Category Archives: Live Event

Do Business Like A Pro, Live Event

What Kind Of Song Should You Play For A Publisher?

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Ask Your SWP

If you get the chance to play a song for a publisher, what kind of song should you play?  What kind of demo?  Should you play a cowritten song?

I’m excited to host another Play For A Publisher event in December, and I’ve received several questions from writers like you. I thought I’d answer a few of them here on the blog since the answers apply to more than just the Play For A Publisher event.

Question: What kind of song should I play?  A country song?  I song I think fits the market or radio?  Or just something I think is cool?

Chris Oglesby of BMG Chrysalis dropped some great advice on us at our last Play For A Publisher event.  Here’s what he had to say on the subject:

“Play songs for publishers that YOU love.  Don’t just play what you THINK the publisher will love.  After all, you probably don’t really know the publisher personally, so you don’t really know what they’ll like.  But songs that YOU love will tell the publisher a lot about YOU, and that’s valuable.”

I agree with Chris.  And that’s because publishers are usually looking for more than just a great song.  They’re looking for a great songwriter.  And so they want to get to know YOU.  Yes, they want to work with a writer that can write radio hits and make a ton money.  But what’s the special sauce that will make YOUR songs different, and tasty?  Well, that’s the “YOU” ingredient that only YOU can provide.  And the publisher can get the best taste of YOU when you play songs that you love- because they will have the most YOU in them.

After all, over the long haul, the real you is going to shine through in your songs- for better or worse.  So the earlier a publisher can find the real you, the earlier he can figure out if the two of you are a good match, musically, personally, and professionally.

As for me (since I’m doing the screening for the Play For A Publisher event), I’m just looking for something that knocks my socks off.  Something I think is really cool.  Not everything we played at the last event was a radio hit type of song.  But each of them were really cool in their own way.

Question: Can I ONLY play demos?  I don’t have full-band recordings of my songs…

You want to make the best first impression possible.  So, if you have two songs that are both really good, but one is demoed and the other isn’t, I’m always going to play the demoed song.  It’s more professional, and it’s just easier for the publisher to hear and “get” the full expression of your song.  But a work tape or guitar/vocal of a great song beats a full demo of a good song.

Good song people know great songs- even if they aren’t fully produced.  A good guitar/vocal should be enough.  Or even a clean, well-performed work tape.  But even the best song person might miss a great song if the work tape is really bad.

(Side note: I don’t want to work with a publisher who can’t hear a great song in a decent work tape.  After all, they’ll be listening to work tapes to help me figure out which songs to demo!)

For the Play For A Publisher event, you can send a demo, a simple stripped-down recording, or a work tape.  It’s all welcome.

Question:  Can I play cowritten songs for a publisher?  Or do I have to write the songs all by myself?

It doesn’t matter if your song is a solo write or a cowrite.  A publisher just wants a great song.  Granted, it’s more impressive if you can write a killer song on your own.  This is for two reasons: 1) it’s rare that great songs are written, much less by one person and 2) the publisher doesn’t have to wonder if you were responsible for the cool stuff in the song or not- they know it’s ALL you.

So, a great solo written song is an added bonus, but having a cowriter (or cowriters) on your song won’t make a publisher like it any less.

For the Play For A Publisher event, both solo and cowrites are welcome.  I screen them without any idea if it’s a solo or cowrite- I’m just listening for really cool songs.

Question: Ready to play YOUR song for a publisher?

Time is running out for our next Play For Publisher event!  The event itself is Tuesday, December 6, 2016, but the deadline to submit a song is Saturday, November 19.  After the 19th, it’s too late- so don’t wait.  Get your spot today!

Our special guest will be Tim Hunze of Parallel Music Publishing.   Tim works with a staff of pro songwriters including Lance Carpenter (“Love Me Like You Mean It” – #1 for Kelsea Ballerina), Jon Mabe (“The Climb” – #1 for Miley Cyrus), Jenn Schott (“Two Lanes Of Freedom” – Tim McGraw) and more!  Tim is a real pro, and he has a lot of wisdom to share from his years in the music business.  And, I’ll be honest- he’s a heck of a nice guy, too!

tim-hunze

CLICK HERE TO ENTER YOUR SONG (OR SONGS) FOR THE UPCOMING “PLAY FOR A PUBLISHER” EVENT.

Last question:  Is this event worth my time?

Well, let’s hear from a couple of the last event’s participants…

“The combination of Brent’s talent as a songwriting teacher with some of the best ears among Music Row’s publishers makes this an indispensable event for any aspiring writer.” – Joe Slyzelia “Vinyl Afternoon”

“I just took part in Brent Baxter’s Play For A Publisher event with Chris Oglesby of BMG. This was a great opportunity for me to get one of my songs in front of Chris and also to meet him personally. Chris listened to my song (and everyone else’s) start to finish and gave very useful and specific feedback regarding each. Chris and Brent took a lot of time throughout the night to answer everyones’ questions. This was very educational, helped me get my face and name in front of a prominent figure in the Nashville music industry, and honestly was a lot of fun. Thanks Brent and Chris for a great experience!” – David Hill “Are You Awake”

Play For Pub

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

Biz, C4X, Live Event

The Best 1st Impression A Songwriter Can Make

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A few weeks back, I met the owner of a publishing company for the first time. Within ten minutes, he said he was interested in talking about a publishing deal with me. How did this happen?

I made a great first impression before we ever met.

Here’s the story:

I was at a lunch party at a cowriter’s publishing company. The owner, whom I’d never met before, was chatting in the kitchen with me and James Dupre’. He was telling James how much he loved a certain song that he had written with one of their writers. James smiled, motioned to me and said, “Thanks. Brent’s on that one, too.” The owner, let’s call him Mr. J, lit up, and the tone of the conversation changed. Within a few minutes, he asked each of us who we wrote for. When we said we’re independent, he nodded and said, “we should talk.”

Now, I’m not saying he’ll end up making an offer or not. This isn’t about what might happen next. It’s about the power of songs and connections to pave the way for you. Mr. J had never laid eyes on me. We’ve never communicated directly, either over the phone or via email. But he’d heard several of my songs. And his staff writer, my cowriter, has mentioned me to him a number of times. He’s told him I’m a good songwriter who should have a deal. (Thanks, bud!)

My songs and my cowriter made my first impression for me.

1st Impression

So when I finally met Mr. J at an industry function, I didn’t have to manufacture some “wow” first impression, hoping to be memorable. I simply had to act in a way that confirmed his already-favorable idea of me.

There are a few lessons I think we can draw from this.

1. Your cowriters will be your PR team.

This is great if you’re in town, but it’s also great if you’re out of town. If you only make a few trips to Nashville (or New York or LA) per year, try to connect with local writers. Write together both in-the-room and over Skype or Google Hangouts. Before your next Nashville trip, ask them who you should meet with and if they can put in a good word for you. If your writing is worthy, they should be happy to.

2. Good songs solve a lot of problems.

If I want to get a meeting with Mr. J, I’m coming from a position of strength. I don’t have to say, “Mr. J, we met at a party the other day. I’m the tall guy…” That’s not a terrible starting place, but it’s not as good as, “Hi, Mr. J. I’m Joe Songwriter, a writer on ‘Song X’ that you love. We met at the party the other day…” Even if he’s totally forgotten meeting me, he knows he likes that song. My odds of getting a meeting go way up.

3. It’s good to get out there and get social.

Even though he likes some of my songs and my cowriter told him about me, Mr. J hadn’t reached out yet. But we “happen” to bump into each other at a function, and he gets to put a face with my name. That’s worth another year of him just hearing ABOUT me. (Disclosure: I didn’t meet him by accident. I knew he’d be there, and that’s a big reason why I went.)

What about you? Have you had an experience where your music has made a great first impression for you that helped you get ahead? Or did it make a negative one that you had to overcome? I’d love to hear from you!

And if you’re ready for your songs to make a good (or better) first impression, I have a cool opportunity for you. It’s called The C4 Experience, or C4X. It’s a series of workshops in January and February in 2016. What does “C4” stand for?

Creative
Commercial
Coaching
Community

The C4 Experience is about celebrating your creative spirit and sharpening your commercial songwriting, guided by expert coaching and encouraged by a supportive community.

Click on the image below or CLICK HERE TO FIND OUT MORE!

c4x

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.

1st Impression

Biz, C4X, Craft, Live Event

Songwriting Coaches Don’t Make You Do Push-Ups

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First of all, what is a coach?

A coach is an experienced and trusted advisor. A songwriting coach could be a more seasoned, experienced cowriter. It could also be a publisher or PRO representative (ASCAP, SESAC, BMI, SOCAN, etc.) who takes time to meet with you. It could also be a pro-songwriter coach from NSAI (Nashville Songwriters Association International) or GSC (Global Songwriters Connection), or Songwriting And Music Business. There are several good independent coaches out there, too.

A quality coach can help you get where you want to go more effectively and efficiently- if you’re willing to learn. Here are five specific ways songwriters can benefit from a coaching relationship.

1. Your coach knows things you don’t.

He may or may not have some #1s to his credit. He may or may not have a song on the charts this week. But the important thing is that he has been down the road ahead of you and can point the way. He’s seen more, learned more, and accomplished more than you have (yet). He can help accelerate your learning curve and avoid some of the pitfalls.

2. Your coach is not your mom.

A coach doesn’t have to see you at Thanksgiving or worry about the quality of the nursing home you’ll choose for her. Therefore, while a quality coach will not be mean, she has the freedom to be honest about your writing- as she sees it. She also doesn’t know your backstory. This means your writing has to stand on it’s own- singing about Jenny you dated in high school means ONLY what the song says. Your coach can’t fill in the gaps from your shared experience- your coach won’t know that Jenny was Prom Queen unless your song tells her.

3. It’s good practice.

If you want to get songs recorded on a professional level, you’re going to have to get comfortable throwing your babies into the real world. It can be scary and frustrating, but it’s something you need to get used to. A quality coach is a safe place to get that professional feedback. It’s a step into the music business where you’ll be challenged and have to toughen up. But it’s also safe because being “just okay” or even “bad” doesn’t close the door to them in the future. Your coach doesn’t expect you to be professional-level, and it’s not about, “Well, did you bring me a hit today?”

4. A coach is a potential entry point into the music business.

If you want to be a professional writer, you won’t get there alone. You need a network of relationships in the business, and a coach is a great start. A coach might recommend potential cowriters or publishers. He or she can be your champion- especially at places like NSAI or GSC. A coach might even write with you. Eventually. (But you should never be the one to mention it first.)  None of this is guaranteed, and when you sign up with a coach, do not expect it.  But if you EARN it, it MIGHT happen.

5. A songwriting coach won’t make you do push-ups.

I hate push-ups, and thankfully… no matter how bad my songs were… I’ve never had one of my songwriting coaches say, “drop and give me 20.”  So, there’s that.

Coaching has had a profound impact on my songwriting. There were coaches I only met with now and then (and sometimes only once). These included guys like Chad Green and Ralph Murphy at ASCAP. It also includes publisher Clay Myers, who gave such blunt, honest and challenging feedback that I wanted to throat-punch him 10 minutes into our first meeting… and wanted to write for him 30 minutes later.

It includes my songpluggers- Mike Doyle, Jesse Frasure and Scot Sherrod at Major Bob Music, Sam Ramage at RPM Music, and Paul Compton at Writers Infinity. These guys wouldn’t just pitch my songs. They encouraged me when I was down, they celebrated our victories, and they challenged me to write better.

Are there songwriting (or other) coaches who have made an impact in your life or on your writing? Give them some love in the comments!

Coaching can make a big positive difference in your songwriting. But let’s face it, even the best, most knowledgable songwriting coach in the world won’t do you any good if you’re not willing to do the work it takes to implement their suggestions and rise to their challenges. Seeking out a coach and then ignoring their advice only annoys the coach and wastes your time. Don’t do that, okay?

But, if you ARE ready to get some coaching, and you ARE ready to do the work, I have a cool opportunity for you. It’s called The C4 Experience, or C4X. It’s a series of workshops in January and February in 2016. What does “C4” stand for?

Creative
Commercial
Coaching
Community

The C4 Experience is about celebrating your creative spirit and sharpening your commercial songwriting, guided by expert coaching and encouraged by a supportive community.

Click on the image below or CLICK HERE TO FIND OUT MORE!

c4x

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.

Craft, Live Event

MvR Live Event: Cut/able Top 10 Workshop!

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MvR Top 10 2

On Thursday, October 23, 8pm-9pm Central, I’m hosting a live Top 10 Workshop.  I’ll answer questions and share extra content from my new ebook, “Cut/able: Lessons In Market-Smart Songwriting.” You’ll get “Cut/able” FREE with your ticket (a $20 value), so you’re ready for the workshop ahead of time.  Oh, and there are only 8 spots available, so don’t wait!

SO, WHAT IS “Cut/able?”

“Cut/Able: Lessons In Market-Smart Songwriting” is four powerful lessons for songwriters who want cuts and hits, who want to learn how to write commercially marketable songs, and who want their songs to connect powerfully with both fans and Music Row pros.

“Cut/able” exists to help you write songs that fit the commercial market- songs that are “market-smart.” Each of these four powerful lessons challenge you to take an in-depth look at current and recent country hits and compare them to YOUR best songs.

WHO IS “Cut/able” FOR?

*Songwriters who want cuts and hits.
*Songwriters who want to better understand market-smart songwriting.
*Singer-songwriters who want their songs to connect more deeply and successfully with their fans and radio.

“Cut/able” isn’t about “___, ___ and ___ is popular right now, so write that.” No, it’s much more than that. It’s about teaching you how to study the charts and radio so you can identify what kind of songs are market-smart at any time.

Not only that, “Cut/able” helps you add the characteristics of market-smart songs to YOUR songs.

Cut/able WILL ENABLE YOU TO:

Connect on a deeper level with the artist and listener through effective use of imagery. (Lesson #1: W.I.L.L.power: Proving Personality & Emotions Through Your Lyrics)

Give the artists what they need, give radio what it wants, and give the fans what they like by learning the importance of writing positive, uptempo, love/depth songs. (Lesson #2: P.U.L.’D To Success: The Value of Positive, Uptempo, Love/Depth Songs)

Develop skills to identify an artist’s “brand” so you can write songs that fit that brand and speak to the artist’s core audience. (Lesson #3: Neighborhoods: Where Will You Build A Home For Your Song?)

Pinpoint areas of opportunity within an artist’s catalog- slots you can fill with your songs, songs that fit the artist’s brand without being just like what they’ve already done. (Lesson #4: Fill The G.A.P.S.: Growth, Achievement, Preaching/Positioning, Songwriting)

I’d love to have you join me at the workshop!  If you can’t make it, “Cut/able” is available for sale on its own- and it’s super-helpful all by itself.

So, if you’re interested, just click on the link below to find out more and purchase tickets.  Remember, there are only a few tickets left!

I’M READY TO WRITE CUT/ABLE SONGS!

God Bless,

Brent

ARE YOU READY TO MAKE YOUR SONGS “CUT/ABLE?”

“Cut/Able: Lessons In Market-Smart Songwriting” is four powerful lessons for songwriters who want cuts & hits, who want to learn how to write commercially marketable songs, & who want their songs to connect powerfully with both fans and Music Row pros. If you want those results, these lessons can help. To get a FREE EXCERPT of “Cut/able,” just click on the image below:

photo-18

Become an MvR VIP!

If you like this blog and don’t want to miss a single post, or if you want special discounts on Man vs. Row products and services, become an MvR VIP!  Simply enter your email in the “Become an MvR VIP” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

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

Brent’s Instagram: Man_vs_Row

Live Event

Are You Ready To Know Music Row?

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Man vs Row

 If you have the dream of breaking into the music business as a songwriter or singer/songwriter, you’ve probably run into the following problems… or you will…

“I can’t get a PRO (ASCAP, SESAC, BMI) representative to help me. Publishers won’t listen to my songs. I can’t get a second meeting with my PRO or a publisher. Publishers will meet with me, but they won’t set me up with cowrites with their writers. What IS a PRO, anyway? And how can they help me?”

You can spend a lot of time guessing the answers or asking other songwriters who are in the same situation as you. The process of trial-and-error is really frustrating- you’re spending time trying to figure out how to get help from your PRO or a publisher when you’d rather be writing songs or doing something else that feels like you’re actually making progress.

PROs and publishers are an on-ramp to the music business highway, but we often find the on-ramp blocked by orange cones!

The day my PRO rep picked up the phone and called a publisher on my behalf was a big day in my career. He used his credibility and personal relationship with that publisher to open a door for me. It was a door I’d been knocking on but couldn’t open by myself. I ended up signing my first publishing deal with that same company, Major Bob Music.

On Monday, September 22, Man vs. Row presents “Know The Row featuring Chad Green.”

Chad spent 11 years as a Nashville Membership Representative for ASCAP (one of the three PROs – Performing Rights Organizations- in the US). He was responsible for signing numerous hit songwriters and publishers. He also oversaw the educational seminars for the Nashville office and created and implemented the successful ASCAP Writers Series workshops.

Chad was also the ASCAP rep who picked up his phone for me that day.

Chad has also spent years as a publisher. Currently, he is the Senior Creative Director for Daywind Music Publishing, where he oversees the day-to-day management of their staff of award-winning writers and producers focusing on multiple genres including Christian, Country, and Film/TV. Green is also responsible for the re-launch of Daywind’s Vital Records. Prior to his time with Daywind, he served as Creative Director for Word Music Publishing, a Warner/Curb company.

Chad is a real-deal publisher and PRO rep who has a heart to teach songwriters about the music business.

In this intimate, one-hour Google Hangout, Chad Green and hit songwriter Brent Baxter (“Monday Morning Church” by Alan Jackson) will discuss topics such as:

*How to get PRO and publisher meetings.
*How to get the most from your PRO.
*What makes a songwriter stand out to a PRO or publisher.
*The dos and don’ts of PRO and publisher meetings.
*and more…

But more than just being a fly on the wall, you’re invited to join in the conversation. Ask YOUR most burning questions to two industry professionals.

There are only a couple spots still open for this exclusive one-hour event, which will be from 8pm to 9pm Central on Monday, September 22, 2014. Find out more and reserve your spot NOW at:

Know The Row pic 2

Become an MvR VIP!

If you like this blog and don’t want to miss a single post, or if you want special discounts on Man vs. Row products and services, become an MvR VIP!  Simply enter your email in the “Become an MvR VIP” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

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

Brent’s Instagram: Man_vs_Row

Live Event

Are You Ready To Join Man vs. Row In The Top 10?

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Man vs Row

The listener’s reaction to your song is only as real as the characters in your song.

Do you have trouble getting your songs to connect with your audience on an emotional level? Do the characters in your songs sometimes feel flat, cliche, or vague? Do you ever wonder how some characters in hit songs seem so real that they leap out of the radio and into your heart while your characters often don’t?

If your goal is success in the music business (as a songwriter writing for cuts, a singer/songwriter working toward a career on radio, or an indie artist wanting better shows and better sales at the merch table), then making your characters REAL is a big deal. If that never happens, odds are your career never happens, either. At least not as big as it should.

Usually when a listener doesn’t connect with the character in a song, it’s because the songwriter hasn’t PROVEN the character to the listener. The listener doesn’t care about your character because the character doesn’t feel real.

The solution to this problem is usually imagery.

When used well, imagery makes your character believable. Pictures are proof. Imagery gets your song past the listener’s head and into the listener’s heart.

TELL me about an cute little abandoned shelter puppy, and I’ll be sad for a minute. SHOW me that cute little abandoned shelter puppy, and I’ll adopt it.

I’m a lyricist. Words are my thing. In a town full of incredible musicians and great singers, I’ve been able to land publishing deals (Major Bob, Peer Music, etc.), cuts (Joe Nichols, Lady Antebellum, Randy Travis, etc.), and hits (Alan Jackson, Gord Bamford) as a lyricist. And a big part of being a successful lyricist is knowing how to use imagery to create believable characters.

On Wednesday, September 17, from 8pm to 9pm Central, I’ll be hosting an exclusive online workshop to teach you how to use imagery to bring your characters to life.

There are only a few “Top Ten” tickets still available for this event, so don’t wait.  Click on the image below to find out more!

MvR Top 10 2

Become an MvR VIP!

If you like this blog and don’t want to miss a single post, or if you want special discounts on Man vs. Row products and services, become an MvR VIP!  Simply enter your email in the “Become an MvR VIP” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

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

Brent’s Instagram: Man_vs_Row

Live Event

Know The Row w/ Ruthie Collins & Brent Baxter

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Man vs Row

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

KNOW THE ROW w/ RUTHIE COLLINS & BRENT BAXTER

Do the following statements remind you of yourself?

I feel like Nashville and Music Row is a world away. I write good songs, but I can’t seem to “crack the code” of Music Row. What does an actual artist REALLY want? It has to be more than just “positive uptempo love” songs, right? Why do artists pass on really good songs? I have a few questions that nobody I know can answer. I need to talk to somebody actually IN the music business. I think if I understood how an artist really decides what to record, I could have a shot at getting cuts. But I’m either not getting heard- or not getting honest answers.

If you keep on guessing what gets a song cut, you’ll probably get pretty much the same results you’re getting now. Taking who-knows-how-much time trying to figure out the truth on your own while spending who-knows-how-much money demoing songs that will probably never get cut.

Trying to get a cut without understanding the music business is like throwing darts in the dark and trying to hit a bullseye. You can spend your time and money filling the air with darts and hoping to get lucky… or you can let Man vs. Row pull back the curtain and let some light in. Learning how Music Row works- getting an insider’s perspective, will put you in a much better position to get cuts or a record deal.

This is not about giving you a fish. This is about teaching you HOW to fish. This is not about saying, “Artist so-and-so wants ___ kind of song.” No, this is about learning to think like an artist- to determine what artists really want and need- and how you can write songs that fill that need.

On Thursday, August 21, I’m hosting a special “Know The Row” Google Hangout with new Curb artist, Ruthie Collins.

This is about helping you get on the path to where Ruthie and I are. She’s an artist on Curb Records preparing to send her first single to country radio. I’m a songwriter with several cuts under my belt- including a top 5 country hit in the US and a #1 in Canada.

You’ll be more than just a fly on the wall, though. You’re invited to join the conversation and ask your own questions as Brent and Ruthie discuss:

     *How getting a record deal is just the beginning.

     *How the songs on an album are really chosen (and why branding matters).

     *Picking a first single. The best way to get a cut on a new artist.

     *The process of writing songs for a record.

     *Why an artist needs to be proactive (and patient).

There are only 8 spots open for this intimate one-hour event, which will be from 7:30-8:30pm Central on Thursday, August 21, 2014. We will meet via Google Hangout. Tickets are only $97.

Reserve your spot NOW by clicking on the image below:

Know The Row w: Ruthie

PRAISE FOR BRENT’S ONLINE WORKSHOPS

Brent’s Skype clinic was great. He was so well organized that the information was very easy to follow, and he was very friendly and the environment was very interactive. His suggestions and ideas about songwriting were so motivational that I stayed up until 2am writing that night! He even sent all of us extra handouts and went past the scheduled time to make sure everyone had their questions answered. I appreciate his willingness to share his love of the craft with other writers. – Briana Murphy, Nashville

Your presentation was interesting and flowed well.  Your handouts and examples were good and helped.   What you covered in that short amount of time was very informative.  The development section has opened a new world to me. Would I do this again? Yes. – Mark Westendorf

Brent Baxter’s songwriting workshop gave me the ol’ inspirational shot in the arm that I was hoping for. I can’t wait to try out some of his recommended methods for digging up and developing ideas. He’s on top of the latest digital aids and is the most organized songwriter I know. This man knows his stuff and shares it with those who want to take their skills to the next level. — Janet Goodman, Miami

NEVER MISS ANOTHER MvR POST!

If you like this blog, don’t miss a single post!  Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

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

Brent’s Instagram: Razorbaxter75

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