Are you hurting your song’s chances of being recorded by a major artist because you’re making it “too old?”  You might be- without even knowing it. 

I’m not talking about how long ago your song was written.  I’m talking about how old your lyrics make the singer.  You see, most artists sing “young.”  They sing from a young point of view, no matter how old they really are.

Songs that written “too old” are too hard to get cut.

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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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It’s amazing how one line in a song – or even one or two lines in your song might disqualify it for most artists.  And you might not even notice those lines or words because they make sense in the story – or because it’s your story.  But remember, you want the singer to make your song their own story.

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

1. Shacking up.

Saying things like “you came home” or “you’re moving out” means the singer and their lover/ex-lover are living together.  That’s an adult situation, and a younger singer may not sing that.  Does your song HAVE to say the person is moving out?  Or are you just writing that line because you’ve heard it done in so many songs?  Is there another way to say it?

2. Kids.

You might have a nice love song that works for a singer of any age, but as soon as you mention kids, the singer has to be old enough to have kids.  It definitely puts the singer in a more mature phase of life.   Are kids really necessary to your song?  They might be.  But it they aren’t, you could be unnecessarily hurting your chances of getting that song recorded.

3. Drinking.

If you’re drinking on the riverside, you might just be 17 or 18.  If you’re drinking in a bar, you’re at least 21, unless you have a fake ID.  If it’s a drinking song (and a lot of those get cut), you can’t leave out the drinking.  But if it’s an otherwise young love song, do you NEED that one line about a beer?  Is the line worth the limitation?

4. Working.

Have you noticed how almost no one in country music has a job these days?  “Worked all week” or “my boss is a jerk” makes the singer seem older.  Maybe your bad week at work is WHY you want to blow off some steam at the party- and the party is the point of the song.  That’s fine.  But do you have to put that “work” line in your song?  Is there a way to write a compelling line that leaves it more open?  The point of your song – the party – doesn’t change.  But who all can cut it might change for the better.

5. Old love.

Talking about how you’ve been together “all these years” may be true for the songwriter and his wife, but it might not make sense for the 20-year-old singer who is selling tickets to 18-year-old girls.  If the point of the song is that it’s an old love, that’s fine.  But if the point is just that you love the girl, maybe you don’t need that one line that ages the singer.

Again, none of these things are bad, and I’m not saying you should avoid them in all your songs.  That’s not the case.  Some songs need these things.

But I want make sure that if you decide to use any of these in your song, that you do it intentionally, with purpose, knowing the effect it might have on the song’s ability to get recorded by a major artist.

Speaking of getting your songs recorded, I have a great opportunity for you.

In the month of January, I’m hosting a transformative online songwriting event called, “Building A Hit: From Blank Page To Finished Lyric.” In this powerful 4-week online workshop, I reveal:

How to find great song ideas. Kill writers block and fill up that blank page again and again.

How to focus your ideas for maximum impact. Don’t waste any more great ideas by leaving them under-developed or confusing.

How to frame your ideas for maximum commercial appeal. Having a great, compelling idea isn’t enough. You have to build your song in a way that an artist will want to sing it and an audience will want to hear it.

How to finish your song. Stop leaving your best ideas unfinished! Nobody loves a song they never hear, and a song that’s only 99% finished will never get recorded, get on the radio, or change your life.

If you want to join me on a journey that will help you think and write like a pro songwriter, click on the link below. Spots are limited for this event, and I only host it twice a year. Miss out, and it’s gone for another 6 months. Don’t delay. Transform your songwriting today..

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE THIS GREAT OPPORTUNITY.

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 & a top 10 in Texas… so far.   He also hosts a top-rated songwriting and music business podcast called, “The C.L.I.M.B.” which can be found on iTunes or your favorite podcast app.

Commercially-speaking, positive songs are in higher demand than negative songs. 

That’s not really a surprise if you listen to the radio.  Most of the songs are happy love songs or fun party songs.  But what if most of the titles and ideas you come up with are sad or negative?  What do you do then?

Turn that negative title into a positive idea.

________________________________

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 believe that most titles that sound negative can be used for a positive song if you’re creative enough.  And if you want to be better songwriter, your job is definitely to be “creative enough.”

Here’s an example. “You Broke My Heart” could mean “You Broke My Heart out of it’s chains, You Broke My Heart of stone wide open so I could love again.” “I Hate You” could be a love song about how “I Hate You took so long to come into my life. I Hate You didn’t grow up next door so I could’ve loved you since I was a kid, etc.”

Same negative titles, new positive angles.

I had an old idea called, “Minutes From A Memory” about a guy that knew his girl was about to leave him and become a memory.  Thankfully, my cowriter, Jason Cox, saw it as a guy knowing he and his girl are about to make a great memory.

That’s so much more commercial! As a matter of fact, my publisher at the time liked it enough to pay for a demo of it and pitch it around.

That’s a positive result of a positive spin!

I confess to being a negative-first kind songwriter.  Maybe pain is just more interesting.  Who knows? But I’ve really worked on not settling for a negative idea just because it’s my first impression of the title.  Not only are those negative-title-positive-songs more commercial because they’re positive, they’re also more interesting because you have to dig deeper into your idea and twist it more than most writers will.  That’a win-win!

Dig deeper.  Turn some of your negative titles into positive ideas. Try it. If you don’t like the results, you can always go back to your original angles. There’s nothing to lose, but a whole lot to gain!

Speaking of having a whole lot to gain, I have a great opportunity for you.

In the month of January, I’m hosting a transformative online songwriting event called, “Building A Hit: From Blank Page To Finished Lyric.” In this powerful 4-week online workshop, I reveal:

How to find great song ideas. Kill writers block and fill up that blank page again and again.

How to focus your ideas for maximum impact. Don’t waste any more great ideas by leaving them under-developed or confusing.

How to frame your ideas for maximum commercial appeal. Having a great, compelling idea isn’t enough. You have to build your song in a way that an artist will want to sing it and an audience will want to hear it.

How to finish your song. Stop leaving your best ideas unfinished! Nobody loves a song they never hear, and a song that’s only 99% finished will never get recorded, get on the radio, or change your life.

If you want to join me on a journey that will help you think and write like a pro songwriter, click on the link below. Spots are limited for this event, and I only host it twice a year. Miss out, and it’s gone for another 6 months. Don’t delay. Transform your songwriting today..

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE THIS GREAT OPPORTUNITY.

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 & a top 10 in Texas… so far.   He also hosts a top-rated songwriting and music business podcast called, “The C.L.I.M.B.” which can be found on iTunes or your favorite podcast app.