Tag Archives: Music

Shark Tank and Songwriters

 

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.

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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

Cut Study: Ray Stevens “Caribou Barbie”

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

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!

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

Ignorance Is Bliss… And Sometimes Helpful

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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

Getting A Foot “Indie” Door

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It was just announced this week that Chelsea Bain has signed a record deal with Bigger Picture.  (Bigger Picture is home to artists including Craig Campbell, Chris Cagle, and Chris Janson.)  This is exciting news for me because I have a song (“Simple Is Hard”) on Chelsea’s independent album.

This is actually the second time I’ve had a song cut on an artist’s indie album right before the artist got signed to a record deal.  The other was James Dupre’ (“Ring On The Bar”), who later signed with Warner Bros. Nashville.

In both cases, somebody pitched my song to an indie artist, who recorded the song.  This is how I first found out about each artist.  Thankfully, I did some research, found out that each artist is good, working hard, and building a good fan base.  So I reached out and started a relationship- BEFORE they signed a record deal.  In James’ case, we’ve been writing songs now for a couple of years.  Chelsea, I have yet to meet in person, but we’ve shot some messages back and forth.  This wasn’t so much in the hope that each artist would sign a big deal- I reached out because I dig what they do and I like what they did with my song.  So it came from an honest place.

Now, I have no idea if Bigger Picture is going to put out Chelsea’s current album or start from scratch.  Either way, though, I have a foot “indie” door (yes, I like bad puns).  Getting a cut on her indie record might’ve gotten me a little access.  But the fact that I’ve also built some communication with her should give me a better chance to pitch some songs directly to her or maybe even write with her.  Hopefully, I can help her get a big ‘ol hit.

This goes as further proof that there is no such thing as a bad cut.  Today’s indie artist just might be tomorrow’s label artist.  So, if you do get an indie cut, do your research and don’t let a potential opportunity pass you by.

God Bless,

Brent

If you want to hear these cuts, click here…

Chelsea Bain – “Simple Is Hard” (by Brent Baxter and Robin Welty)

James Dupre- “Ring On The Bar” (by Brent Baxter and Byron Hill)

YOU VS…

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

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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

Video Tip: Fresh

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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

Walk-on Songwriters

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It’s football season, so I’ve been going through the highs and lows of my Arkansas Razorbacks and Arkansas State Red Wolves.  I have football on the brain.  I love football (and I have the surgical scars on my knee to prove it).  Anyway, it hit me the other day that we’re all walk-on players.  (Walk-on players are on the team, but NOT on scholarship.)  If walk-on proves his worth on the practice field, he will be given an opportunity to see playing time during a game.  If he does well, he may receive a coveted scholarship the next season.

Likewise, we come to Music City as walk-ons.  We’re not on scholarship- nobody is paying us to play.  We hit the practice field- we write and play out.  If we prove our worth , we see some action “in the game” – our song gets pitched to an artist, we write with a pro writer, we get some indie cuts, etc.  If we prove our worth in the game, we might receive a scholarship- a publishing deal, a major cut, etc.

Good luck.  Play hard.  And, most of all, enjoy the game!

God Bless,

Brent

YOU VS…

What did I miss?  Anything you’d like to add or ask?  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

8 Questions To Ask Before You Demo That Song

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So, you’ve written a stack of songs, and you’ve mowed a bunch of yards to get demo money.  The big question right now is not when to demo, where to demo, or how to demo.  The big question to ask is SHOULD you demo this song?  If you thoughtfully and honestly answer the following questions, you will spend your money more efficiently and effectively.

1. Is the song finished?

I love the emotional high of having just finished a song and feeling like it’s a big ‘ol hit.  But it’s important to step back and make sure it’s really finished.  90% right and 100% right might mean the difference between a pass and a keep or a hold and a cut.  Have you played it for an industry pro and gotten their feedback?  Have you played it for other writers and asked them for their honest opinion?

2. Is it a wide pitch?

A wide pitch is a song that fits a large number of artists.  A narrow pitch is one that only a very limited number of artists could record.  For example, if you say, “If George Strait doesn’t cut this, I don’t know who will,” that’s a narrow pitch.  As a general rule, I’m gonna demo the wide pitch, because there are more pitch possibilities- there are more paths to victory.

3. Is it commercially relevant?

Is this a song that a large audience will want to hear?  Will it make the listener laugh, cry, dance, or think?  It’s not about you- it’s about the audience.

4. Who could sing this?

As I discussed in my post, “The Band Is A Brand” (read it here), a wise artist is really only looking for songs that fit their brand and speak to their audience.  Does this song fit the general branding of the format?

5. Does the song have a fresh melody and lyric?

You HAVE to bring something different, especially if you are a new, unknown writer.  YOUR vanilla has no chance.  An artist has no reason to invest in your vanilla when they can get vanilla from friends, established hit songwriters, or just write it themselves.

6. Will I pitch it… really?

If you have already demoed ten songs just like this one (and they’re not getting cut), and this one isn’t any better… what’s the point?  Will you really pitch it?  Maybe you should spend your time writing a song that you will pitch instead of demoing a song you won’t.

7. Does this song NEED a full demo?

You should do what’s best for your song.  Some need a full demo- rocking uptempo anthems, for example.  Certain ballads and midtempos might be best presented with two guitars, a drum loop, and a great singer.

8. Is it great?

I’ve never had a so-so song get pitched to and cut by a major artist.  I just haven’t.  My cuts are each different- fast, slow, funny, sad – but, to me, each one has something really strong about it.

Good luck!  Thanks again for checking out MvR.

God Bless,

Brent

YOU VS…

What did I miss?  Anything you’d like to add or ask?  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

Video Tip: Mechanical Pipeline

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Here’s a little more discussion on mechanical royalties.  To watch the first video, CLICK HERE.

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

Oh, Canada!

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I got word yesterday that the song I wrote with Byron Hill and Gord Bamford and recorded by Gord just went #1 on the Canadian country chart, to be published later this week.  It’s both a great and a strange feeling.  “Great” because it’s a #1 song- my first!  “Strange” because “When Your Lips Are So Close” is a hit in another country, so I haven’t even heard it on the radio yet.  There’s an odd kind of unrealness to it- almost like Byron and Gord could just be pulling my leg.  But it IS real, and I’m thankful for it.

I’m sharing this because I want to publicly thank Byron who brought me in on the cowrite (and coproduced the album), Gord who already had a great thing going and didn’t have to write with me but did, and the Lord, who is the ultimate source of this blessing.  Thank you.

I’m also sharing this to remind myself and you that the musical world is bigger than just Nashville and Music Row.  There are opportunities around the world for songwriters with great songs.  It’s easy to only look at Nashville, but Nashville isn’t all there is.  Now, don’t get me wrong- I’m not turning away from Nashville by any means.  But I think it’s wise to be open to “Nashville-Plus.”  Nashville plus the rest of the world.  Good luck, ya’ll!

God Bless,

Brent

www.gordbamford.com

www.byronhillmusic.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