cotton fields and the old Spring Mill, we laid a blanket out where the world was still – “Crickets” sung by Joe Nichols

There’s a towel on the bathroom door, a t-shirt in my dresser if you like – “Last Night Last” sung by Lady Antebellum

But don’t just take MY lyrics for it.  Here are the first lines of 9 of the current top 10 songs on Billboard’s Country Airplay Chart.

I believe kids oughta stay kids as long as they can, turn off the screen, go climb a tree, get dirt on their hands – “Most People Are Good” sung by Luke Bryan

I ain’t heard you laugh like that in a long time – “Singles You Up” sung by Jordan Davis

Baby, lay on back and relax, kick your pretty feet up on my dash – Bebe Rexha & Florida Georgia Line

She wants to get married, she wants it perfect, she wants her grandaddy preaching the service – “Marry Me” sung by Thomas Rhett

Don’t think I’ve ever seen your kind of pretty wandering ’round this midnight mad house city – “The Long Way” sung by Brett Eldredge

Like a rainy Sunday morning makes me wanna stay in bed, twisted up all day long – “You Make It Easy” sung by Jason Aldean

This is perfect, come kiss me one more time – “Heaven” sung by Kane Brown

When the devil’s knocking at my door, when I’m broken and I’m battle worn, down in the valley, on my knees – “She’s With Me” sung by High Valley

Seen my share of broken halos, folded wings that used to fly – “Broken Halos” sung by Chris Stapleton

The song in the #10 spot, “All On Me” by Devin Dawson, doesn’t have an image in the first couple lines, but all the rest do.   That’s 90% of the current top 10, and it’s something you should pay attention to.

And note that not all the images are literal.  In “She’s With Me” and “Broken Halos,” the images are more metaphorical.  But they STILL put a picture in the mind of the listener.  So you don’t have to JUST paint a literal picture of the situation.

But in case you aren’t quite convinced yet, here are a bunch more first lines from other hit country songs over the past several years:

Doublewide Quick Stop midnight T-top Jack in her Cherry Coke town – “American Kids” sung by Kenny Chesney

Quarter in the payphone, clothes drying on the line – “Automatic” sung by Miranda Lambert

Those high heels with that sun dress, turquoise heart hanging ‘round your neck – “My Eyes” sung by Blake Shelton

Summer comin’ through a rolled down window, tearin’ down an almost two lane back road – “We Are Tonight” sung by Billy Currington

Sun shines, clouds rain, train whistles blow and guitars play – “It Just Comes Natural” sung by George Strait

I’ve packed a cooler and a change of clothes – “Want To” by Sugarland

Driving through town, just my boy and me. With a happy meal on his booster seat– “Watching You” by Rodney Atkins

I can take the rain on the roof of this empty house– “What Hurts The Most” Rascal Flatts

She’s a yellow pair of running shoes, a holey pair of jeans– “She’s Everything” Brad Paisley

I could do this for days. Now, I know there are examples out there of purely emotional songs that do well. But if you look at the songs that are not written by the artist or by the producer or by an established hit songwriter, I think you’ll see a trend.

Put images in your song’s first lines to draw your listener in.

One more great example is from a recent CMA and ACM Song Of The Year:  “I Drive Your Truck,” written by Jessi Alexander, Connie Harrington, and Jimmy Yeary and recorded by Lee Brice.

“89 cents in the ashtray, half-empty bottle of Gatorade rolling on the floorboard”

It’s like the opening shot of a movie that starts with a close-up of change in the ashtray, panning over to a Gatorade bottle rolling on the floorboard.  The song follows the camera as it moves over to the dash, the backseat, etc.  This pulls us in.  It also gives us clues about the truck’s owner.  It’s such a well-written song!

If you’re interested in writing commercial songs- if you want to give your songs their best chance to succeed, I have a great opportunity for you.  In May, I’m hosting Frettie’s “Know The Row” with one of the writers of “I Drive Your Truck,” Jimmy Yeary!

Not only did Jimmy write this Song Of The Year, he’s also written hits for Kenny Chesney, Jake Owen, Rascal Flatts and more.

And 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.

Frettie, Know The Row, Write Like A Pro

How To Make Your Ballads More Radio-Ready

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It seems like every songwriter writes more ballads (slow songs) than uptempo songs.  But MOST ballads will NEVER get recorded.  Of the few that do, most never get on the radio.  But a few slow songs beat the odds and not only become hits, they become MASSIVE HITS.

Today, I want to discuss one way YOUR ballads can beat the odds and have 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

_________________________________

I’m a lyricist, and I don’t write melodies. I leave that to folks who are great at that. However, I know from experience and observation that MELODY MATTERS. It’s huge.

Let me be clear- a song with a great melody and average lyric will get cut a lot faster than a song with a great lyric and an average melody.

(Of course, the real winners have BOTH great melodies AND great lyrics.  So don’t think you can be lazy on lyrics, because you’ll probably get beat out by songs that are great at both.)

Your melody has to fit your idea, simple as that. This is not to say that sad songs HAVE to have “sad” melodies (I’ll touch on that later), but if your lyric is angry, your melody probably shouldn’t be too “sweet.” Likewise, if your idea is for a tough guy, the melody should be one that a tough-guy artist would sing.

In general (there ARE exceptions), if your song has a slower tempo, it probably needs to have a bigger, more rangy melody. There just aren’t many slow songs with soft melodies getting cut these days. You put your song at a disadvantage when you frame it that way.

If you’re going to go ballad, go big.

A good example of this is “I Drive Your Truck,” written by Jessi Alexander, Connie Harrington, and Jimmy Yeary and recorded by Lee Brice. It’s a sad ballad. But it doesn’t FEEL like a ballad because of the power in the chorus. Lee just sings his backside off.  


If they hadn’t CHOSEN to go the power ballad route, I don’t think the song would have worked as well- and I definitely don’t think it would’ve been a #1 hit country single.

Not only was this ballad a #1 hit, it was named the CMA and ACM “Song Of The Year.”

If the tempo had been too fast, it might have trivialized the subject matter. If they had given it a soft, flat melody, I think the singer would’ve come across too whiney.

Again, if you go ballad, go big.

If you’re interested in writing commercial songs- if you want to give your songs their best chance to succeed, I have a great opportunity for you.  In May, I’m hosting Frettie’s “Know The Row” with one of the writers of “I Drive Your Truck,” Jimmy Yeary!

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.

Do Business Like A Pro, Know The Row

Do You Have The Cowriting Advantage?

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Nashville is a cowriting town.

It seems that everyone that moves or spends time here gets sucked into it eventually.  But maybe you’re unsure if it’s something you want to try.  Maybe you’ve always written alone and you’re worried about the unknown.  Maybe you think another writer might pull your song in the wrong direction.  Maybe you don’t see the value in it.

If that’s the case, consider these advantages of cowriting:

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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

_________________________________

1. More relationships.

The writing room can be a very lonely place.  Some of your cowriters will become close friends, and that’s awesome.  For me, one of my favorite parts of songwriting is getting to hang out for hours with people I admire and enjoy.  Each of your cowriters also has his or her own network.  That means they can help you meet more publishers, artists, other cowriters, etc.

2. More pitch / promotional power..

If you write a song alone, it’s up to you- and only you– to get it into the right hands (a publisher, a producer, an artist, etc.).  However, if you add a cowriter or two, now you have more people to play the song out live at songwriter nights or pitch it to publishers or artists.  It multiplies the chance that your song will be heard by the right people.

3. More ideas.

When you write alone, you have to come up with every single melodic and lyrical idea yourself.  If YOU don’t think of it, it doesn’t end up in your song.  However, when you cowrite, you and your cowriter help each other overcome those creative roadblocks. “Two heads are better than one.”

4. Less creative ruts.

When you only write alone, it’s harder to stay out of creative ruts and it’s harder to pull yourself out of them.  Maybe you find yourself going back to the same tempos, moods, chord progressions or stories time after time after time.  However, it’s hard to stay in a rut if you’re writing with a bluegrass female on Monday and a pop-country guy on Wednesday.

5. Complimentary strengths.

Few songwriters are equally strong at both lyrics and melody.  Even fewer are equally strong AND GREAT at both.  So, if you’re like most of us, your songs can benefit from finding a cowriter who is strong where you aren’t.  And this doesn’t mean just “strong at lyric” or “strong at melody” or “strong at producing.”  It could even be more specific things like “great at idea development,” “brings in killer hooks” or “writes awesome images.”

6. Less excuses, more productivity.

It’s pretty easy to break writing appointments with yourself.  Nobody’s going to call wondering where you are, and you’ll probably get bonus points with your spouse if you did the laundry or mowed the yard instead.  But if you know someone expects you to be online or in the writing room at a certain time to write, you’re a lot less likely to bail.

Likewise, it’s pretty easy to walk away from your guitar or notebook when you hit a creative roadblock in a song.  But it’s a lot harder to just walk into the other room and turn on the TV when you have a cowriter sitting across from you.  That would be just plain awkward.

7. Faster learning curve.

Cowriting allows you to learn from your fellow songwriters.  You get a front row seat to observe how they think, how they overcome obstacles, etc.  You may pick up a cool alternate tuning or a way of constructing a lyric that you would’ve only discovered on your own years later.  Plus, a good cowriter will challenge you to dig deeper and write better songs.  I know that’s definitely been true for me.

If you’re ready to speed up YOUR learning curve and grow as a writer, here’s your chance.  Ask a hit songwriter YOUR questions- and get answers.

Every quarter, I host Frettie’s “Know The Row,” with an industry pro.  And our next event is coming up in February with hit songwriter, Byron Hill!

This is your chance to sit down face-to-face (online) with a real-deal professional songwriter. Since moving to Nashville and signing his first publishing deal in 1978, Byron’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles!  Wow.

You and I BOTH want to know what Byron has to share.

Here’s the deal.  You can join us online from anywhere in the world on Thursday, February 8, 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.  But the deadline to purchase a ticket is WEDNESDAY, JAN. 31!)

CLICK HERE TO GET ALL THE DETAILS & MEET HIT SONGWRITER BYRON HILL.

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, Know The Row

7 Ways To Ruin A Pro Cowrite

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Okay, let’s say you finally scored that cowrite with a pro writer.  Congrats!

Now don’t blow it. 

However, if you insist on messing up this opportunity to begin a cowriting relationship with a pro, here are 7 surefire ways you can do it.

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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

_________________________________

1. Be late.

Nothing says, “I’m not thankful for this opportunity” quite like being late or getting the time or date wrong. The pro is already NOT writing with one of his regular, trusted cowriters because he or his publisher scheduled you instead. Now the pro is not writing at all because he’s waiting on you to show up. Not a good start.

2. Be unprepared.

When you finally show up, make sure you have to borrow a pick.  And a pen.  And paper.  Oh, and whatever you do, make sure you don’t have any ideas or melodies or grooves ready when the pro says, “got any ideas?”  Of course you don’t have any ideas!  You like to…

3. Take without giving.

Be sure and expect the pro to carry you.  Don’t put yourself out there and really try to write something great.  Basically try to sit quietly in the room while the pro writes the song and gives you half.  And be sure and try to get the pro to hook you up with HIS contacts without offering any of YOURS.

4. Be arrogant.

You can also ruin this cowrite by going to the other extreme.  Try to impress the pro by ALWAYS being right and making sure you write YOUR idea and use all YOUR lines.  Run the show.  After all, the pro has only had more success than you- what could he possibly add to YOUR hit-in-progress?  Let him just sit back and watch you work.

5. Talk trash.

This is especially awesome of you haven’t had any cuts of your own yet.  Bad mouth what’s on the radio and the writers who wrote those songs.  If you’re lucky, they might be the pro’s friends, cowriters, or people he respects.  Or artists who have recorded his songs, too.  But you wouldn’t know that because you…

6. Don’t know who you’re writing with.

If you’re lucky, you can insult one of the pro’s songs without knowing it.  Or maybe you can ask the pro, “hey, what have you written” which is WAY more professional than a 2 minute Google search and being able to say something like, “congrats on that cut” or “man, I really love your song…”  Remember, if you want to blow a pro cowrite, it’s better to bruise an ego than stroke it.

7. Complain about the business.

Because you’re the only one who has had disappointments.  And because complaining is super productive.  And because a negative attitude is SO attractive that the pro can’t wait to spend more time with you.  Odds are, the pro has been around longer and has a bigger stack of “almosts” and “could’ve beens” and won’t be impressed by your problems.

So there you go. 7 ways to ruin a pro cowrite.  Now, I can’t guarantee that pulling out just one or two of these tricks will doom your potential cowriting relationship.  But I’d say the odds are pretty good of you being “one & done” if you hit ’em with the right combo.

But don’t just take my word for it.  Ask one of my fellow pros yourself.  Here’s your chance.

Every quarter, I host Frettie’s “Know The Row,” with an industry pro.  And our next event is coming up in February with hit songwriter, Byron Hill!

This is your chance to sit down face-to-face (online) with a real-deal professional songwriter. Since moving to Nashville and signing his first publishing deal in 1978, Byron’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles!  Wow.

You and I BOTH want to know what Byron has to share.

Here’s the deal.  You can join us online from anywhere in the world on Thursday, February 8, 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 BYRON HILL.

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, 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 how do you connect?

Maybe someone can introduce you.

________________________________

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 know.  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.

3. Industry Contacts

Pro songwriters know people at organizations like NSAI.  They hang out there sometimes.  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 a kid’s birthday party.  Maybe it’s at a Christmas party.  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.

 

Every quarter, I host Frettie’s “Know The Row,” with an industry pro.  And our next event is coming up in February with hit songwriter, Byron Hill!

This is your chance to sit down face-to-face (online) with a real-deal professional songwriter. Since moving to Nashville and signing his first publishing deal in 1978, Byron’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles!  Wow.

You and I BOTH want to learn what Byron has to share.

Here’s the deal.  You can join us online from anywhere in the world on Thursday, February 8, 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 BYRON HILL.

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, Think Like A Pro

5 Things You Must Know To Become A Songwriting Pro

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Nobody can provide you with an exact roadmap on how to get from being an amateur songwriter to being a professional songwriter.  But here are five things you must know – and act upon – if you want to go pro.  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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1. Nobody turns pro alone.

You have to build a network.  Songs move from hand to hand (or inbox to inbox) and into the right hands based on relationships.  These relationships can range anywhere from business acquaintances to best friends.  You MUST get to know people, and they must get to know your music.  Knowing the “right people” isn’t cheating.  It’s a vital part of succeeding as a pro songwriter.

2. “Professional” means your songs earn money.

In order to earn money, your songs have to have value in the market.  At the end of the day, some artist wants to record them, and a bunch of fans want to buy them.  To become a full-time songwriter or to get and keep a publishing deal, your songs have to earn income.  Your job is NOT to write songs.  Your job is to write songs that make money.

3. Songwriting is NOT your hobby – it’s your business.

If you treat it like a hobby, that’s all songwriting will ever be for you.  Just a hobby.  And that’s fine, if that’s your goal.  But if you want it to be a business, you have to act like a professional.  You have to treat it like a business.  The serious songwriters are the ones who get the serious cuts.

4. Good enough isn’t good enough.

To break into the biz, your songs can’t be “just as good as” the worst stuff on records and radio.  If an artist wants to cut mediocre songs, they’ll cut THEIR OWN mediocre songs, or their buddy’s or their producer’s.  Your song has to compete against everybody else’s BEST songs.

5. You WILL have to sacrifice.

The professional songwriters are the ones who have been willing to sacrifice.  They came home from their day jobs and picked up the guitar instead of the tv remote.  They spent their Spring Break in Nashville instead of at the beach.  They left family to move to Nashville.  They waited tables – even though they had a masters degree – just to be where the music is.  They don’t just TALK like they want success.  They WORK like the want success!

But you don’t have to just take my word for it.  If you REALLY want to go pro, you need advice from as many pro songwriters as possible.  And I have good news for you.

I’m gonna hook you up with an awesome multi-hit songwriter.

In February, I’m hosting Frettie’s “Know The Row” with hit songwriter, Byron Hill!  This is your chance to sit down face-to-face (online) with a real-deal professional songwriter. Since moving to Nashville and signing his first publishing deal in 1978, Byron’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles!  Wow.

You and I BOTH want to learn what Byron has to share.

Here’s the deal.  You can join us online from anywhere in the world on Thursday, February 8, 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 BYRON HILL.

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, Know The Row, The C.L.I.M.B.

The C.L.I.M.B. #99: The Value Of Writer/Producer Relationships

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The music business, like every other business, is largely about relationships.  In this episode, Brent shares the value of building good relationships with writer/producers- and how they can help YOU on your C.L.I.M.B.!

If you’re a singer, songwriter or indie artist who wants to grow your career, THIS is the podcast for you!

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

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON ITUNES

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON STITCHER (for Android)

CLICK HERE TO LISTEN ON THE C.L.I.M.B. WEBSITE

The C.L.I.M.B. stands for “Creating Leverage In The Music Business,” and that’s the goal of this podcast- to help singers, indie artists and songwriters like YOU to create leverage in the music business.  What is leverage?  It’s “strategic advantage; the power to act effectively.”  We want to help YOU make stuff happen in the music biz.

It’s exciting to see how folks are digging the show- and being helped on their CLIMB.  If YOU like it, we’d really appreciate it if you’d subscribe and leave a rating or review on iTunes.  Positive ratings and reviews help us to climb the iTunes rankings so more people become aware of the show and we can help more singers, songwriters, and indie artists like you make The CLIMB!The CLIMB iTunes review 3

CLICK HERE TO LEAVE AN iTUNES REVIEW

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON ITUNES

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

TheCLIMBshow.com

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

Stitcher

Thanks for your time. It means a lot to me, and hopefully it’ll be a lot of help for you!

God Bless and keep C.L.I.M.B.ing,

Brent

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

Know The Row, Think Like A Pro

7 Ways Songwriters Can Stay Motivated

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Whether you’re an amateur songwriter hoping to “go pro” or you’re a young pro trying to break through to the next level, a key element of success is simply to keep going.  But that isn’t always easy.

For every person pulling a U-Haul into Nashville, there’s someone moving back home because they just don’t have the heart anymore.  So, how do you give yourself the best chance to keep going?  Here are a few ways.

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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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1. Connect with your “why.”

If you don’t have a clear understanding of WHY you write, it’s really hard to answer the dark-valley question, “Why should I keep trying?”  When the music biz knocks you down (and it will), you need to know why getting up matters.  Maybe not why it matters to the world, but at least why it matters to YOU.

Maybe you write because you know that’s how you’re wired, and you’ll go crazy if you abandon it.  Maybe you write to leave a legacy of song for your children’s children.  Maybe you write to share life lessons- to remind yourself as well as others of hard-earned truth.  Maybe it’s to prove to yourself that you can do it.  Or maybe you write to make people smile for three minutes in an often heartbreaking world.

Whatever drives you to write, you should have a clear picture of it.  The “why” is what will give you a reason to dust yourself off and get back in the arena.

2. Celebrate the small victories.

Don’t ignore or downplay the small victories- especially early in your journey.  Be grateful.  Let the little victories give you confidence and fuel for the journey.

These are YOUR victories.  They don’t have to meet anyone else’s standards of what’s worth celebrating.

For a few years, some buddies and I passed around a football- a “game ball” – when we’d have a music victory.  It got passed around for everything from indie cuts, publishing deals, big cowrites, 1st demo sessions, and more.  Those weren’t the victories that the biggest writers in town were probably celebrating, but they were new, positive steps for us.  It gave us a reason to celebrate together.  We also had a friendly rivalry going, because each of us wanted to “get the game ball” back on our own mantles!

3. Connect with a supportive community.

We all need people who encourage, support, and believe in us.  They can be online or face-to-face, family or friends, cowriters or non-songwriting creatives.  It doesn’t matter who they are, just that they will support you.  And be sure and support them, too!

If you’re looking for a supportive community, I suggest the Songwriting Pro Facebook Group and Frettie.com.  I host both groups, and I love watching songwriters like you making progress and earning new victories on your songwriting journeys.

4. Display visual reminders.

Remind yourself that you’re a songwriter.  Remind yourself of your dreams and goals.  Remind yourself of your victories.  Create a vision board with pictures of your songwriting-dream-come-true.

Get a good song review from a community like Frettie.com?  Print it out and hang in your writing space!  Score an indie cut?  Congrats!  It doesn’t matter if it goes gold, platinum or plywood- get a CD frame and hang it up to remind yourself that someone likes one of your songs enough to record it.

Also, keep your guitar and/or writing notebook out where they’re visible – and available.  Don’t keep them hidden in a closet or a drawer somewhere.  You’re a writer.  Don’t let yourself forget that.

5. Pace yourself.

This is a marathon, not a sprint.  Be persistent, but be patient.  You have to find a family/money/music balance that is sustainable over the course of years, not just months.

It might mean you can’t quit your day job just yet.  Maybe you can only write one night a week for now.  Sure, we all want instant gratification, but patience pays off.

Be patient.

6. Protect a positive attitude.

To stay in it for the long haul, you have to believe success is possible, and a lot of belief simply comes from your mind-set.

Seeing the glass as half-empty will cause your dreams to die of thirst.

Watch what comes out of your mouth.  Not only does what you say reflect what’s in your heart, it reinforces it.  Practice speaking positively- strengthen that part of yourself.

Had a bad publisher meeting?  Don’t focus on the disappointment.  Focus on what you were able to learn from that meeting (even if all you learned is that you have more to learn).  Get a song to an artist, but they didn’t record it?  Focus on the fact that you were able to actually get a song heard!  I bet that wasn’t always the case.  So you’ve made progress!

7. Make a new connection.

Yes, we’d all love to suddenly become best buddies with <insert your favorite artist or songwriter>.  But that’s probably not going to happen today or tomorrow.  But who CAN you reach out to?  Where can you become a blip on someone’s radar and begin to build a relationship?

The music business is based on both music AND relationships.  Sometimes when then music isn’t working like we’d hope, we can keep some forward progress by focusing on relationship-building.  “Well, Publisher X didn’t love my song, but I got to meet Hit Writer Z this week!”

And you know I don’t like to throw out suggestions without providing an opportunity to put them into practice.  So I have a really great opportunity coming up for you!

In February, I’m hosting Frettie’s “Know The Row” with hit songwriter, Byron Hill!  This is your chance to sit down face-to-face (online) with a real-deal professional songwriter. Since moving to Nashville and signing his first publishing deal in 1978, Byron’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles!  Wow.

You and I BOTH want to learn what Byron has to share.

Here’s the deal.  You can join us online from anywhere in the world on Thursday, February 8, 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 BYRON HILL.

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, Know The Row

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

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

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

ANSWER:

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

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

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

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

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

So, which PRO should you join?

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

Join the PRO where you find your champion.

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

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

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

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

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

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

God Bless and Enjoy the Journey,

Brent

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