Tag Archives: Hit Songs

Biz

Encore: The Band Is A Brand. Are You Brand Conscious?

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Here’s an encore of one of my very first blog posts.  I’m sharing it for two reasons: 1) a lot of you have started following this website since it was originally posted (thanks!) and might find this post helpful, and 2) I need to lay low this week.  I’ve been getting so busy with Songwriting Pro stuff that I’ve neglected some very important things (namely Bible study and prayer time).  Plus, Emily and I are adopting and there is a TON of paperwork (and even more need for Bible study/prayer time).

Thanks for understanding.  I hope to be back in the swing of things next week!

God Bless,

Brent

Man vs. PRO

This is the part of songwriting I didn’t know I was signing up for- the business, strategic side of things. Sure, I have my MBA, but I really just wanted to write my songs and have them pitched by somebody to somebody and- whammo! Cuts. But the world is how it is, not how I wish it were. So now I think about artists as brands and try to act accordingly.

An artist is a brand, and they and their team (label, promotion, management) work really hard to position their brand (artist) into a certain place in the market. In business terms, they want to increase their market share- on radio and in our wallets. Everything supports the brand image: album artwork and photos, songs, videos, etc.

Artists are looking for songs that fit their brand.

Whether you are writing FOR or WITH a certain artist, it’s important for you to understand their brand. Ask yourself: who is their audience- who do they speak to? What message do they send to their fans? How do they deliver this message? How do they want to be perceived? This goes deeper than just “traditional country” or “pop country.”

If you can write a song that really fits an artist’s brand, you have a great opportunity. Think about “Real Good Man” for Tim McGraw. What a great song for him. Musically, it fits him well. Great feel, and Tim can sing it. Lyrically, that’s totally his persona- a real bad boy, but a real good man.

The artist is Coke. Their songs are Coke Classic, Cherry Coke, Coke Zero, Diet Coke, etc. They want songs that both reinforce and expand their brand. They may want Cherry Vanilla Coke or Raspberry Coke or something. Your song needs to fit on the same shelf. Your song may be the best $200 bottle of wine to be found, but it doesn’t matter. That artist is Coke.

Taco Bell doesn’t sell hamburgers.

My buddy, Tim Meitzen, told me one time, “They only have about three ingredients, but they keep putting them in different shapes!” That’s how some artists are. They keep giving you the same basic ingredients, but they put a little different spin on them. And when they do add something new, say, a Dorito as a taco shell, it still makes sense for the brand.

Luke Bryan is married with children. (So was Al Bundy, but that’s a different topic altogether.) Anyway, Luke has a family, but you wouldn’t know it from listening to his music. His music presents him as a Spring Breakin’ tailgatin’ good ‘ol party-boy who loves the ladies. I believe there’s only one song in which he has a wife and kids. But that was on his first album before he really found his image/voice/brand. And it wasn’t a single. Since he found his image, he has really stuck to it. And who can blame him? It’s working great.

It’s not about what you think an artist should sing or who they should be

… or where you think they should go as an artist. Unless you’re in their circle of influence, it doesn’t really matter what you want. Sorry.

I ran into a branding issue with Lady Antebellum.

Back before Lady A existed, I wrote a song with Hillary Scott, Casey Koesel, and Jon Armstrong called, “A Woman Scorned.” It’s a fun, rocking, fairly aggressive song that shows off Hillary’s vocals really well. Later, when she, Charles, and Dave formed Lady Antebellum, they started playing our song in all their shows (it’s on YouTube). They even cut it for their debut album. Score! Right? Wrong. When it came time to deciding which last couple of songs wouldn’t make the record, “A Woman Scorned” was reduced to a bonus track. That was disappointment with zeroes on the end of it. But after hearing their album, I understood why. It didn’t fit their brand. It was too aggressive. Even though the song had served them well and helped them get their deal, it didn’t fit the image. I couldn’t argue with that.

The lyric and melody BOTH have to work for the artist.

I’ve mainly focused on lyrical content, but the music has to fit the artist’s brand, too. Miranda Lambert isn’t likely to cut a song that sounds like Shania Twain no matter how well the lyric fits her. Ask yourself: is this song the right kind of pop? The right shade of country?

And it’s important to remember that these brands change over time. They aren’t locked in forever. Lonestar was one thing before “Amazed,” and another thing after. Toby Keith was one thing before “How Do You Like Me Now” and another thing after. Kenny Chesney had a slower, but no less important transition to beaches and nostalgia. So don’t lock a brand in your mind with super glue. Make sure to look for the shifts that are inevitable.

Agree? Disagree? I’d love to hear your thoughts.

God bless and enjoy the journey,

Brent

Biz, Craft

Replay Wednesday: Bullseye

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Replay Wednesday

(Here’s a Man vs. Row post from back in the archives.)

You walk into a room called “Country Music” and Mr. Music Row hands you darts.  He says, “These darts are your songs.  Hit a bullseye with a dart, and that song gets cut.”  You look at the wall on the far side of the room, and you notice that there are bullseyes of all different sizes.  Some are fairly large, and some are small.  Some are so small, you’re not sure they’re really even there.  It’s up to you to pick your darts and start throwing.

The room is also full of other songwriters.  Some are just lobbing darts in the air.  They don’t aim at anything, they just throw.  They figure if they throw enough darts, something is bound to land eventually.  Some songwriters throw dart after dart after the smallest bullseyes on the wall.  Some throw darts at blank spots on the wall, where they would like a bullseye to be.  Some are so busy aiming, that the dart never leaves their hand.

If your goal is to get a song recorded by major artist, your best bet is usually by throwing at “the big bullseye.”

Well, how do we do that?

We make choices as songwriters.  And the better we are at our craft, the more options are available to us.  For example, you can choose to write an idea as a slow ballad, or you can choose to write it as an uptempo (fast song).  The uptempo song is the bigger bullseye.  You can choose an idea that makes your singer look good (bullseye) or look bad (small bullseye).  You can write the song from the point of view of an 85 year old woman (small bullseye) or as a 21 year old girl (bigger bullseye).

How do you know what the big bullseye is?  Well, size of the bullseye is simply a measure of how much demand there is for a certain type of song.  This changes over time, so you need to be aware of the market.  Trends shift.  What was a big bullseye in the 1990’s might not be a big bullseye anymore.

However, one type of song always seems to be a big bullseye.  This is the “first-person uptempo positive love song.”  That’s not exactly shocking news, if you pay much attention to the radio.  This type of song is probably your best bet to get a cut.  I’m not saying, however, to never write a small bullseye.  Those can be hit from time to time- it’s just harder to do.  What I’m saying is to be aware of the realities.

Be intentional.  Be aware of the choices you make.

God Bless,

Brent

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.

Man vs Row

Biz, Craft

Single Of The Year: Gord Bamford, “When Your Lips Are So Close”

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Gord When Lips Single

Hey, ya’ll!

I just wanted to give you an update on my song, “When Your Lips Are So Close,” cut by Canadian artist, Gord Bamford.  Since it was released as the lead-off single from Gord’s “Country Junkie” album in September 2013, it’s had a great run.  It hit #1 in November of 2013, has been certified as a gold single, and was nominated for two Canadian Country Music (CCMA) Awards for Single Of The Year and Songwriters Of The Year.  While it didn’t win Songwriters Of The Year, it DID win Single Of The Year at last night’s CCMA Awards!  Congrats and thanks to Gord and Byron Hill, our cowriter and the coproducer on the project!

With the win last night, I thought I’d re-post this Cut Study for the song.  Enjoy!

God Bless,

Brent

ORIGINAL POST:

I’m blessed to have written Gord Bamford’s new single, “When Your Lips Are So Close.”  Gord is a hit artist on Sony Canada who is nominated for seven Canadian Country Music Awards.  If all goes according to plan, he’s going to debut our song on the 2013 CCMAs.  Today, I’d like to briefly discuss how I got the song cut and what you can learn from it.

I networked my way to the artist.

I started writing with hit songwriter, Byron Hill, back in 2004.  It wasn’t until later that Byron became Gord’s producer.  Because Byron and I had written several good songs together and he trusted my skill and work ethic, he felt comfortable bringing me into a cowrite with him and Gord.

I asked for the cowrite.

Byron and I are buddies, but he and Gord had a good thing going before bringing me in.  I already knew Byron pretty well, but I still used a patient approach to getting in the room.  It took months, but that’s okay.  You want to be persistent, but you don’t want to push too hard and make your contact uncomfortable.  You don’t want to lose the contact.

I did my research.

When Byron said he’d hook up a cowrite with him and Gord, I got copies of all of Gord’s records.  I listened and wrapped my head around Gord’s brand- what he likes to sing about and his lyrical “voice.”  I also talked to Byron about what works well for Gord.

I did my pre-writing.

I started an idea called “On My Best Days” and tailored it for Gord.  Gord and Byron liked the idea and the sketch I brought in, and we finished it.  It was an album cut on Gord’s album, “Is It Friday Yet?”

I didn’t get lazy.

Even though they cut the only song we’d written, I didn’t assume they’d call me up when Gord was writing for his next record.  Every once in a while, I mentioned to Byron how much I’d love to get back with Gord when he was in town to write.  After several months (and a couple of cancelled trips), we were back on the books.

I did more research and pre-writing.

I didn’t assume that Gord wanted or needed more of the same.  I asked Byron what they wanted for Gord’s next album.  Based on what Byron told me, I spent a few hours on my own looking through my ideas and adapting a few for Gord.  I ran them by Byron, and he liked two of them, “When Your Lips Are So Close” and “Nights Like You.”

I focused on the artist’s needs.

Byron and I originally thought “Nights Like You” would be a midtempo, but Gord liked it as a ballad- he thought it would really connect well with his audience.  Well, he’s the successful artist, and nobody knows his fans like he does, so I’m not going to argue with that.  (He cut that song, as well.)  We also worked to make sure “When Your Lips Are So Close” fit where Gord wanted to go and sat really well in his voice.  Thankfully, it worked out.

So, three cowrites with the artist and producer, and three cuts and one single- I’ll take it!  (I wish all my other artist cowrites worked out this well.)  So, here’s what I learned from this experience:

Use patience and persistence in your networking.  Do your research on the artist.  Pre-write.  Don’t get lazy.  Focus on the artist’s needs.  Of course, there are never any guarantees in the music business, but I believe this process gives you a better chance of success.  Good luck!

THANKS!

Thank you so much, Byron Hill and Gord Bamford, for writing with me and doing such a great job on our songs!  I’m honored to be a small part of your success!

www.gordbamford.com

www.byronhillmusic.com

Sept. 17: JOIN MAN VS. ROW IN THE TOP 10!

The listener’s reaction to your song is only as real as the character in your song. This Man vs. Row Top 10 Workshop will focus on W.I.L.L.power.  I’ll teach you tips & techniques to make the characters in your songs come alive and jump out of the radio and into your listeners’ hearts.  To find out more, click on the image below.

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God Bless,

Brent

Biz, Craft

“Slash” Songwriters

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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.

There are a few very, very successful writers that make a killing, but most writers can’t feed their families on JUST songwriting.  I know a lot of songwriters which are “slash” songwriters.  They are songwriter/waiters.  Songwriter/producers.  Songwriter/demo singers.  Songwriter/mentors.  Songwriter/real estate agents.  Certain exceptions are writers who are young, single, and can live on very little- thanks to sharing rent with roommates.  Others have spouses with solid incomes.  But the vast majority of songwriters just don’t maintain a strong income over a long period of time.

For example, I was blessed to have a hit with Alan Jackson.  Then came marriage, and after Emily finished up school, we had two incomes.  Then came our son, Ozark (yes, that really is his name).  It is very important to both of us for Em stay home with Ozzy, so that certainly changed the math.  We were blessed that Emily was able to take Oz to her job as a nanny for a while.  Then that job ended for her not long after I left a publishing deal.  And now we have a 2nd baby on the way, due in March of 2014.

A publishing draw does NOT pay enough to feed a family of four unless you’re willing to live in poverty.  And while I’ve gotten cuts, cuts that aren’t singles are pretty much just for bragging rights.  Therefore, I had to take a full-time job in the summer of 2013.  I’m still in the game, writing with some major label artists, pitching songs, getting some cuts, etc.  But it’s mostly nights and weekends right now.  It definitely makes things more difficult, but it’s best for my family at the moment.  We’ll see where God takes us.

If you’re preparing to make a run at a professional songwriting career, what is YOUR slash?  Are there certain skills you can develop or a business you can grow which will give you both enough time and money to devote to your songwriting?  It’s worth thinking about.  It’s worth building something for the long haul.

God Bless,

Brent

YOU VS…

What did I miss?  Anything you’d like to add or ask?  Leave a comment!

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Brent’s Twitter: @Razorbaxter

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

Biz, Mini

Hurt Like A Man: Luke Bryan & “Drink A Beer”

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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.

In today’s country market, male artists generally don’t like to be seen as weak, vulnerable, or too sensitive- it doesn’t fit their brand (for more on this, CLICK HERE).  This in in contrast to country music of the 1990’s when artists like Colin Raye, Doug Stone, Vince Gill, and others were often very vulnerable.  So, for today’s market, how do you write a song about a guy that is heartbroken about the loss of his friend?

You make him hurt like a man.

Written by Chris Stapleton and Jim Beavers, “Drink A Beer” is undeniably manly.  Sure, the singer is hurting and heartbroken, but he keeps it locked up inside.  No tears are shed (at least not that he says), and he doesn’t call his mom to talk about it for hours.  No, he goes for a walk alone and ends up drinking a beer in memory of his friend.

Not that real men don’t cry- “I Drive Your Truck” by Lee Brice is a great example of this.  But even when that manly singer sheds a tear, it is balanced by knowing his brother would punch him in the arm for it.

God Bless,

Brent

YOU VS…

Anything you’d like to add or ask?  Leave a comment!  Also, are there any topics  you’d like to see addressed in a future MvR post?  Thanks!

FOLLOW AND SHARE THIS BLOG

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

Biz, Craft

10 Tips To Maximize Your Writer’s Round

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Ok, I’m a lyricist, and I don’t play out.  So, no, I’ve never really played a writer’s night.  But I’ve been to a ton of them, and I’ve picked up some things I want to share.  Writer’s nights can be an effective tool, but you want to make sure you make the most out of them.  Here are 10 tips to do that.

1. Determine WHY you’re playing the round.

Then choose your songs accordingly.  If you’re there to network as an aspiring hit country songwriter, it doesn’t serve you well to play that lullaby you wrote for your dog.  Play songs that aim in the direction you want to go.

2. Practice your songs.

You might’ve written a great song, but we might never know it if you can’t remember the melody and lyrics.  Having to start over is a big groove-buster.

3. Bring a crowd.

You’re more likely to be invited to join in somebody else’s round if you prove you can bring a crowd.  More rounds can equal more opportunities.

4. Play uptempo!

Most new writers play ballad after ballad.  The easiest way to stand out is to play something uptempo (and fun).

5. Bring business cards and CDs.

Throw some CDs of your songs in your guitar case- be sure and have your contact info on each one.  Keep business cards handy.  Make it easy for someone who likes your music to remember you and find you later.

6. Get there early.

It shows professionalism.  It also makes you more likely to be booked for your own round or be invited to join someone else’s round if you’re reliable.  Nobody likes to sweat, wondering if their buddy is going to flake out on them.

7. Stay for at least one round after yours.

It gives you the chance to discover potential cowriters in the next round.  It also gives folks who like your music the chance to approach you.

8. Get a pro writer in your round.

If you can get a professional songwriter in your round, you look more legit by association.  It also may bring out better potential contacts.  Maybe they come to see the pro, but they also discover you.

9. Don’t ignore your peer group.

Odds are, there won’t be a hit writer or publisher or A&R rep in your audience.  But the unknown writer in the round with you or in the round before/after you may just be a future hit songwriter.  Identify and build a relationship with them now, while they’re still accessible.

10. Sometimes, you DON’T play the round.

This deserves its own post, so check back next week- or better yet, subscribe to Man vs. Row so it’s delivered right to your inbox.

God Bless,

Brent

YOU VS…

What did I miss?  Anything you’d like to add or ask?  Anything you’d like for me to cover in a future MvR?  Leave a comment!

FOLLOW AND SHARE THIS BLOG

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

Biz, Craft

Shark Tank and Songwriters

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Shark Tank

Just like on the TV show “Shark Tank,” when an entrepreneur comes in with a great idea but has little or no sales… the sharks usually want no part of it.  Their potential partner hasn’t proven the product (demand, etc.), and they haven’t proven themselves as businesspeople.  There are just better places the sharks can invest their time and money- safer bets with more of a track record.

It’s the same deal if you’re a singer, singer/songwriter, or songwriter looking for a record deal or a publishing deal.  The label/publisher isn’t just looking for a decent place to invest- they’re looking for the BEST place to invest.  You need to prove your business if you want them to invest in it.  Play shows, write songs, get indie cuts, and build your business.

God Bless,

Brent

YOU VS…

What did I miss?  Anything you’d like to add or ask?  Also, are there topics you’d like to see covered in an upcoming MvR?  Leave a comment!  And, as always, thanks for reading and sharing Man vs. Row.

FOLLOW AND SHARE THIS BLOG

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

Biz, Craft, Cut Study, Video

Cut Study: Ray Stevens “Caribou Barbie”

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Ray Stevens- We The People

Disclaimer: The song, “Caribou Barbie,” is a political song with a definite point of view.  This post, however, is NOT political.  The point here is to share the process by which the song got cut.  It appears on Ray’s album, “We The People.”

I was blessed to have written “Caribou Barbie” for Ray Stevens.  Ray is a comedy legend with songs like “The Streak” “The Mississippi Squirrel Revival” and “Everything Is Beautiful.”  Today, I’d like to briefly discuss how we got the song cut and what you might learn from it.

I captured the title in my hook book.

I heard Sarah Palin referred to as “Caribou Barbie” during the 2008 Presidential campaign.  My brother-in-law, Matt Cline, was contemplating a political comedy album, and we thought it would be a good title- even though we didn’t know how to write it.  When McCain / Palin lost, I tucked the title in my hook book, figuring it would never be relevant again.

I had access to the artist’s camp.

Matt was published by Ray Stevens at the time, and we were hoping Ray would do a political album.  When he finally decided to, we started pulling ideas together for it.  If I hadn’t had access to the camp via Matt, I wouldn’t have even heard about the project until it was already finished.

I squeaked my wheel.

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, “I’ll write it!”

I picked my cowriters strategically.

Since the artist had already said he wanted to hear my idea, I knew it would be easy to find a cowriter.  So, the question was, “who’s best?”  It was an easy call- Matt Cline and Max T. Barnes.  Both these guys wrote for Ray’s publishing company, so he’d have extra incentive to cut it.  They were also dialed in to the project, having songs in the mix already.  Plus, they’re a great hang and really good writers.  I called them up, and we met at Ray’s the next morning.

We wrote the song with the artist in mind.

Obviously, we kept Ray top-of-mind as we wrote the song.  What does Ray want to say?  What’s his musical style?  Is X-Y-Z his brand of humor?  We wrote it and laid down a worktape that day.

We pitched the song directly to the artist.

The next day, Matt and Max played “Caribou Barbie” for Ray.  We were open to his suggestions, but other than a few tweaks Ray made in the studio (including the word ‘jackass’- that wasn’t me), it was pretty much the same.

There you go.  Preparation (hook book) + access (cowriter) + action =  a cut.  Every cut has its own particular details, but I hope my story helps you on your journey.

God Bless,

Brent

YOU VS…

You can check out “Caribou Barbie” on iTunes by clicking here.  Don’t say I didn’t warn you!

What did I miss?  Anything you’d like to add or ask?  Leave a comment! (Unless you just want to go on a political rant- that isn’t the point of this blog or post.)

SHOUT OUT…

Big shout out to Gord Bamford, who has the #1 country song in Ireland this week (Dec. 2013) with a song we wrote called, “When Your Lips Are So Close.”  It hit #1 in Canada a couple weeks ago, and it’s good to see it making its way across the globe!

www.gordbamford.com

FOLLOW AND SHARE THIS BLOG

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

Biz, Craft, Songplugging

10 Reasons Songwriters Should Pitch Their Own Songs

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When I signed my first publishing deal with Major Bob Music, I thought, “This is great!  I can just sit in my writer’s room, write every day, and let our three songpluggers pitch my songs and get ‘em cut.”  This was a mistake.  Not that Scot, Mike, and Jesse weren’t smart, hardworking guys who wanted me to succeed.  No, those guys worked hard for all of their writers.  It was a mistake because I spent the first couple years of that deal missing out on the benefits of pitching my own songs.  Here are ten benefits.

1. My odds improve.

It’s HARD to get cuts, so I want all hands on deck.  Simply put, the more songs of mine that are getting pitched, the better the chance of the right song hitting the right ears at the right time.

2. My back catalog stays active.

When you leave a publishing deal, it’s natural for your pluggers to back-burner your old songs and focus on their current writers and their newest songs.  Pitching my own songs helps keep my best old songs in circulation.

3. I hear my songs more honestly.

Sitting across the desk from a producer or A&R rep makes me hear my songs differently.  Little flaws which I might’ve ignored before become more obvious, especially if they pass on the song.  Over time, this kind of listening makes my “flaw-detector” more sensitive when I’m writing.

4. I demo songs more wisely.

On a related note, the experience and feedback I get from pitching helps me demo only my best-chance songs.  My flaw-detector is more sensitive, and I ask myself important questions like, “Do I ever pitch this type of song?  Does this type of song ever get kept or cut?  Is this song going to replace one of the songs I’m currently pitching?  Am I excited about playing this song for so-and-so?”

5. Nobody knows my catalog better than I do.

Sometimes, a song may sit around for years before the right pitch comes along.  A plugger probably won’t remember it if it’s not in the regular pitching rotation.  But I might.  For example, when I heard that comedy legend, Ray Stevens, was doing a political album, I dusted off an old, never-before-pitched song called “Fly Over Country,” which had reverted back to me from my Major Bob deal.  Ray cut it.

6. It builds my personal brand.

An A&R rep may hear five of my songs in a day from five different sources.  That’s great, but they might never know those are my songs.  They might associate the songs with my cowriters or the publishers who brought them.  If it’s ME in the room, though, the rep hears several of my songs in a row and get to put my face to the name on the CD.  And I get to do the same, which is handy if I see them out at an industry function.  Oh,and I hopefully get them to like me as a person, which never hurts.

7. It can lead to cowrites.

When an A&R or producer associates your amazing songs with you- an amazing person – and you happen to be in the room with them… they might just decide to hook you up for a cowrite with another writer they dig or (even better) one of their artists.  It’s a beautiful thing.

8. I get the inside scoop.

The A&R/producer  can tell me what they need, and I can ask followup questions.  That may bring to mind another song from my catalog (from any publisher I’ve had) which I can play right then or send later.  And this info won’t have the chance of getting mis-relayed or not relayed at all to me by my plugger.

9. My songs are the focus of the pitch meeting.

My plugger goes into meetings representing several writers, all of whom are really good.  So while I might land a couple of songs in the meeting, there are others that won’t be mine.  But in my meetings, I’m on all the songs.  More pitches, more chances to win.

10. I develop my own contacts.

What happens if your songplugger gets hit by a bus?  Or if you lose your publishing deal?  If you’re only relying on your plugger’s contacts and don’t have any of your own, your songs aren’t gonna get heard as often.  I’ve been between deals, and it felt good knowing (and not just hoping) that my songs were still getting pitched.

So, there you go.  My top ten reasons songwriters should pitch their own songs.  Now, please forget everything you just read- I don’t need the extra competition.

God Bless,

Brent

YOU VS…

What did I miss?  Anything you’d like to add or ask?  Leave a comment!

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Biz, Mini, Muse

Ignorance Is Bliss… And Sometimes Helpful

4 Comments

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“My song is just as good as the stuff on the radio!”  Beginning songwriters everywhere have said it, and I was certainly no exception.  And, like beginning songwriters everywhere, I was WAY wrong.  Not only did I not know I was wrong, I had no idea just how wrong I was.  And I’m glad I didn’t know!  If I had realized just how far I had to go, I might’ve been so embarrassed by my bad songs and so intimidated by the journey ahead, that I might’ve put the pen down for good.

If you have that “I’m almost there!” mindset along with a strong work ethic and willingness to learn (these are hugely important), you might eventually get as good as you originally thought you were!

God Bless,

Brent

FOLLOW AND SHARE THIS BLOG

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