Tag Archives: Lyricist

Biz, Craft

11 Tips To Maximize A Songwriter Mentoring Session, Part 2: During The Session

2 Comments

Last week, I discussed how songwriters can maximize a mentoring session before they step into the session.  You can read that post HERE.  Today, let’s talk about how to maximize your mentoring while IN the room.  And away we go…

Be on time or early.

In a world where writers and creative types are habitually late, it’s refreshing to have someone show up on time or (gasp) a few minutes early.  Seriously, this is a simple way to show respect for your mentor and his or her time.  It matters.  Be professional.

Dress like you care.

Seriously.  Wear your pajamas or whatever if it’s a phone session.  But if you’re meeting in person, you want to appear professional.  No, you don’t have to wear kakis or a suit, but you want to be presentable.  No, it doesn’t make your song sound better.  However, if you hope to build a relationship with this mentor and hopefully get some cowrites or business referrals, you want to make the mentor feel like you know what you’re doing and won’t embarrass him later.  No, you don’t have to be handsome or beautiful, just don’t let your outfit be a negative.

Seek to get better, not to be discovered.

Maybe your songs are impressive.  Maybe they’re not.  But a humble, teachable attitude is always impressive.  You want your mentor to be a fan of YOU, not just your songs.  If I get the sense that a songwriter is not there to learn but just wants to be told how great they are, I’m just going to try and get through the session with as little headache as possible.  Because if you not willing to learn, I’m not going to waste my time trying to force you to learn.

Take notes.

Or record the session (just ask before recording).  First of all, if you have a memory like mine, you won’t remember everything you want to.  Secondly, if you look like you’re taking it seriously and are fired up about learning, it encourages your mentor to give even better info.  Also, a mentor might be a little less likely to pass along a potential contact’s name and email if you look like you don’t have a pen within five miles.

Don’t argue.

It’s okay to ask clarifying questions and “explore” a topic more.  But it should be to learn, not to win.  Again, if I think you’re disinterested in learning, I’m disinterested in teaching.  If you’re mentor is wrong on a point, it’s your job to go out and PROVE them wrong.  If you irritate them with your attitude, you can lose the relationship.

Remember, you’re probably not the only talented writer that mentor is trying to help.  Make it easy on the mentor to help you.

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?  Leave a comment!

SHOUT OUT…

Big congratulations to my cowriting buddy, Gord Bamford, who won FIVE awards in Sunday night’s Canadian Country Music Awards.  Gord also debuted his new single, “When Your Lips Are So Close” which I was blessed to have a hand in writing (read about how we got the song cut HERE).  Also, congrats to Brett Kissel for making his CCMA debut!  Good work, fellas!

www.gordbamford.com

www.brettkissel.com

Biz, Craft

Cut Study: Gord Bamford, “When Your Lips Are So Close”

6 Comments

Gord When Lips Single

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

FOLLOW THIS BLOG

If you like this blog, please 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.  Thanks!

Brent’s Twitter: @Razorbaxter

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

WordPlay

Wordplay Thursday #7

7 Comments

cropped-music_row_signs322.jpg

Here’s a writing prompt for you.  It’s a simple fill-in-the-blank.  You can use one word or several.  Feel free to get as crazy, genre-appropriate, or as imaginative as you want.  The point is to get the creative juices flowing.  And it’s a good thing to dig deeper, so don’t stop at the first idea that hits you.  Try coming up with at least five things.

“That’s as rare as _____________________.”

I’ll give you one example to get you started:

“That’s as rare as a cantaloupe cobbler.”

I’d love to hear what you come up with, so please share in the comments.  Oh, and please keep your posts below an R-rating.  It’s a family show, after all!

SHOUT OUT!

Thanks to Patrick Beck, Topaz, Michael August, Terry Smith, Andrew Clayton, Jackie Cook, Doug Folkins, and Mark for their great additions to Wordplay Thursday #6 (read it here)!  Great job!

FOLLOW THIS BLOG

Hey, ya’ll.  If you like this blog, then make sure you don’t miss a single post.  Subscribe by entering your email address in the “Follow Man vs. Row via E-mail” box either in the top righthand corner or down below.  Thanks!

Biz, Craft

11 Tips To Maximize A Songwriter Mentoring Session, Part 1: Before The Session

3 Comments

I’ve been on both sides of the mentoring desk- I’ve been the newbie on a visit from Arkansas, and I’ve been a pro mentor to hundreds of NSAI members.  Over the next few weeks, I want to share with you 11 tips that I believe will help you get the most out of mentoring sessions. Today, let’s start with how to effectively prepare for the session.

Define your goals for the meeting and beyond.

Do you want to write hits or just write better?  Those are two different conversations. Are you writing for yourself or for the radio?  How can a mentor help you get where you want to go if you don’t know where that is?

Write down a list of questions and/or topics you want to cover.

Don’t just make a mental note- write it down.  By the way, write it down- and have it in front of you during the meeting.  When you get into the session, when you get nervous or happy or frustrated or whatever, you’re likely to forget something you wanted to talk about.  Prioritize the list to make sure it’s as easy as possible to get to the important ones.  Did I mention that you should write it down?  Write it down.

Choose your songs.

Decide on your songs based on which are most relevant to your goals.  If your goal is to be a hit country songwriter, but you bring in a novelty gospel song to show your range, it’s kind of a waste of time.  Bring songs that are aiming in the direction of your goals.  Put your songs in order of importance.  You might not get to them all, so play your “must-play” song first.  Burn a CD, even if you plan on playing live- what if you break a string or a finger in the middle of the first song?  What if the mentor wants to play the song for a publisher friend later that day?  Be prepared.  Also, have the labeling on the CD be clear and professional with all your contact info on it.

Type your lyrics.

Make two copies of your typed lyrics- one for you (in case you get nervous and forget them in the middle of your song) and one for your mentor.  Some mentors don’t look at lyrics, but others do.  Better to have it and not need it than to need it and not have it.  And I don’t care how much you like your own handwriting- a typed lyric is more professional and makes a better impression.  Also, put all your contact info on every page of every lyric.  It doesn’t matter how awesome your song is if they can’t find you or remember who wrote it.

Research your mentor.

I’m not talking about hiding in the bushes.  But who is going to be sitting across the desk from you?  Have they written a hit?  Knowing some of their cuts 1) makes you look more prepared and professional 2) can spur relevant, helpful conversation (“How did you get ‘Happy In Love’ to George Urban?”).  Also, nothing is worse than badmouthing an artist or song to your mentor then seeing that artist’s album hanging on the mentor’s wall.  Oops.

Hope that’s helpful.  Check back next week, when I’ll be discussing how to maximize your mentoring session DURING the session.  Thanks!

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…

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

SHOUT OUT…

Be sure and tune in to the Canadian Country Music Awards this Sunday night (September 8, 2013).  Not only is my cowriting buddy, Gord Bamford, nominated for seven awards, word has it he’ll be debuting a song he and I wrote with Byron Hill.  Thanks, Gord!

www.gordbamford.com

Mini

Reality TV And The Bluebird Cafe

2 Comments

cropped-music_row_signs322.jpg

Tonight, while you’re watching reality TV, somebody somewhere has a guitar or a pen in their hand, working hard on their craft.  One of these days, you’re going to have to follow their song at the Bluebird Cafe.  I just thought you should know.

-Brent

Brent’s Twitter: @Razorbaxter

Brent’s Facebook: www.brentbaxtermusic.com 

WordPlay

Wordplay Thursday #6

14 Comments

cropped-music_row_signs322.jpg

Here’s a writing prompt for you.  It’s a simple fill-in-the-blank.  You can use one word or several.  Feel free to get as crazy, genre-appropriate, or as imaginative as you want.  The point is to get the creative juices flowing.  And it’s a good thing to dig deeper, so don’t stop at the first idea that hits you.  Try coming up with at least five things.

“He’s drunker than _____________________.”

I’ll give you one example to get you started:

“He’s drunker than a tequila worm.”

I’d love to hear what you come up with, so please share in the comments.  Oh, and please keep your posts below an R-rating.  It’s a family show, after all!

SHOUT OUT!

Thanks to George, Nila, Steve, August, Cathy, Patrick, Jayne, and Topaz for their great additions to Wordplay Thursday #5 (read it here)!  Great job!

FOLLOW THIS BLOG

Hey, ya’ll.  If you like this blog, then make sure you don’t miss a single post.  Subscribe by entering your email address in the “Follow Man vs. Row via E-mail” box either in the top righthand corner or down below.  Thanks!

Brent’s Twitter: Razorbaxter

Brent’s Website: www.brentbaxtermusic.com

Biz, Craft

4 Ways Songwriters Benefit From Mentoring

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!

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.

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

WordPlay

Wordplay Thursday #5

11 Comments

cropped-music_row_signs322.jpg

Here’s a writing prompt for you.  It’s a simple fill-in-the-blank.  You can use one word or several.  Feel free to get as crazy, genre-appropriate, or as imaginative as you want.  The point is to get the creative juices flowing.  And it’s a good thing to dig deeper, so don’t stop at the first idea that hits you.  Try coming up with at least five things.

“I’m as lonely as _____________________.”

I’ll give you one example to get you started:

“I’m as lonely as one drumstick.”

I’d love to hear what you come up with, so please share in the comments.  Oh, and please keep your posts below an R-rating.  It’s a family show, after all!

SHOUT OUT!

Thanks to Patrick Beck, Steve, and mcswervy for their great additions to Wordplay Thursday #4 (read it here)!  Great job!

FOLLOW THIS BLOG

Hey, ya’ll.  If you like this blog, then make sure you don’t miss a single post.  Subscribe by entering your email address in the “Follow Man vs. Row via E-mail” box either in the top righthand corner or down below.  Thanks!

Biz

6 Questions To Ask Yourself Before You Pitch A Song

3 Comments

cropped-music_row_signs322.jpg

Let’s say you have the opportunity to pitch to an artist.  Maybe Aunt Agnes knows a guy that mows the lawn of the guy that cuts Blake Shelton’s hair.  Or maybe you’re a staff writer who knows you shouldn’t leave all the pitching to your plugger.  Either way, you want to make the most of your pitches.  Here are some questions to ask as you’re going through your songs.

1.  Does your song fit the artist’s brand?

As I wrote about last week, artists are brands.  Check out the blog post here.  But simply put, if your song is a french fry, don’t bother pitching it to Taco Bell.  They don’t DO french fries- it doesn’t fit their brand.

 2.  Can the artist sing the song?

I’ve been in an A&R pitch meeting at a label, and I pitched a certain song for a certain artist on their roster.  The A&R rep said the lyric was right up his alley, but she didn’t think he could sing it.  Pass.  My buddy, Anthony Orio, has pitched songs to a publisher before, and the publisher told him, “What guy can sing this melody?”  Well, Anthony could.  But the point is that not a lot of guys could sing a song that rangy, so it wasn’t as attractive to a publisher as a song they could pitch everywhere.

3.  Does the artist already write this type of song?

For example, Keith Urban tends to write his own feel-good mid-and-uptempo songs.  Most of his ballads and darker songs, however, tend to be written by other writers- “Raining On Sunday” “You’ll Think Of Me” “Making Memories Of Us” and “Stupid Boy,” for example.  Your best bet for getting a Keith Urban cut is probably to bring him something he records but doesn’t typically write himself.

4.  Is it a quality recording?

I’ve gotten cuts from demos.  I’ve gotten cuts from good guitar/vocals.  But unless it’s something I wrote with the artist, I’ve never gotten a cut off a worktape.  There are writers that can pitch a worktape, but they’ve had enough success that the listener expects to hear a great song because of who wrote it.  Also, they can probably play it directly for the artist or producer.  Depending on how close you are to the project, your song may have to get past an A&R intern, a production assistant, and who knows who else before it can get to someone who can give you the “Big Yes.”  I personally don’t count on every person in that chain to be able to hear through a worktape- especially when it’s sandwiched between great-sounding demos.

5.  Is this song a step into the artist’s future?

Right after Brad Paisley hit with “The Fishing Song,” he got blasted with fishing songs from everywhere.  Notice how he STILL hasn’t put another one out as a single?  I’m sure he didn’t want to get pigeonholed as the fishing guy (although that was an important part of his brand at the time).  Besides, he can write a great fishing song on his own- he doesn’t need to pay me for mine when he can make money on his.  Successful artists evolve over time.  Plenty of writers will be pitching them their LAST hit.  You need to pitch them their NEXT hit.

6.  Is this a great song?

I’ve made the mistake of pitching songs that were the right brand, but just okay.  It’s like kicking a field goal perfectly straight… but five yards short.  No points.  There are too many really good and great songs out there- why would an artist cut yours?

I hope this list is helpful for you.  It’s not an exhaustive list- each pitch opportunity comes with it’s own particulars.  But I think you’ll be well served to keep these questions in mind.  Happy hunting!

FOLLOW THIS BLOG

And if you like this blog, please subscribe by putting your email in the “Follow This Blog” section on this page.  It’s either in the upper righthand corner or down below.  Thanks!

YOU VS…

What questions would you add to this list?  Please post them in the comments.  Thanks!

SHOUT OUT…

Big thanks to my good buddy and cowriter, Anthony Orio, for cutting two of our songs last week!  Both were written with Matt Cline, and are for an upcoming release from Anthony.  You can check out Anthony here.  You can check out his previous two albums on iTunes here.  I’m blessed to have several songs on each.  Thanks, Anthony!

Brent’s Twitter: @Razorbaxter

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

WordPlay

Wordplay Thursday #4

4 Comments

Here’s a writing prompt for you.  It’s a simple fill-in-the-blank.  You can use one word or several.  Feel free to get as crazy, genre-appropriate, or as imaginative as you want.  The point is to get the creative juices flowing.  And it’s a good thing to dig deeper, so don’t stop at the first idea that hits you.  Try coming up with at least five things.

“Our first date was as _______ as _____________________.”

I’ll give you one example to get you started:

“Our first date was as awkward as a dog on roller skates.”

I’d love to hear what you come up with, so please share in the comments.  Oh, and please keep your posts below an R-rating.  It’s a family show, after all!

SHOUT OUT!

Thanks to Patrick Beck, Bill, Kelley Osburn, Steve, Nila Kay, E.M. Street, and Andrew Clayton for their fun additions to Wordplay Thursday #3!  Great job!