Tag Archives: Alan Jackson

Do Business Like A Pro, Frettie, Know The Row

Should a songwriter hold back their best ideas?

July 29, 2018 Brent Baxter 3 Comments

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

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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.

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.”

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.

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.

P4P, Think Like A Pro, Write Like A Pro

Writing A Hit Song Without Living In A Music Town

May 7, 2018 Brent Baxter 3 Comments

You don’t have to live in Nashville, New York or LA to write a hit song.

You don’t even have to live in a major music city to get that song recorded by a major artist. At least, that’s my story. And I’d like to share it with you- along with a few lessons which might help you on your songwriting journey.

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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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As a songwriter living outside of Nashville, you may think it’s impossible to get a song recorded by a major country star. You’d be wrong.

Just because you may have a family, job, or other responsibilities that keep you from making a move to Nashville or one of the other major music centers, New York or LA, doesn’t mean it’s impossible to get a song recorded. It just means you have to…

…grow where you’re planted.

Now, don’t get me wrong, songwriters in Nashville have a decided advantage over those living elsewhere. They are close to the industry, it’s easier to make those all-important personal contacts in the business, and Nashville is a great place to learn the craft of songwriting. However, just because it’s harder doesn’t mean it’s impossible. At least not in my experience.

In 2000, after graduation from Arkansas State University, I was looking for jobs in Nashville, which, I hoped, would help in my pursuit of a songwriting career. However, the job offer came from a company in Little Rock, Arkansas, so Nashville would have to wait. But I knew I couldn’t afford to be idle in the meantime.

I couldn’t waste time waiting on an eventual move to Nashville.

I dove into the local music and songwriting scene in Little Rock, which by no means qualifies as a major music center. But my main cowriter from back home in Batesville was living there, too, so that was a start. Since I’m a lyricist and not a singer, I helped get my friend, Tim Meitzen, some gigs in town.

Now, what follows is a string of steps that by themselves may seem insignificant. But in the end, each of those forward steps led to my big break.

I was downtown one day and saw a flier for an upcoming songwriter’s night. Well, that was pretty rare in Little Rock, and I immediately signed up my co-writer, Tim. (That was part of my job as the non-singing half of our cowriting team.)

Tim played the writer’s round, and we met a few guys who were starting a publishing company based out of Little Rock. Through the course of that relationship, one of ‘em gave me a cd of songs by Erin Enderlin. Erin was a songwriter from Conway, Arkansas, who was currently in college at Middle Tennessee State University outside of Nashville.

Being active in the local music scene helped create my network.

Months later, I saw that Erin was going to be performing in Little Rock. She was in over her spring break, and I went out to catch her show. She’d been writing songs in Nashville and was having some success making contacts in the music business. I gave her a cd of some songs, and she liked them.

Well, when Erin came back over summer break, we started writing together. Then she went back to school and continued making music business contacts. Then, over Christmas break of 2001, I gave her a lyric I’d had for a few years for a song called, “Monday Morning Church.” She liked it and wrote a great melody for the lyric. She also made some tweaks to the lyric. Then she was back off to Tennessee.

Now, I ended up finally making the move to Nashville myself in March of 2002, but it was Erin’s contacts that made the cut of that song possible. She brought the song back to Nashville, where she had begun working with a publisher. He demoed the song, played it for Keith Stegall, and it was eventually recorded by Alan Jackson in March of 2004.

It all went according to plan. Kind of.

Looking back on it now, it might seem like a straight line to the record store, but that’s only in retrospect. At the time, I was plugging away, just trying to take advantage of every opportunity that I could either find or create. I chased several rabbits along the way, not knowing which one would lead somewhere.

And that’s the point. You don’t know which small step will eventually lead to where you want to go. No, the writer’s night at Starr’s Guitars wasn’t the Bluebird. No, Little Rock wasn’t Nashville. But taking those small steps, growing where I was planted, led to a hit song and the ability to do this for a living. At least for a while.

I wouldn’t presume to know exactly which steps you need to take. And I certainly don’t think I was so talented that Nashville couldn’t help but notice me. No, I know ultimately, it was up to God to open those doors. He had me in Little Rock at that time for a reason.

God has you where you are. And He has you there for a reason.

If I’d been idle, just waiting to get to Nashville, I might never have gotten here. But God had me there for a reason. And God has YOU were you are for a reason. Maybe it’s for music, maybe not. But I do know that where ever you are, it’s important to grow where you’re planted.

I hope my story encourages you to keep chasing your passions.

What about you? Do you live in Nashville, or are you chasing the songwriting dream from out of town? I’d love to hear from you!

Also, if you want to connect to a legit, real-deal music publisher- from anywhere in the world, I have a great opportunity for you.

Songwriting Pro’s next Play For A Publisher event is coming right up! Our guest is Tim Hunze of Parallel Music in Nashville, Tennessee. Tim has worked closely with several #1 hit songwriters, and he’s been getting songs recorded by major artists for years. If YOU have the songs, HE knows what to do with them!

CLICK HERE TO GET ALL THE DETAILS AND SEND IN YOUR SONG!

God Bless and Enjoy the Journey,

Brent

Frettie, Know The Row, Write Like A Pro

Your Song’s First Line Really Needs This!

April 9, 2018 Brent Baxter Leave a comment

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.

C4X, Write Like A Pro

Here’s how it feels to hear your song on the radio…

March 26, 2018 Brent Baxter 2 Comments

I’ll never forget the first time I heard one of my songs on the radio.

“Monday Morning Church” had just been released by Alan Jackson, and it was starting to get some spins. It was to be featured on a local (Nashville) radio station’s song-vs-song challenge (a “Friday Night Knockout” kind of thing). They kept promoting it, so I knew it was coming on around 8pm that night…

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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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A good friend had just arrived from Little Rock, and was in the bathroom when the opening fiddle started playing on the radio in the living room. I yelled, “It’s on!” and she came bolting out of the bathroom- tugging up her sweatpants and almost putting on an indecent display as she tried not to trip over herself in her excitement and hurry.

The song was cranked up, and we were totally amped up. We laughed, hugged, and paced around the living room as the song played. I had FINALLY heard my song on the radio! It was an unbelievable feeling. “Wow… he REALLY released it! It’s REALLY on the dad-gummed RADIO!”

I want YOU to have that feeling, too.

Don’t say that it can’t happen to you. Sure, the odds are long. The chance of success are small, I won’t deny that. But I’m just an ‘ol boy from Arkansas. I didn’t have any special connections in the music business. I barely knew anybody when I moved to Nashville. All I brought with me was a dream, a knack for words, and a good work ethic. And I brought a song that filled one of the G.A.P.S. in Alan’s catalog.

What does G.A.P.S. mean?

G.A.P.S. is a memory device I use to remind me where to aim when I’m trying to get a song on an artist’s album. It points out where there might be opportunity- where there might be an empty space (a gap) that my song can fill. It stands for:

G: Growth
A: Achievement
P: Preaching / Positioning
S: Songwriting

In short, “Growth” reminds me to write based on where the artist is GOING. Artists change over time, they evolve, and it doesn’t do me much good to write a song that fits where they’ve been. They need songs that fit where they’re going.

“Achievement” reminds me to try and write something that will take the artist’s career up a level. Most artists are always trying to climb the ladder of success, and they want songs that aren’t just going to maintain their current career. They want songs that are going to win awards, raise their visibility, and grow their career.

“Preaching” is when an artist speaks to THEIR crowd, THEIR listeners. It’s the old saying of “preaching to the choir.” They want songs that their established fans will love. “Positioning” is when a song identifies who an artist is- what their brand is. It says, “I’m a so-and-so kind of person/artist. If you want this kind of music, come to my show.”

“Songwriting” reminds me to be aware of what kind of song the artist writes himself, and what kind of song he records that somebody else writes. I have a much better chance of getting a cut if I write the kind of song that the artist doesn’t write, but is looking for.

In the case of “Monday Morning Church,” it filled one of the G.A.P.S. in Alan’s catalog. It was a topic and emotion he hadn’t covered before. It was some new material that still fit within the general scope of what he does. It was Alan’s kind of country sound, but the lyric content was new for him.

So the next time you’re writing a song specifically for an artist (or figuring out which of your existing songs to pitch for an artist), think about how you can fill the G.A.P.S.

If you want to take a deeper dive into G.A.P.S. as well as some other ways to increase YOUR chances of getting a song recorded, I have a great opportunity for you.

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

CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT IN THIS EXCLUSIVE EVENT – BUT THE DEADLINE TO JOIN IS THIS WEEK!

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.

Building A Hit, Write Like A Pro

Bring One Of These To Your Next Cowrite (Or You’ll Be Sorry)

December 26, 2017 Brent Baxter Leave a comment

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite. It was a nightmare…

I was signed with Major Bob Music at the time, and “Monday Morning Church” had recently been a top 5 country hit for Alan Jackson. But in spite of having a publishing deal and a hit under my belt, I was still pretty much a newbie trying to figure things out. (I still feel that way to be honest.) Anyway, Major Bob hooked me up to cowrite with a legit hit songwriter. This guy had many cuts and hits to his credit, and I was honored to get in a room with him.

We met at his publishing company on Music Row. After a little chit chat, he got that familiar look on his face.

“So… got any ideas?” No. Not really.

I mean, I had a bunch of hooks and some ideas, but nothing great. Nothing I was busting a gut to write. And I apparently didn’t have anything that impressed him, either. After I threw out several “shoulder-shruggers,” he said, “Man, we need an idea like ‘Monday Morning Church.'” Too bad. I must have left my stack of “Monday Morning Church” ideas at home that morning.

We chatted some more, eventually moving out to the porch where he smoked a cigarette and I watched my hopes of making a good impression going up in smoke. We called it a day. I call it a failure of preparation on my part. We’ve never written again. For me, I was embarrassed and in no hurry to risk wasting his time again.

Now for the good cowrite.

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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 met Byron Hill at Chad Green’s ASCAP Country Workshop. And, if I remember correctly, Carla Wallace at Big Yellow Dog Music also helped connect us. We got a cowrite on the books, and I was pumped. Byron has written a bunch of hits including, “Fool Hearted Memory” for George Strait, “Born Country” for Alabama, “Politics Religion & Her” for Sammy Kershaw and many, many more.

This time, I did my homework. I pulled together several ideas and lyrics that I thought he’d like. I really wanted to make a good impression on him. When Byron asked, “So… got any ideas?” I was ready. He loved a lyric sketch I brought in called, “Ring On The Bar,” and we were off to the races.

This first cowrite led to some success and more opportunity. While “Ring On The Bar” hasn’t been a big hit yet, it’s been recorded by John Pierce (RCA), James Dupre’ (The Voice), and has been on hold by several artists, including Brad Paisley.

But the big thing is that Byron and I went on to write several more songs together, including the 2014 Canadian Country Music Awards Single Of The Year (and my first #1) “When Your Lips Are So Close” with artist, Gord Bamford.

Good thing I showed up with a good idea on that first day, huh?

And that brings me to the point of these two stories. I believe that a strong idea is the most valuable thing you can bring to a cowrite (other than Tom Douglas). “Well,” you might say, “how come these big-time songwriters didn’t throw out any of THEIR ideas?” Here’s why:

A great idea is sometimes the only thing a newer songwriter has to offer a seasoned pro.

Let’s face it, if you get to write with an established pro songwriter, what do THEY need from YOU?

They have a more valuable name in the business. They have more connections. They most likely bring a higher level of songwriting skill. The only thing they need is a fresh, cool idea or melody. Unless you’re swinging around a big fat record deal, your job is to bring in the idea or the start of a song.

If the pro has a great idea, he surely has several proven, established cowriters or artists who could write it with him. Why risk giving 50% of HIS idea to a songwriter who might not contribute very much?

Let me tell you, it’s more fun (and profitable) when you have a strong answer for “got any ideas?” – and I want you to be prepared when that question comes your way. And that question doesn’t need a good answer ONLY if you get a pro cowrite. That question comes up in EVERY cowrite. Every time you step into the writing room, you have the opportunity to blow away your cowriter with a great nugget or idea.

Feeling like I have a stack of strong ideas allows me to walk into any cowrite with confidence. We might not always write my idea, but I came prepared… and my cowriter knows it and appreciates it.

That’s why, 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. Always have an answer for, “So… got any ideas?” 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. Stop leaving your success to gather dust, unfinished, in some old notebook. 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- THE DEADLINE TO RESERVE YOUR SPOT IS THIS SATURDAY!

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE OF THIS GREAT OPPORTUNITY. THE DEADLINE TO RESERVE YOUR SPOT IS SATURDAY, DECEMBER 30!

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.

Do Business Like A Pro

It Takes A Lot Of Songwriting Swings To Get A Hit

May 30, 2017 Brent Baxter 2 Comments

Don’t give up on your song if the first publisher doesn’t love it. And don’t give up on that publisher if they don’t love your first song. You usually have to swing the bat a lot of times to get a hit. Here are a few of my stories that prove that.

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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 hope these stories from my songwriting journey inspire you on YOUR journey. And there are some lessons in this we’ll get to at the end.

*Back before I had any success as a songwriter, I cold-called Major Bob Music, a publisher. They said I could drop off a comp (a comp is a few songs on a CD). I never heard back from them. Months later, a mutual contact in the industry, Chad Green, recommended me to them. We eventually sign my first publishing deal.

*My first meeting at ASCAP was with Mike Doyle. He saw potential in a couple of songs, but he probably forgot about me the minute I walked out of his office. About five years later, he’s my songplugger at Major Bob.

*Years later, a different publisher didn’t believe in my song, “Crickets” enough to demo it. My cowriters did a guitar/vocal, anyway. I pitched it to Joe Nichols’ label. They passed. More pitches. Eventually, it got put on hold for Easton Corbin. Didn’t get cut. Joe Nichols got a new record label. Pitch. Cut. Title track to his album, “Crickets.”

*I had a song idea and lyric called, “Monday Morning Church.” This was back in Little Rock, Arkansas. I showed it to (at the time) my main cowriter. He never did anything with it. I showed it to another potential cowriter. Nothing happened. Then I met Erin Enderlin. She loved it. We wrote it, and Alan Jackson made “Monday Morning Church” a top five hit.

What does this mean for you?

It means you shouldn’t give up!

What if I had given up on “Monday Morning Church” because the first few potential cowriters passed on it? What if I’d given up on “Crickets” because my publisher didn’t love it? What if I had given up on Major Bob Music because they apparently didn’t love the songs I dropped off or because one of their songpluggers didn’t do backflips over me five years earlier?

Nobody will believe in you or your music… until they finally do.

I’ve heard stories of producers who had to hear a song 3, 4 or 5 times on separate occasions before they finally “got it” and cut it. What if those writers had given up after only one try?

The people who succeed in the music business are the ones who don’t give up. I know the feeling. I know it’s frustrating. You write a song that you really believe in… and the first publisher you play it for skips to the next song halfway through the chorus without any comments. Or you finally get that first publisher meeting- and they say you need to “dig deeper.”

It hurts.

But if you want to be a pro, you have to act like a pro. And pros will take an honest look at themselves and their writing. Then they’ll get out the guitars and write another song. Then demo another song. Then pitch another song. Then call another publisher. Eventually, they’ll call the same publisher back. Or they’ll pitch that same song again. Why? Because…

Pros know that their songs probably won’t be “the right song at the right time” the first time.

We also know WE probably won’t be the right songwriter at the right time the first time, either. I sure wasn’t the right songwriter the first time I met Mike at ASCAP. But I WAS the right songwriter at the right time a few years later at Major Bob.

You’ll never hit home runs if you don’t keep swinging the bat.

So, what about you? Is there a song you believe in that’s been passed over? Maybe it’s time someone hears it again. Maybe you’ve been passed over as a writer. Maybe it’s time to put yourself out there again.

Let me help.

I’m hosting Songwriting Pro’s Play For A Publisher event next month. Now that I’ve done a few of these, I’ve seen some cool stuff happen. I’ve seen a songwriter who didn’t make it to one Play For A Publisher – make it to the next. I’ve seen the same song NOT make it to one Play For A Publisher, then make it to the next.

Maybe THIS time is the right time for you. CLICK HERE to learn more, submit your song, and take another swing.

Tim Hunze is coming back to do another Play For A Publisher event in June! He’s a successful publisher with Parallel Music in Nashville, Tennessee. Tickets are on sale now, and space is limited. CLICK HERE to check out all the details and submit YOUR song for Tim!

God Bless and Enjoy the Journey,

Brent

Biz, Do Business Like A Pro, Write Like A Pro

You’ll Probably Regret Not Bringing This To Your Next Cowrite

July 11, 2016 Brent Baxter 2 Comments

This is an encore edition of a recent blog post. I’m re-releasing it for two reasons: 1) it’s a really important topic and 2) I have a great opportunity for you at the end of it. Thanks! -Brent

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.

We met at his publishing company on Music Row. After a little chit chat, he got that familiar look on his face.

“So… got any ideas?” No. Not really.

Now for the good cowrite.

I did my homework. I pulled together several ideas and lyrics that I thought he’d like. I really wanted to make a good impression on him. When Byron asked, “So… got any ideas?” I was ready. He loved a lyric sketch I brought in called, “Ring On The Bar,” and we were off to the races.

Good thing I showed up with a good idea on that first day, huh?

And that brings me to the point of these two stories. I believe that a strong idea is the most valuable thing you can bring to a cowrite (other than Kris Kristofferson). “Well,” you might say, “how come these big-time songwriters didn’t throw out any of THEIR ideas?” Here’s why:

A great idea is really the only thing a newer songwriter has to offer a seasoned pro.

Let’s face it, if you get to write with an established pro songwriter, what do THEY need from YOU?

If the pro has a great idea, he surely has several proven, established cowriters who could write it with him. Why risk giving 50% of HIS idea to a songwriter who might not contribute very much?

Feeling like I have a stack of strong ideas allows me to walk into any cowrite with confidence. We might not always write my idea, but I came prepared… and my cowriter knows it and appreciates it.

I want YOU to have that confidence – and those results, too. I want your cowriters to be glad they showed up to write with you. But I DON’T want you to have to go through years of trial, error and the occasional embarrassing cowrite like I did! That’s why I dive deeply into the topic in my upcoming web-workshop series in August called “Song Ideas: From Blank Page To Finished Lyric.”

This course is designed to take you from a blank page to a new song idea to a fully developed concept to a finished lyric. You’ll learn a repeatable process you can use to discover and develop strong song ideas again and again. And you’ll also learn how to frame and focus those ideas for maximum commercial impact and appeal.

This course is INTERACTIVE! You won’t sit back and just stare at me talking for an hour-and-a-half. You won’t be some number on my dashboard. No. We’ll be face-to-face. You’ll have exercises to practice outside of our sessions. I’ll ask you questions. You can ask me questions. We’re in this thing together. That’s why I keep the workshops small- I want to get to know YOU!

Tickets for this event are on sale NOW. There are only 11 spots open, and I expect them to go fast- so don’t wait too long and miss your chance to take your songwriting to the next level!

I look forward to seeing you in August- CLICK HERE or on the image below to learn more and reserve your spot now!

God Bless and Enjoy the Journey,

Brent

Do Business Like A Pro, Write Like A Pro

A Great Way To Get Noticed As A Songwriter

May 16, 2016 Brent Baxter 25 Comments

What’s worse than having someone hate your song? Having them immediately forget it.

It’s easy to listen to today’s country or Christian (or pop, or…) radio and think, “Wow – most of these songs are written within a pretty small box. Most of them are pretty similar, and there aren’t many risks being taken. I guess if I want cuts, I have to play it safe, too.”

Or maybe you get so much advice about, “don’t make the singer look bad,” “don’t alienate the listener, etc.” (and I admit I’ve said that, too), that you only want to play your “safe radio” songs for publishers or other people in the biz.

I think playing it safe is sometimes a big mistake.

Nashville is all stocked up with safe, sound-alike songs. We don’t need yours. We already have writers and artists that are really good at writing what’s already on the radio. And they’re more connected than you. Plus, most other aspiring hit songwriters are playing the same kind of stuff all up and down Music Row.

You can’t stand out in a sea of sameness by bringing in more of the same.

You need to bring something new to the table. Fresh melodies, fresh ideas, crazy tracks. Bottom line: they’re not looking for what they already have. Here’s a piece of advice:

Write some songs that feel “too real for radio.”

Write some songs that are so honest that you feel a little uncomfortable playing them across the desk from a publisher. Don’t just write what you think a songwriter would say. Tell the truth. The truth- the raw, honest truth- is always fresh and relevant.

The point is not to make the publisher or whoever stand up and shout, “This is so great, it’s gonna change our whole format!” No, the point is to make the listener think, “Wow. This person is a songWRITER.” Let them know that you can access honest, real emotions. Yeah, sure- also bring in a song or two that shows them you know how to play in the safe commercial sandbox. But it’s really important to show them that you can draw on things a lot deeper than pickup trucks and riverbanks.

The honest line you want to rewrite because it’s “too honest” is exactly the line that will make the listener feel something.

After all, didn’t you feel something when you wrote it? Chase that! If you felt an honest emotion, maybe the listener will, too.

It’s better to be too real than too safe.

I’m not talking about adding in shock value just for the sake of shock value. No, I’m talking about fearless honesty. Maybe these aren’t the ones that’ll get cut. It’s a success if the publisher says, “Wow. That’s great. It’ll never get on the radio, but it’s great.” It might feel like a back-handed compliment, but it’s actually a very good compliment.

I had a publisher tell me once, “Too many writers get so concerned about what will or what won’t get on the radio that they knock all the cool stuff off their songs in the writers room. Don’t worry about going too far- that’s MY job! I can always reign you in, but I can’t draw you out.”

Oh, and the comment about, “It’s great, but it’ll never get on the radio…”

That’s what people said about my song, “Monday Morning Church.” And that song became a top 5 single for Alan Jackson.

Hmm…

I’d love to hear your thoughts on this. Have you gotten a “too real for radio” reaction? Or a “too vanilla” reaction? Please leave a comment!

If you want to become a songwriting pro (in how you think, write songs or do business), then a great place to start is RIGHT HERE. I want to help you on your songwriting journey. I’ve been in the music business for years, and I’m here to help you get the cuts – and avoid the bruises. CLICK HERE TO START HERE.

God Bless and Enjoy the Journey,

Brent

Biz, Do Business Like A Pro, Write Like A Pro

The Most Valuable Thing You Can Bring To A Cowrite

May 9, 2016 Brent Baxter 9 Comments

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.

We met at his publishing company on Music Row. After a little chit chat, he got that familiar look on his face.

“So… got any ideas?” No. Not really.

Now for the good cowrite.

Good thing I showed up with a good idea on that first day, huh?

A great idea is really the only thing a newer songwriter has to offer a seasoned pro.

Let’s face it, if you get to write with an established pro songwriter, what do THEY need from YOU?

If the pro has a great idea, he surely has several proven, established cowriters who could write it with him. Why risk giving 50% of HIS idea to a songwriter who might not contribute very much?

Feeling like I have a stack of strong ideas allows me to walk into any cowrite with confidence. We might not always write my idea, but I came prepared… and my cowriter knows it and appreciates it.

I’d love to hear your thoughts on this. Have you had similar success or failures? Please leave a comment!

God Bless and Enjoy the Journey,

Brent

Craft

Use Small Details To Make Your Song More Believable

February 8, 2016 Brent Baxter 4 Comments

There is power in finding images that go deeper than the obvious or cliche images.

I had a publisher tell me once, “write about the truck from the INSIDE THE CAB, not from the OUTSIDE.”

“The truck,” of course, is a metaphor for the situation of the song- the song’s emotion and story. (Funny how I’ve always remembered that metaphor- it’s probably because it’s wrapped in an image. Hmmm…)

Too many writers (and I was obviously guilty of this) write about “the truck”- the situation in the song- from the outside. They describe it using imagery and details that anyone who isn’t IN that situation could use. It’s the obvious ones. And, usually, it’s the cliche ones.

Our job is to dig deeper.

We need to use our memory, our imagination, research, and whatever we have at our disposal (including our cowriters), to write from the inside of the truck.

That’s what I tried to do with my Alan Jackson cut, “Monday Morning Church,” and it made a big difference.

Once the situation was decided- the man had lost his wife, who was the more spiritual of the two and his anchor- the trick was to figure out “what does this look like from the inside?” The results were the opening lines:

You left your Bible on the dresser so I put it in the drawer

‘Cuz I can’t seem to talk to God without yelling anymore

Yes, the part about yelling at God is a bold, raw, and real way to start off a song. But the first line is really important, too. “You left your Bible on the dresser so I put it in the drawer,” balances the big, bold statement yelling at God by giving the listener something small, real and believable. Plus, the Bible sets up “God” in the second line.

Use inside details, but be sure and use details that make sense to the listener. Be inside but not too inside. In our truck analogy, write from inside the cab, which people can understand. Don’t write from so far inside the truck that you’re in the carburetor and only a mechanic knows what you’re talking about.

Also, keep the images relevant. They should add to our understanding of the characters or story, not just be filler. In our “Monday Morning Church” example, the fact that she left her Bible on the dresser is very telling. It’s HER Bible. She reads it often enough that she keeps it out where it’s handy. The next lines show the listener, in pictures, that the singer’s putting it out of his sight because he’s too angry at God. If I’d started off with something like…

“You left your makeup on the counter, so I put it in the drawer

And I can’t seem to talk to God without yelling anymore”

…the first line wouldn’t be nearly as useful. Yes, it tells us that she left her makeup, but it doesn’t set up the spiritual aspect of her character or of the song. It’s just a random image that doesn’t “point to the point” of the song.

So next time you write, take your time. Close your eyes and imagine the situation. Then climb into the truck.

What are some songs that do a good job of writing from inside the “truck?” Do you find that this comes naturally to you, or is it a struggle? Please leave a comment- I’d love to hear your thoughts!

Since strong imagery is such an important part of professional-level songwriting, I’ve put together a course on imagery. It’s called, “Use Imagery To Supercharge Your Songwriting (Like The Pros Do)” and it’s available now!

By the end of the course, you’ll have the basic skills to:

Effectively use both literal and figurative imagery.
Make your story come to life using imagery.
Prove your character’s personality using imagery.
Make your listener connect to your character’s emotions using imagery.
Hook your listener in the song’s first few lines using imagery.
And to begin more songs (more easily) using imagery exercises as the start of your songwriting process.

If you’re ready to “Use Imagery To Supercharge Your Songwriting (Like The Pros Do)” CLICK HERE or on the image below.

God Bless,

Brent

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?

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

2. Your best work creates better opportunities.

3. There’s more where that came from.

4. The clock is ticking.

You don’t have to live in Nashville, New York or LA to write a hit song.

As a songwriter living outside of Nashville, you may think it’s impossible to get a song recorded by a major country star. You’d be wrong.

…grow where you’re planted.

I couldn’t waste time waiting on an eventual move to Nashville.

Being active in the local music scene helped create my network.

It all went according to plan. Kind of.

God has you where you are. And He has you there for a reason.

I hope my story encourages you to keep chasing your passions.

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?

Songs are basically 3-minute movies.

Imagery.

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

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

I’ll never forget the first time I heard one of my songs on the radio.

I want YOU to have that feeling, too.

What does G.A.P.S. mean?

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite. It was a nightmare…

“So… got any ideas?” No. Not really.

Good thing I showed up with a good idea on that first day, huh?

A great idea is sometimes the only thing a newer songwriter has to offer a seasoned pro.

Don’t give up on your song if the first publisher doesn’t love it. And don’t give up on that publisher if they don’t love your first song. You usually have to swing the bat a lot of times to get a hit. Here are a few of my stories that prove that.

What does this mean for you?

It means you shouldn’t give up!

Nobody will believe in you or your music… until they finally do.

It hurts.

Pros know that their songs probably won’t be “the right song at the right time” the first time.

You’ll never hit home runs if you don’t keep swinging the bat.

Let me help.

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.

“So… got any ideas?” No. Not really.

Good thing I showed up with a good idea on that first day, huh?

A great idea is really the only thing a newer songwriter has to offer a seasoned pro.

What’s worse than having someone hate your song? Having them immediately forget it.

I think playing it safe is sometimes a big mistake.

The honest line you want to rewrite because it’s “too honest” is exactly the line that will make the listener feel something.

It’s better to be too real than too safe.

Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.

“So… got any ideas?” No. Not really.

Good thing I showed up with a good idea on that first day, huh?

A great idea is really the only thing a newer songwriter has to offer a seasoned pro.

There is power in finding images that go deeper than the obvious or cliche images.

Our job is to dig deeper.

Helping songwriters turn pro.