Tag Archives: Joe Nichols

The Email That Helped Me Get A Joe Nichols Cut

October 26, 2015 Brent Baxter 18 Comments

Recently, I posted a lesson called, “Here’s Why Music Biz Professionals Aren’t Emailing You Back” (read it here). Today, I want to look at an email that resulted in a phone call, a hold, and eventually a Joe Nichols cut.

A few years back, I wanted to get my song, “Crickets,” to Joe Nichols. I just thought it’d be perfect for him. But how do I get it to him? I didn’t have a personal connection with anyone in his camp. However, I did happen to get the email address of the owner of Joe’s label (thanks to a sungplugger friend of mine). I decided it was worth a cold email.

(Note: Normally, I wouldn’t send a song to a label owner. But I know this particular owner actively listens to songs through email and has a say in what end up on his artists’ albums. See my post “The Big Yes.”)

Not knowing the owner, this is how I worded my email:

Subject:

Song for Joe Nichols: “Crickets” (Baxter, Shaffer, Whyte)

Message:

Mr. Brown,

I’m a songwriter with cuts by Alan Jackson (“Monday Morning Church”), Randy Travis, Lady Antebellum, and others. Here’s a song for Joe. Thanks for listening!

“Crickets”

(Brent Baxter, Lisa Shaffer, Bill Whyte)

Lyric and mp3 attached.

God Bless,

Brent Baxter

615-000-0000

—-@email.com

Sometime later (maybe a day or two, maybe weeks), I got a call from the owner. He said he loved the song and wanted to hold it for Joe. Eventually, they cut it and it became the title track to Joe’s debut album on Red Bow Records.

Okay, let’s break down the email and see what we can learn.

I was proactive and pitched my own song.

I didn’t wait for someone else to make my dreams come true. See my post, “10 Reasons Songwriters Should Pitch Their Own Songs.”

I used an appropriate communication channel.

This was an email address that the owner regularly uses to listen to songs. It wasn’t his wife’s personal email or some other inappropriate email. I was conducting business through a business email address.

The subject line is very clear and professional.

No hype. No bull.

I kept the message very brief and to the point.

One quick glance at the message isn’t a turn-off. He could read it very quickly, so he was more likely to actually read it. Long emails are intimidating and look like too much work.

I presented pro credentials briefly and in the beginning.

I opened with a few choice cuts to set myself as a pro in his mind. It increased the chance that he’d take my email seriously and expect a good song. If you don’t have these, just get to who the song is for. It’s better to skip this completely than say how you won a local talent show. Your song may be killer, but if you’ve only has small success (so far), they might think you only have small talent.

I provided contact info both in the email and on the lyric sheet.

He called be back partly because I made it easy for him to find me.

I provided both the mp3 and the lyrics.

Some folks don’t look at the lyric when they listen. Some do. I don’t take chances. I want them to have everything they might need.

The song was well-written and a good fit for the artist.

The email was written to get the song heard. But getting the song heard doesn’t help if the song itself isn’t good or isn’t a good fit for the artist.

What about you? Have you had any success with cold emails? How did you word them?

Pro songwriters know how to act professionally. And if YOU want to become a pro, you need to think like a pro, too. In my FREE e-book, “THINK LIKE A PRO SONGWRITER,” I not only reveal several of the mindsets which separate the pro songwriter from the amateur, but also…

How to get on a music publisher’s radar
How the pros know who is looking for songs
Six simple ways to make your songs more commercial
And more!

To get your FREE, INSTANT download of “THINK LIKE A PRO SONGWRITER,” just click on the image below, or CLICK HERE!

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.

Songplugging

Never Take “No” From Someone Who Can’t Say “Yes”

August 24, 2015 Brent Baxter 1 Comment

If an A&R rep, manager, or whoever doesn’t have the authority to tell you, “Yes, my artist WILL cut your song,” then that person doesn’t have to power to tell you, “No, my artist WON’T cut your song.”

If someone who can’t really say “yes” says “no,” it just means you need to find a different person to pitch that song to. Knock on a different door. Or maybe you need to knock on that same person’s door again after some time passes (you never know how the direction of an album- or how someone’s mood- might change).

The point is, don’t quit on a song you believe is right for that artist. Keep going until you’ve exhausted every avenue to that artist.

Actually, you don’t quit even then. You wait for a new avenue to open up.

That’s what happened with “Crickets,” which I wrote with Lisa Shaffer and Bill Whyte. We thought it was a good Joe Nichols song, but we couldn’t get it through his label, Universal South. After a while, he left them and signed with Red Bow.

We pitched it to the new label, and they loved it. Joe finally heard it, and he cut it as the title track to his current album.

If you believe in a song, keep pitching it. And never take “no” from someone who can’t say “yes.”

Have you had that experience where you’ve had success after refusing to take “no” from someone who can’t say “yes?” It doesn’t have to just be music: “She’ll never go out with you.” “You’ll never make the team.” Etc. I’d love to hear from you!

Not taking “no” from someone who can’t say “yes” is how pro songwriters think. And if you want to become a pro, you need to think like a pro. In my FREE e-book, “THINK LIKE A PRO SONGWRITER,” I not only reveal several of the mindsets which separate the pro songwriter from the amateur, but also…

How to get on a music publisher’s radar
How the pros know who is looking for songs
Six simple ways to make your songs more commercial
And more!

To get your FREE, INSTANT download of “THINK LIKE A PRO SONGWRITER,” just click on the image below, or CLICK HERE!

God Bless and Enjoy the Journey,

Brent

Biz, Cowriting, Songplugging

Inside vs. Outside Songs- And Why It Matters

April 9, 2014 Brent Baxter 3 Comments

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.

FREE GIFT

Hey, ya’ll! At the bottom of today’s post, I’m going to let you know about some free stuff I’m giving away to all of you great Man vs. Row subscribers. Now, on to today’s post…

When an artist is working on an album, there are two types of songs which will (or will not) be considered: inside songs and outside songs. So what are these?

Inside songs are songs which are written by or with the artist, the producer, or a close associate. These are songs written or controlled/owned by someone with a close connection to the project.

Outside songs are basically all other songs- those written or controlled by people who do NOT have a close connection to the artist’s project.

Okay, so that’s pretty simple- some songs come from inside the circle of influence and some songs come from outside the circle of influence. Buy why is this important? It’s very important because, in most cases, inside songs have a much better chance of being recorded. Some artists, like Taylor Swift, write or cowrite all their own songs. If you’re not writing with Taylor, forget about getting a cut. Other artists may be very low key about the fact that they’re even working on a project. If you’re not in the loop, you might not even know the artist is cutting at all, much less what kind of song they want.

That’s why it matters if your songs are inside or outside- it affects their odds of being cut. Examples:

I had two songs cut on Ray Stevens’ “We The People” album. One song was a true inside song. “Caribou Barbie” was written at Ray’s request with two of his staff writers. The other song, “Fly Over Country” was an outside pitch. However, since Ray didn’t advertise that he was doing a record, I never would’ve known to pitch a song (much less that song in particular) without some inside information. I’ve also had two Lady Antebellum cuts (bonus tracks, sadly). “A Woman Scorned” was written with Hillary Scott, and “Last Night Last” was written with all three members of Lady A. Almost every song on that first album was written or cowritten by the band, so it definitely put those songs in a better competitive position.

This is not to say that ONLY inside songs get cut. I’ve had some outside songs get cut, too. “Monday Morning Church” was written before either my cowriter, Erin Enderlin, or I had ever had a cut, and only Erin was working with a publisher at the time. Erin’s publisher played the song for Alan Jackson’s producer, who played it for Alan. Same thing for my Joe Nichols cut- I sent “Crickets” to the head of Joe’s record label (even though we’ve never met). He loved it and sent it to Joe. The song became an outside cut- and the title track to his current album.

So, yes, both inside and outside songs still get cut. But inside songs have a definite advantage- and the inside track (pun intended). How does this affect how I do business? I try to get songs on the inside, of course. It’s worth thinking about how you can do the same. Yes, I know you might think you’re years away from being able to get any songs on the inside. But simply knowing that there’s a difference between inside and outside songs will help you make more effective choices, and you’ll get there faster.

God Bless,

Brent

FREE GIFT

As a way to say “thank you” to all of you who subscribe to Man vs. Row by email, I’m going to give away some cool stuff in July (2014). If you subscribe to MvR, I’ll send you a free report, “10 Things The Pro Knows.” I’ll also send you the guitar/vocal of “Crickets,” which is the title track of Joe Nichols’ current album. You’ll get to hear the song as Joe heard it when he decided to record it. You’ll also receive the lyric file of the song- and this lyric file includes “Baxter’s Boneyard” – all the lines that DIDN’T make it into the song (see if you agree with our choices). It’s something nobody else has seen, and I think it’s pretty cool. But, again, this gift is only for those who subscribe to Man vs. Row by E-MAIL. These gifts will be sent by email, so if I don’t have your email address, I can’t send it to you. God Bless!

YOU VS…

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

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Brent’s Twitter: @Razorbaxter

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

Biz, Craft

4 Ways Debt Kills Songwriters’ Dreams

October 29, 2013 Brent Baxter 3 Comments

Debt is a dream-killer. If you want to make “the jump” to seriously pursuing songwriting as a career or if you are already a pro, I highly encourage you to avoid debt like the plague. If you’re already saddled with debt, pay it off as fast as you can. Here are four ways debt kills songwriters’ dreams.

1. Debt makes “the jump” more difficult.

The higher your “bare minimum” income is, the less likely it is that you can take that $18,000 to $25,000 per year staffwriting deal… or that your spouse will let you! I know some people who are able to chase songwriting full-time because their family can live off the other spouse’s income. The more debt your family has, the less likely it is that you can be that lucky spouse.

2. Debt limits how much you can invest in your dream.

$700 in car payments, $150 in student loans, and $600 per month in credit cards could keep you from getting that demo recorded or making that trip to Nashville. How fast can you save up money for moving to Nashville if you have those kind of bills?

3. Debt brings stress.

Financial stress steals your energy and focus. It steals your creativity. How much can you focus on achieving your goals if you’re not sure how to juggle your bills? Financial stress is the #1 cause given for divorce, and debt is a major cause of financial stress. Beyond songwriting, do what’s best for your family.

4. Debt makes it harder to survive the valleys.

This goes back to your “bare minimum income.” If you’re blessed to get a staffwriting deal, the odds are fairly good that you’ll get dropped at some point (no offense). The more bills you have every month, the less time you have to get another publishing deal before you have to get a “real job.”

A big part of going pro (and staying pro) is giving yourself all the time you can in which to achieve success. It’s also about putting yourself in a position to ride out the peaks and valleys. Debt limits you in those areas. Do yourself, your family, and your dream a favor… kill the dream-killer.

YOU VS…

If you want to get out of debt or want to stay motivated to keep out of debt and build wealth, I highly recommend Dave Ramsey’s book, “Financial Peace.” Here’s a link:

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Brent’s Twitter: @Razorbaxter

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

Biz, Craft, Cut Study

Cut Study: Joe Nichols “Crickets”

October 23, 2013 Brent Baxter 12 Comments

I’m blessed to have the title track to Joe Nichols’ new album, “Crickets,” on Red Bow Records. Last week, I discussed some of the creative and business choices which went into writing the song. You can read that post by clicking HERE. The journey of this particular song, I think, provides some valuable lessons. Here are a few of them:

Value brings opportunity.

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

Nobody gets it right all the time.

After we finished the song, we liked it and wanted to demo it. My publishing deal at the time was ending, but I turned it in hoping they’d love it and cover the demo costs (after all, my advance was going away, and I was about to be broke). Well, they didn’t know exactly what to do with the song, so they didn’t want to demo it. But it was still stuck there. So, my publisher was wrong because the song eventually got cut anyway. I was wrong because for the price of 1/3 of a guitar/vocal, I could own the publishing on a Joe Nichols cut. Ouch.

Write with go-getters.

Lisa and Bill, while disappointed that my publisher didn’t believe in the song, were not gonna quit on it. They fronted the money and did a guitar/vocal anyway (they are both self-published). Again, thank you, Lisa and Bill!

Don’t give up on a quality song.

“Crickets” was written in August of 2010, and it got cut in the summer of 2013- almost three years later. It was put on hold by Luke Bryan and Easton Corbin, but overall, it wasn’t getting a lot of love.

New camps bring new opportunities.

I’d pitched “Crickets” for Joe Nichols several times when he was with Universal South, but I never could get anyone on his team excited about it. Eventually, Joe left there and signed with Red Bow. He also changed producers. I pulled the song back out and pitched it to his new team. This time, it got through.

Pitch your own songs.

The head of Joe’s label is a big decision-maker on every song his artists record. I’d never met him, but I got his email address from a friend and sent him the song. He called me later to put the song on hold for Joe.

The right outside song can still get cut.

The writers weren’t in the artist’s, label’s, or producer’s inner circles. My publisher didn’t leverage influence to get it cut. None of us are big-name writers. But we wrote the right song and got it to the right people at the right time.

Thanks for reading! Good luck, and happy hunting.

God Bless,

Brent

YOU VS…

What did I miss? Anything you’d like to add or ask? Leave a comment! In the meantime, you can check out “Crickets” on Amazon here…

http://amzn.to/1bmCNd6

SHOUT OUT…

Shout out to Gord Bamford, who has taken “When Your Lips Are So Close” into the Canadian Country Top 10! Thanks to my cowriters, Gord and Byron Hill- you two did a great job both writing AND producing the song! You can check out Gord at…

www.gordbamford.com

You can also read the “Cut Study” for “When Your Lips Are So Close” by CLICKING HERE.

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Brent’s Twitter: @Razorbaxter

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

Biz, Craft, Songwriting Decisions

Songwriting Decisions: Joe Nichols “Crickets”

October 14, 2013 Brent Baxter 8 Comments

As songwriters, we make decisions. And it’s those creative decisions which make our songs more or less likely to get cut. Here’s a look at some of the choices we made when writing Joe Nichols’ “Crickets.”

Bill Whyte and Lisa Shaffer invited me in on the idea of writing a funny song about awkward silences called “Crickets.” This led me to my first decision…

Do I want to write this idea?

I figured there were several versions of that idea being written and pitched around Music Row, and that was a negative for me. However, I hadn’t ACTUALLY heard it written before, so I decided the idea was still up for grabs if we wrote “the” version of it. I decided to jump in . If nothing else, I figured it’d be a lot of fun.

What kind of song is it?

Well, it’s called “Crickets,” and it’s about awkward silences. Given that subject matter, we felt it had to be pretty country and pretty funny. Neither of those things was (or is) the favored flavor at radio, but we figured it was best to serve the song and hope it found a place. We didn’t want to try and make it something it wasn’t.

Is this a novelty song?

We could’ve written a novelty song, an over-the-top whacky Ray Stevens comedy song (Bill and I both have cuts by Ray). But we knew the idea, if written right, had a bigger potential market in mainstream country. So we decided to keep it more grounded and relatable.

Do we tell one story or several?

We could have written each verse as a stand-alone funny story which led to a general chorus. But that’s also the obvious way to write it. And we didn’t want to do the obvious. We decided to tackle the challenge of giving the song the “power of the present” – of diving into one story that has two or three “crickets” moments in a very compressed time frame. Why? For one thing, “3-act play” story songs aren’t getting cut very much. The time frame of most songs right now is… right now. Also, it would allow us to really immerse the listener into one story verses the more-expected “here are three separate unrelated stories we have to set up and tell in each of two verses and a bridge about a guy that sticks his foot in his mouth.” Plus, we figured that although it’d be harder and we’d have to be more creative, it’d be awesome if we could pull it off.

How do we maximize the song’s commercial potential?

We made the song about one night- one story- to engage the listener more and not have to spend so much time on setting up each joke. We also put it in the contest of a love story- the biggest commercial subject. We also made sure the awkward moments weren’t caused by the singer saying something that would be a radio-killer: something too offensive for mainstream appeal. We wanted the singer to be likable and someone the artist wouldn’t mind being for 3 minutes (on an album forever). We also put the singer on BOTH sides of the crickets moment, which we thought was unexpected and fresh.

So, that’s an overview of some of the writing decisions for “Crickets.” Even though we knew we were bucking trends by writing something more country and more funny, we made decisions within that framework to give the song maximum commercial appeal. I hope our songwriting decisions will help YOU make better songwriting decisions.

You can check out “Crickets” on Amazon by clicking this link:

http://amzn.to/1bmCNd6

God Bless,

Brent

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Biz, Craft

7 Qualities To Look For In A Songwriting Mentor

October 8, 2013 Brent Baxter 4 Comments

Let me set your suspicious mind at ease. This is NOT a “hire Brent” blog. I’m really not doing mentoring right now. It comes out of family time, and that’s where I’m focused. That, and on my own writing. Just wanted you to know. Now, on to the good stuff…

I’ve you’ve been following Man vs. Row, you know I’ve been posting a lot on the topic of mentoring. If you’re new, a good place to start catching up is “11 Tips To Maximize A Songwriter Mentoring Session.” I’d be doing you a disservice if I did all this talking about mentoring and left out one of the most important parts of it- finding the right mentor. So here are seven qualities to look for in a potential mentor.

1. Credibility.

Does this person have relevant real-world experience? Not every great football coach was a great player, but I want my coaches to have spent a good amount of time in and around the game I want to learn.

2. Recommendations.

Look for recommendations and reviews of the mentor from friends and from online sources. Are they associated with credible songwriting associations or schools? Do your homework.

3. Goal-compatibility.

A mentor that specializes in country lyrics will be of limited value if your goal is to write hit rap songs. Make sure you get a mentor that understands and respects your goals and can help you get closer to achieving them.

4. Style of mentoring.

Some mentors are a kick in the pants, and some are a hug around the neck. Know what gets the best results with YOU, and choose a mentor accordingly.

5. Relevance.

If you want to write the hits of the future, it’s best if your mentor isn’t stuck in the past. It’s not a question of age, it’s a question of whether or not your mentor has kept current.

6. Attitude.

Does the mentor seem to enjoy the mentoring process? There are several pro writers that have taken up mentoring to pay the bills, but not all of them have the heart of a teacher. Try to find the ones that do.

7. Pricing.

Not all mentors are priced the same – nor are they all of the same quality. Shop around. Make sure you’re spending your money wisely.

If you’d like to discover much more about how to find a songwriting coach- and get the most out of that relationship- check out my Amazon bestselling ebook, “Hit Songwriting: How A Songwriting Coach Can Fast Track Your Success.” It will help you prepare for the coaching session- what to do before, during, and after the session- and more! CLICK HERE TO FAST TRACK YOUR SUCCESS.

YOU VS…

What did I miss? Anything you’d like to add or ask? What qualities are important to YOU in a mentor? Leave a comment!

SHOUT OUT…

I have songs on two records which are released today. First, we have Gord Bamford’s new album, “Country Junkie,” out in Canada. It contains two of my songs, “Nights Like You” and “When Your Lips Are So Close,” which (at the moment) is in the top 15 and climbing on the Canadian country singles charts. I also have the title track to Joe Nichols’ new album, “Crickets,” which is available today. Thanks, Joe and Gord!

www.joenichols.com

www.gordbamford.com

Biz, Mini, Muse

You Win By Adding Value

October 7, 2013 Brent Baxter 3 Comments

You win by adding value. Opportunities come to those who add value. For example, I brought the idea of “Caribou Barbie” (a Ray Stevens cut) to Matt Cline and Max T. Barnes because they added value by being in Ray’s camp and because they write that kind of song very well. The value I brought was a title that Ray himself told me I should write. Lisa Shaffer and Bill Whyte brought the title and idea of “Crickets” (a Joe Nichols cut) to me because they thought my lyrical sensibilities would make the song better.

Artists bring the value of having a record deal. Published writers bring the value of experience and a team of songpluggers. What’s your value? Great hooks? Do you do your own demos, saving your cowriters money? Do you have artist potential? Great melodies? What can you do to add value? If you identify it, you can sell yourself on it. Good luck and God bless!

-Brent

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Biz, Craft

4 Ways Songwriters Benefit From Mentoring

August 27, 2013 Brent Baxter 5 Comments

First of all, what is a mentor? It’s anyone who advises or trains. It could be a more seasoned, experienced cowriter. It could also be a publisher or PRO representative (ASCAP, SESAC, BMI, SOCAN…) who takes time with you. It could also be a professional mentor from NSAI (Nashville Songwriters Association International) or GSC (Global Songwriters Connection). And there are several good independent mentors out there, too.

A quality mentor can help you get where you want to go more effectively and efficiently- if you’re willing to learn. Here are four specific ways songwriters can benefit from seeking out a mentor. (Disclaimer: I’m not trying to drum up business for my own mentoring services. I only do two or so a month, since it comes out of my family time.)

1. Your mentor knows things you need to know.

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. He can help accelerate your learning curve and avoid some of the pitfalls he’s experienced.

2. Your mentor is not your mom.

A mentor is not going to love your song just because they already love you. And a mentor doesn’t have to see you at Thanksgiving or worry about the quality of the nursing home you choose for her. Therefore, while a quality mentor 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 mentor can’t fill in the gaps from your shared experience- your mentor never sat next to Jenny in algebra class.

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 mentor 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 that door to him or her in the future. After all, it’s your mentor’s job to help you get better.

4. A mentor 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 mentor is a great start. A mentor might recommend cowriters or publishers. He or she can be your champion- especially at places like NSAI or GSC. A mentor might even write with you. Eventually. (But you should never be the one to mention it first.) It’s important that you don’ expect this extra level. I’m just saying, if you’re very good- and professional and would reflect well on your mentor, he or she MIGHT open additional doors for you.

Next week, we’ll start looking at how to maximize a mentoring session. Thanks!

YOU VS.

Any great experiences with a mentor? Any nightmares? Any advice on finding a great mentor? Leave a comment!

SHOUT OUT…

Yesterday, it was officially announced that my song, “Crickets” is the title track to Joe Nichols’ new album on Red Bow Records, to be released on October 8, 2013! Thanks to my cowriters, Lisa Shaffer and Bill Whyte. And a big thanks to Joe Nichols and his team for recording it!

www.joenichols.com www.lisashaffermusic.com www.billwhytecomedy.com

Brent’s Twitter: @Razorbaxter

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

Recently, I posted a lesson called, “Here’s Why Music Biz Professionals Aren’t Emailing You Back” (read it here). Today, I want to look at an email that resulted in a phone call, a hold, and eventually a Joe Nichols cut.

I was proactive and pitched my own song.

I used an appropriate communication channel.

The subject line is very clear and professional.

I kept the message very brief and to the point.

I presented pro credentials briefly and in the beginning.

I provided contact info both in the email and on the lyric sheet.

I provided both the mp3 and the lyrics.

The song was well-written and a good fit for the artist.

If an A&R rep, manager, or whoever doesn’t have the authority to tell you, “Yes, my artist WILL cut your song,” then that person doesn’t have to power to tell you, “No, my artist WON’T cut your song.”

The point is, don’t quit on a song you believe is right for that artist. Keep going until you’ve exhausted every avenue to that artist.

If you believe in a song, keep pitching it. And never take “no” from someone who can’t say “yes.”

FREE GIFT

FREE GIFT

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1. Debt makes “the jump” more difficult.

2. Debt limits how much you can invest in your dream.

3. Debt brings stress.

4. Debt makes it harder to survive the valleys.

YOU VS…

Value brings opportunity.

Nobody gets it right all the time.

Write with go-getters.

Don’t give up on a quality song.

New camps bring new opportunities.

Pitch your own songs.

The right outside song can still get cut.

YOU VS…

Do I want to write this idea?

What kind of song is it?

Is this a novelty song?

Do we tell one story or several?

How do we maximize the song’s commercial potential?

4. Style of mentoring.

5. Relevance.

6. Attitude.

7. Pricing.

SHOUT OUT…

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1. Your mentor knows things you need to know.

2. Your mentor is not your mom.

3. It’s good practice.

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

YOU VS.

SHOUT OUT…

Helping songwriters turn pro.