Tag Archives: Publishers

Do Business Like A Pro, P4P

Did You Know… You already have a music publisher?

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“How do I get a publisher?”

“Do I need a music publisher?”

“How do I connect with a publisher?”

Those are common questions that songwriters ask me on a regular basis.  And I’ve worked to answer those questions.

Maybe you’re asking the same questions right now. And we’ll get to that. But first, I want to remind you of one very important fact… You ALREADY have a music publisher.  Congrats!

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

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“Uh…” you might be thinking… “I don’t remember signing a publishing deal. And I know for sure that the check for my advance hasn’t shown up in my mailbox.” True enough. But it doesn’t change the truth.

Your current music publisher is… YOU.

Here in the United States (I can’t speak for other countries), the copyright law is clear. You own the copyright of your song as soon as you put it in a fixed form. In other words, as soon as you write it down, sing it into your phone, or YouTube yourself singing it, you (and your cowriters) own the copyright.

Owning the copyright makes you the publisher.

You’re the publisher, even if you don’t have a company name registered with your PRO. Even if you haven’t registered your copyright with the Copyright Office. Even if you’ve never gotten a cut. Even if you’re not pitching your songs.

You are your own publisher. Even if you don’t act like it.

Now, am I saying that you need to run out, hire a songplugger and sign some writers? Of course not. I realize you’re probably not in that position. We’re each at different points along the journey. Maybe your journey includes landing a publishing deal. Maybe not. But I do know that if you want to be a pro songwriter, you need to treat it like what it is – a business. You need to own that fact.

The sooner you “own” your success, the sooner you will earn your success.

If you own your success – if you take responsibility for it – you might not need an outside publisher to “make it happen” for you. On the other hand, if you never own your success, there’s probably not a publisher out there who CAN “make it happen” for you.

So, what’s the next step for YOU in your success? Is it registering your personal publishing company with a PRO? Is it writing that next song (even though you’re crazy busy)? Or is it connecting with another music publisher and let them handle all the publishing stuff?

If you ARE ready to connect with a publisher, then… I’m happy to offer a path for YOU and YOUR song to get to a real, successful music publisher.

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

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

God Bless and Enjoy the Journey,

Brent

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.  He  also  co-hosts  the  popular  podcast  “The  C.L.I.M.B.”  available  on iTunes,  Stitcher,  and  HERE.

Coaching, Do Business Like A Pro

5 Things Songwriters Need To Quit… Right Now

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It’s hard to quit. 

Society says, “never quit.”  Maybe you’ve invested so much in whatever it is that you feel it’s too late to quit.  Pride doesn’t want you to move on.  But sometimes, the only way to win is to quit.  Here are 5 things songwriters should quit.

Read on!

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

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1. Toxic relationships.

If you have “friends” or cowriters who habitually belittle your dreams or always point out why something won’t work, it might be time to find new friends and cowriters.  Yes, we need people that love us enough to be honest with us even when it’s unpleasant.  But some people are energy vampires who will only drag you down.  Figure out who’s who, and act accordingly.

2. Whining.

Don’t be somebody else’s toxic relationship.  A negative attitude not only drives away positive people, it blinds you to opportunity.  If you always focus on the closed door, you might miss the open window.  Plus, who wants to hang out and write songs with a bitter whiner?  The pros know this business is hard enough with a positive attitude- they sure don’t want you infecting them with your bad mojo!

3. Misaligned cowrites.

You want to write hit country songs, but she wants to write niche novelty songs.  Or you both want to write hits, but his songs sound like 1952 and he refuses to update his sound, meet with publishers, rewrite, or pitch his songs.  Those might be fine “hobby writes,” but you should quit thinking that they’re “hit writes.”  Find cowriters who have complimentary goals and skills.

4. Lazy artists.

An aspiring artist may have a great voice and be a good writer, but if they don’t want it badly enough, it doesn’t matter.  If they don’t take their career seriously, you can’t take their career seriously, either.  This business is too competitive to give less than your best.  So what if your cowriter-artist is talented?  Hard work beats talent when talent doesn’t work hard.

5. Demoing & pitching mediocre songs.

Mediocre songs will not change your life.  But they can make you broke and waste your time if you demo too many of them.  Plus, if you make a habit of pitching them, you’ll be known as a mediocre writer.  (You don’t always know before writing your song if it’ll be mediocre.  That’s fine.  But you should know it’s mediocre before you demo it.)

Part of the advantage of quitting is that it makes room in your life for better things.  Negative relationships can be replaced with inspiring relationships.  Misaligned cowrites can be replaced with properly-aligned cowrites.  Lazy artists can be replaced with serious artists.  The time and money you spend on mediocre songs can be spent finding, writing, and demoing better songs.

Win by quitting.

Have questions?  Need some personalized advice and direction?  Let me help.

If you’d like a private consultation, Songwriting Pro provides one-to-one songwriter coaching.  Ask your questions and learn directly from writers who have done what you want to do.  Here are some folks who can help:

Brent Baxter is a hit songwriter with cuts by Alan Jackson (the top 5 hit “Monday Morning Church”), Lady Antebellum, Randy Travis, Joe Nichols, Lonestar, comedy legend Ray Stevens, guitar legend Steve Cropper, Gord Bamford (the Canadian #1 and CCMA Single of the Year “When Your Lips Are So Close”) and more.  He also has cuts in the bluegrass, Southern Gospel and Christian markets.

Hit songwriter Jenn Schott has had songs recorded by artists including Tim McGraw, Rascal Flatts, The Eli Young Band, Jana Kramer, Gloriana, Francesca Battistelli, Jamie Lynn Spears, Billy Ray Cyrus, Pam Tillis, Lonestar, and Restless Heart.  Jenn co-wrote Mickey Guyton’s debut single, “Better Than You Left Me,” which was named one of Billboard’s 10 Best Country Songs of 2015.  She also penned the title track of Tim McGraw’s Grammy nominated album, “Two Lanes of Freedom.”

You can get all the details and book a session with me or Jenn with a CLICK HERE.  Don’t wait.  Together, we can move you in the direction of your dreams!

God Bless and Keep On C.L.I.M.B.ing,

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.

Coaching, Do Business Like A Pro

You can’t have songwriting success without these people!

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You can’t have major success alone.  You MUST have help.  Songwriting is a team sport. Today, let’s talk about who you might need on YOUR team.

Ready to start building your team – or to add the missing pieces?

Read on!

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

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Okay, let me start off by saying that not all of these members are necessary for every songwriter at every career stage.  Some are only needed when money is being generated from your songs. So don’t get overwhelmed- you don’t have to find all these folks today.

Also, this list is for pro songwriters or those who want to make money. If you just want to write good songs and you’re not worried about big commercial success, pick and choose accordingly.

1. Your Cowriters.

There are very, very few songwriters who turn pro (and stay that way) who are exclusively solo writers. Your cowriters help keep you fresh and break you out of creative ruts and stale habits. They also provide song ideas so you don’t have to come up with all your own ideas.

Cowriters provide creative strengths to compliment your weaknesses (lyrics for your melodies, etc.) They share valuable information (who’s cutting, what they want, who’s about to get a record deal, etc.). They (and their publishers) help pitch your songs. Cowriting also provides political advantages- writing with the artist, the producer, or with someone in a powerful publishing company.

2. Your PRO.

Performing Rights Organizations (PROs) are basically companies who collect and distribute airplay royalties for publishers and songwriters. There are three PROs in the United States- ASCAP, BMI and SESAC. Every other country / territory has only one.

If you’re blessed to get some airplay, you and your song won’t get a dime of airplay money if you and your song aren’t registered with a PRO. That’s the big service they offer. Other benefits include networking and educational opportunities. EVERY money-making pro must have a PRO.

3. Your Recorders.

All the cowriters in the world aren’t gonna do you much good if all your demos / recordings sound terrible. There’s just too much competition and too many quality demos out there for an A&R person to do the work to hear through a bad recording. They just don’t have to.  Unless you’re an established hit songwriter with a good track record, they’ll just trash it and move on to a recording that sounds like it was done by a pro.

It’s great if you have the musician and production chops to get good sound on your own. But most songwriters don’t have that, so it needs to be outsourced. Maybe your cowriters can perform this function, or maybe you hire a track person or some studio musicians.

With that being said, a good publisher should be able to hear a good song that isn’t fully demoed.  This point is for pitching your song to artists and record labels, not to publishers (who we’ll get to in a moment).

4. Your Administrator.

Somebody better be watching the money. Your administrators are the folks that make sure your songs are registered with a PRO, licensed properly by the record labels, the copyright forms are sent in and that your royalties make it (properly and promptly) from the record labels to the songwriters.

This function is usually done by the publisher, but you can also hire an admin firm for a percentage of what they collect on your behalf. For example, my Major Bob Music catalog is partly administered in-house and partly by The Harry Fox Agency. My personal publishing company, Cowboy Chords Music, outsources my admin to Bluewater Music. They handle my licensing and royalty collections for a percentage of the money they collect.

Team Sport

5. Your Sharpeners.

These are the folks who help you sharpen your skills, both on the artistic and business sides of songwriting. This may include cowriters who inspire and challenge you to do your best, it may include NSAI, Global Songwriters Connection, Songwriting Pro, Frettie, song evaluators, and coaches. It may be your publisher or songplugger. It may be a writer’s rep at a PRO or a publisher who will listen to your songs and give feedback.

The Sharpeners are hugely important for amateurs turning pro and for seasoned pros trying to keep current and to adapt as the commercial market changes. These are the folks who will tell you the truth and challenge you, even when it’s unpleasant.

6. Your Believers.

Who’s going to pick you up when the biz knocks you down? When you’re lost in doubt? You’ll find The Believers in several of the other categories- Cowriters, Publisher, and sometimes the PROS and Sharpeners.

Your Believers may also include folks outside of music- your family and friends. This isn’t just for the aspiring songwriter. We ALL need  Believers! But the most important believer will always be one person. Yourself.

7. Your Songpluggers.

If you want cuts, somebody has to be out there actively pitching your songs and getting them heard by folks who can say “yes.” Oftentimes, this is done by a music publisher, who has at least one songplugger on staff. Many pros also pitch their songs themselves.  I’m an “all hands on deck” kinda guy, so I like to have cowriters who pitch our songs, too.

People who might plug your songs: you, your publisher, an independent songplugger, your cowriters, your cowriters’ songpluggers. If nobody is plugging your songs, nobody will hear them. If nobody hears your songs, nobody will cut them.

There ya go.  A pro songwriter’s team. Like I said earlier, you may not need all these folks right now, depending on where you are in your career. But as you climb that mountain, you’ll add more and more of them.

But what if you don’t have your team put together yet?  What if you need some personalized advice and direction?  Let me help.

If you’d like to follow up this blog post with a private consultation, Songwriting Pro provides one-to-one songwriter coaching.  Ask your questions and learn directly from writers who have done what you want to do.  Here are some folks who can help:

Brent Baxter is a hit songwriter with cuts by Alan Jackson (the top 5 hit “Monday Morning Church”), Lady Antebellum, Randy Travis, Joe Nichols, Lonestar, comedy legend Ray Stevens, guitar legend Steve Cropper, Gord Bamford (the Canadian #1 and CCMA Single of the Year “When Your Lips Are So Close”) and more.  He also has cuts in the bluegrass, Southern Gospel and Christian markets.

Hit songwriter Jenn Schott has had songs recorded by artists including Tim McGraw, Rascal Flatts, The Eli Young Band, Jana Kramer, Gloriana, Francesca Battistelli, Jamie Lynn Spears, Billy Ray Cyrus, Pam Tillis, Lonestar, and Restless Heart.  Jenn co-wrote Mickey Guyton’s debut single, “Better Than You Left Me,” which was named one of Billboard’s 10 Best Country Songs of 2015.  She also penned the title track of Tim McGraw’s Grammy nominated album, “Two Lanes of Freedom.”

You can get all the details and book a session with me or Jenn with a CLICK HERE.  Don’t wait.  Together, we can move you in the direction of your dreams!

God Bless and Keep On C.L.I.M.B.ing,

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.

Do Business Like A Pro, P4P

How To Win Your Next Publisher Meeting… After It’s Over

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Let’s assume you’ve just walked out of a meeting with a music publisher.  Congratulations!  But don’t go thinking the meeting is over just because it’s over.  Today, I want to help you keep winning the meeting even after it ends.

Here are 5 things you MUST do if you want to really get the most out of every publisher meeting.  Read on.

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

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Last week, I discussed 6 Ways Rock Your Publisher Meeting.  You can read that with a CLICK HERE.  Today, let’s talk about how to turn that meeting into an even bigger win- after it’s over.  And away we go…

1. Don’t freak out.

Chances are, you’re feeling a little kicked around.  Don’t worry- we’ve all been kicked around.  This is an opportunity to build your “getting-back-on-the-horse” muscles.  Believe me, you’ll need them over the years to come.  It’s important not to swing too far in either direction- “I’ve arrived” or “I’ll never get there.” 

Just because the publisher didn’t do backflips doesn’t mean it’s time to feed your guitar to a woodchipper.  And just because your publisher DID to backflips doesn’t mean it’s time to give your boss the ‘ol Johnny Paycheck.  Just take a deep breath.

2. Thoughtfully consider any feedback you received.

Put away the voice of pride which says, “they don’t know what they’re talking about- just ignore ‘em.”  Also put away the voice of fear and laziness that doesn’t want to admit you may have a lot of work ahead of you. 

Honestly, did the publisher make some valid points?  Maybe you brought in a rodeo song and your publisher told you rodeo songs aren’t in demand right now.  Well, get on iTunes or Billboard and do the research.  It’s not about seeing the world as you want it to be.  See the world as it is.

3. Seek out additional educated feedback.

Nobody’s opinion is gospel.  Nobody has perfect understanding.  If you disagreed with everything the publisher said, get another opinion.  If you agreed with everything the publisher said, get additional opinions.  If you hear the same point made by two or more music business professionals, really give it a lot of consideration. 

And there’s another reason to seek additional opinions- it will help you grow your network and increase the chance that you’ll find your champion.  Just because one publisher has taken some time with you, don’t act like they’re the only game in town.  It’s important to reach out to others.

4. Express appreciation.

Let the publisher know you appreciate his or her time.  A quick email or (even more noticeable) a handwritten thank-you card gets your name in front of the publisher in a positive way.  Even if they didn’t like your songs, everyone likes being appreciated, so this is a good way to put a positive spin on the meeting.  And, of course, if they loved your songs, it’s also a good reminder of that.

5. Follow up.

Don’t expect the publisher to keep thinking about you and call you up out of the blue a month later like “Hey, man… how ya been?  I miss you…”  Not gonna happen.  There’s no need for a meeting one week later (unless THEY ask YOU back that soon).  But in another couple months, after you’ve applied some of their advice to your newest songs, you can reach out to them again.  This is a relationship business, and it takes time to build them.  So reach back out.

Okay, those are 5 ways you win after your publisher meeting.  You may want to bookmark this page or print it out for future reference.

But what if you’re not sure how to get that publisher meeting in the first place?

Let me introduce you to a legit music publisher.

If you’re ready to connect with a publisher, I have a path for YOU and your great song to get to a real, legit, successful music publisher.

On Thursday, March 28, I’m hosting the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is Scot Sherrod of Rare Spark Media.  Scot has had his hand in a bunch of hits, but the deadline to submit your song is coming up quickly!  CLICK HERE TO LEARN MORE ABOUT THIS GREAT OPPORTUNITY.

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 10 in Texas, a top 5 hit in the US and a #1 in Canada… so far.

Do Business Like A Pro, P4P

how to Rock Your Next Publisher Meeting

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Let’s assume you’ve finally landed a meeting with a music publisher.  Woo-hoo!  I’m proud of you!  Now, PLEASE don’t mess up this opportunity.  Today, I want to help you make the most of your meeting.

Here are 6 things you can do to maximize your next publisher meeting.  Read on.

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

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Last week, I discussed 5 Ways To Prepare For Your Publisher Meeting.  You can read that with a CLICK HERE.  Today, let’s talk about how to slay your next publisher meeting while you’re IN the room.  And away we go…

1.  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 the publisher and his or her time. It matters. Be professional.

Plus, a publisher’s day is FULL.  If you don’t show up on time, you’re either going to get a shorter meeting, or you’re messing up their schedule for the day.  Being the reason for a scheduling logjam is NOT the impression you want to make on a publisher.

2.  Dress like you care.

Seriously.  If you’re meeting in person, you want to appear professional.  No, you don’t have to wear kakis, 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 publisher and hopefully get some cowrites or eventually land a staff deal, you want to make the publisher 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.

3.  Seek to get better, not just to get discovered.

Maybe your songs are impressive.  Maybe they’re not.  But a humble, teachable attitude is always impressive.  You want the publisher to be a fan of YOU, not just your songs.

If they get the sense that a songwriter is not there to learn and connect but just wants to be told how great they are (and they aren’t great), they’re just going to try and get through the session with as little headache as possible.  Because if you’re not willing to learn or connect, you’re probably just waisting their time.

4. Take notes.

Or record the session (but ask before you hit the red button).  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 the opportunity, it encourages the publisher to give even better info. 

Also, a publisher might be a little less likely to suggest a potential cowriter or industry contact if you look like you don’t have a pen within five miles.

5. 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 a publisher doesn’t think they CAN work with you, they WON’T work with you. If the publisher 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.  And relationships in this business are HUGE.

6.  Express gratitude.

You’re not doing them a favor by gracing them with your presence.  They’re doing YOU the favor.  So act like it.  Be thankful, and let them know you are.  Everyone likes to be appreciated, and publishers are no different.  Don’t overdo it, but let them know you value their time and attention.

Okay, those are 6 ways you can get the most out of  your publisher meeting.  You may want to bookmark this page or print it out for when the big day comes.

Next time, I’ll discuss what to do AFTER the publisher meeting.  Stay tuned, you don’t want to miss it.  In the meantime…

Let me introduce you to a legit music publisher.

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher.

On Thursday, March 28, I’m hosting the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is Scot Sherrod of Rare Spark Media.  Scot has had his hand in a bunch of hits, but the deadline to submit your song is coming up quickly!  CLICK HERE TO LEARN MORE ABOUT THIS GREAT OPPORTUNITY.

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 10 in Texas, a top 5 hit in the US and a #1 in Canada… so far.

Do Business Like A Pro, P4P

how to prepare for your meeting with a music publisher

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Alright, you’ve tracked down a music publisher, and you’ve finally gotten that meeting you’ve been hoping for.  But now what?  How do you make it a success?  How do you avoid blowing this opportunity?

Here are five things you should do to effectively prepare for your publisher meeting.  Good luck!

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

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1. Define your goal(s) for the meeting and beyond.

Do you want to write hits for other artists or for yourself as an artist?  Do you want a publishing deal or to get cowrites with the publisher’s writers?  Or both?  Are you writing for yourself or for the radio?  How can a publisher help you get where you want to go if you don’t know where that is?

2. 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 it, 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 you should write it down?

3. 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.  Order 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 your first song?  What if the publisher wants to play the song for an artist later that day?  Be prepared.  Also, have the labeling on the CD clear and professional with all your contact info on it.

Also, prepare for the fact that the publisher may not have a CD player on their computer.  (Sounds crazy, I know.)  It may be wise to have your songs and lyrics in an email folder where you can send them over from your phone right in their office.  Or to have them somewhere online where you can pull them up.  Be prepared.

4. 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 the publisher.  Some publishers 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 the publisher can’t find you later or remember who wrote it.

5. Research your publisher.

I’m not talking about hiding in the bushes outside their office.  But who is going to be sitting across the desk from you?  Have they published a hit?  Who are their current staff songwriters?

Knowing some of their cuts and writers 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, song or songwriter to your publisher and then seeing that artist’s album hanging on the publisher’s wall.  Oops.

Okay, those are 5 ways you can prepare for your publisher meeting.  You may want to bookmark this page or print it out for when the big day comes.

Next time, I’ll discuss how to handle the publisher meeting itself.  Stay tuned, you don’t want to miss it.  In the meantime…

Let me introduce you to a legit music publisher.

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher.

On Thursday, March 28, I’m hosting the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is Scot Sherrod of Rare Spark Media.  Scot has had his hand in a bunch of hits, but the deadline to submit your song is coming up quickly!  CLICK HERE TO LEARN MORE ABOUT THIS GREAT OPPORTUNITY.

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 10 in Texas, a top 5 hit in the US and a #1 in Canada… so far.

Do Business Like A Pro, P4P

WHY A Music Publisher Won’t Meet With You… And 1 Thing You Can Do About It

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For many songwriters (and possibly you), trying to get a publisher meeting is like trying to get a date with a supermodel.  You know they exist, you cyber-stalk them as best you can… but you can’t find one who will give you the time of day.

Why is it so dang hard to get a publisher meeting?

Here are 4 reasons a publisher won’t meet with you- and one thing you can do to change that.

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

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1. Knock, knock… Math.

Publishers simply don’t have enough time to meet with every songwriter who wants some of their time.  Math just dictates that there aren’t enough hours in the workday for every “quick 15 minute meeting” that is asked of them.

Unfortunately, publishers just can’t get to everyone.

Oh, and math also says that the vast majority of songwriters just aren’t good enough to solve the publisher’s problems.  The odds are actually better that you’ll either be needy or crazy and add to their problems.

2. You made a bad (personal) 1st impression.

Maybe the publisher met you out at an event… or the grocery store… and you gave off a creepy vibe when you shoved your CD into her cart alongside her avocados.  Or maybe you reached out through social media and she saw that post where you ranted about how much radio sucks and the songs suck and the artists suck.  Now the publisher has no desire to give you a 2nd chance to make a worse impression.

Yes, unpleasant people might still have a great song.  But a publisher is looking for something more valuable than just one great song.  She’s looking for a great songwriter she can have hits with for years to come.

If the publisher doesn’t like being around you for 5 minutes, she’s sure not excited about being around you for 5 years.

3. You made a bad (musical) 1st impression.

Let’s say a publisher was out at the Bluebird Cafe or The Listening Room to hear one of his writers, and you were in the early round.  If your songs just aren’t exciting to him (too slow, too cliche, too boring, whatever), he’s not going to be in a hurry to sit down with you for a half-hour.

There’s just not a compelling business interest for him to NOT meet with someone else so he CAN meet with you.  After all, publishers know writers tend to play their best stuff out.  So if that’s your best, he doesn’t need to hear any more- at least not until after you’ve worked on your craft for a few more years.

4. The publisher doesn’t know you exist.

Literally.  How can a publisher agree to meet with you if you’ve never stepped into her awareness?  If you and your songs never leave your bedroom in Boise, that publisher meeting is simply NOT GOING TO HAPPEN.  You have to get over your fear or whatever and DO SOMETHING.

Or maybe you’re ready to do something, but you just don’t know the steps to take.  How do you approach a real-deal music publisher in a way that gets his or her attention in a positive way?  Do you have to belong to some sort of private club?  Is there a secret handshake?

Let me introduce you to a legit music publisher.

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher.

On Thursday, March 28, I’m hosting the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is Scot Sherrod of Rare Spark Media.  Scot has had his hand in a bunch of hits, but the deadline to submit your song is coming up quickly!  CLICK HERE TO LEARN MORE ABOUT THIS GREAT OPPORTUNITY.

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 10 in Texas, a top 5 hit in the US and a #1 in Canada… so far.

Do Business Like A Pro, P4P

You can’t have songwriting success without these people!

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You can’t have major success alone.  You MUST have help.  Songwriting is a team sport. Today, let’s talk about who you might need on YOUR team.

Ready to start building your team – or to add the missing pieces?  Read on!

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

Okay, let me start off by saying that not all of these members are necessary for every songwriter at every career stage.  Some are only needed when money is being generated from your songs. So don’t get overwhelmed- you don’t have to find all these folks today.

Also, this list is for pro songwriters or those who want to make money. If you just want to write good songs and you’re not worried about big commercial success, pick and choose accordingly.

1. Your Cowriters.

There are very, very few songwriters who turn pro (and stay that way) who are exclusively solo writers. Your cowriters help keep you fresh and break you out of creative ruts and stale habits. They also provide song ideas so you don’t have to come up with all your own ideas.

Cowriters provide creative strengths to compliment your weaknesses (lyrics for your melodies, etc.) They share valuable information (who’s cutting, what they want, who’s about to get a record deal, etc.). They (and their publishers) help pitch your songs. Cowriting also provides political advantages- writing with the artist, the producer, or with someone in a powerful publishing company.

2. Your PRO.

Performing Rights Organizations (PROs) are basically companies who collect and distribute airplay royalties for publishers and songwriters. There are three PROs in the United States- ASCAP, BMI and SESAC. Every other country / territory has only one.

If you’re blessed to get some airplay, you and your song won’t get a dime of airplay money if you and your song aren’t registered with a PRO. That’s the big service they offer. Other benefits include networking and educational opportunities. EVERY money-making pro must have a PRO.

3. Your Recorders.

All the cowriters in the world aren’t gonna do you much good if all your demos / recordings sound terrible. There’s just too much competition and too many quality demos out there for an A&R person to do the work to hear through a bad recording. They just don’t have to.  Unless you’re an established hit songwriter with a good track record, they’ll just trash it and move on to a recording that sounds like it was done by a pro.

It’s great if you have the musician and production chops to get good sound on your own. But most songwriters don’t have that, so it needs to be outsourced. Maybe your cowriters can perform this function, or maybe you hire a track guy (or girl) or some studio musicians.

With that being said, a good publisher should be able to hear a good song that isn’t fully demoed.  This point is for pitching your song to artists and record labels, not to publishers (who we’ll get to in a moment).

4. Your Administrator.

Somebody better be watching the money. Your administrators are the folks that make sure your songs are registered with a PRO, licensed properly by the record labels, the copyright forms are sent in and that your royalties make it (properly and promptly) from the record labels to the songwriters.

This function is usually done by the publisher, but you can also hire an admin firm for a percentage of what they collect on your behalf. For example, my Major Bob Music catalog is partly administered in-house and partly by The Harry Fox Agency. My personal publishing company, Cowboy Chords Music, outsources my admin to Bluewater Music. They handle my licensing and royalty collections for a percentage of the money they collect.

Team Sport

5. Your Sharpeners.

These are the folks who help you sharpen your skills, both on the artistic and business sides of songwriting. This may include cowriters who inspire and challenge you to do your best, it may include NSAI, Global Songwriters Connection, Songwriting Pro, Frettie, song evaluators, and coaches. It may be your publisher or songplugger. It may be a writer’s rep at a PRO or a publisher who will listen to your songs and give feedback.

The Sharpeners are hugely important for amateurs turning pro and for seasoned pros trying to keep current and to adapt as the commercial market changes. These are the folks who will tell you the truth and challenge you, even when it’s unpleasant.

6. Your Believers.

Who’s going to pick you up when the biz knocks you down? When you’re lost in doubt? You’ll find The Believers in several of the other categories- Cowriters, Publisher, and sometimes the PROS and Sharpeners.

Your Believers may also include folks outside of music- your family and friends. This isn’t just for the aspiring songwriter. We ALL need  Believers! But the most important believer will always be one person. Yourself.

7. Your Songpluggers.

If you want cuts, somebody has to be out there actively pitching your songs and getting them heard by folks who can say “yes.” Oftentimes, this is done by a music publisher, who has at least one songplugger on staff. Many pros also pitch their songs themselves.  I’m an “all hands on deck” kinda guy, so I like to have cowriters to pitch our songs, too.

People who might plug your songs: you, your publisher, an independent songplugger, your cowriters, your cowriters’ songpluggers. If nobody is plugging your songs, nobody will hear them. If nobody hears your songs, nobody will cut them.

There ya go.  A pro songwriter’s team. Like I said earlier, you may not need all these folks right now, depending on where you are in your career. But as you climb that mountain, you’ll add more and more of them.

But what if you don’t have your team put together yet?  What if you don’t know any publishers?  Let me help.

I’m happy to give you a shot at meeting a legit hit music publisher!  I want YOU to join me at Songwriting Pro’s next Play For A Publisher event- and get feedback on YOUR song in person! (No matter where in the world you live.)

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher, no matter where in the world you live (because it’s all online).

On Thursday, December 14, I’m having the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is John Ozier of ole Music, but the deadline to submit your song is TODAY!  That’s right- if you don’t reserve your spot and get your song in TODAY, John won’t hear your song.

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE THIS GREAT OPPORTUNITY!

MEET MUSIC PUBLISHER JOHN OZIER

Ozier’s track record includes placing songs recorded by Garth Brooks, Tim McGraw, Florida Georgia Line, Lee Brice, Randy Houser, Rodney Atkins, Clay Walker, Love & Theft, Ronnie Dunn, Jo Dee Messina, and many more. In 2010, Ozier was responsible for four songs in the Top 15 on the Billboard country charts, including the longest-ever running single, Lee Brice’s “Love Like Crazy,” at 56 weeks. More recently, he was responsible for No. 1s by Rodney Atkins (“Take A Back Road”) and Lee Brice (“A Woman Like You” and “I Drive Your Truck”).

He is also a published songwriter with cuts by Lee Brice, Kelli Pickler, Charlie Worsham, Josh Thompson, Tyler Farr, American Young, Air Supply and others. He co-wrote Lee Brice’s multi-week No. 1 and platinum single, “Hard to Love,” which won a BMI Award in 2013, as well as an NSAI Award for ‘Top 10 Songs I Wish I’d Written.’ Ozier also co-wrote Tyler Farr’s  34-week #1 and Gold Single, “Whiskey In My Water.”

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE THIS GREAT OPPORTUNITY!

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.

Do Business Like A Pro, P4P

Before You Pitch Your Song, Ask Yourself These 6 Questions!

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You’ve just written your new favorite jam, and you can’t wait to pitch it to every artist and label in town.  Congrats!  But DON’T pitch that song just yet!

Before you send that email or make that call, you need to ask yourself these 6 questions that can keep you from wasting your time AND your songwriting reputation.

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

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 yourself as you’re going through your songs.

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

Artists are brands.  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.  Likewise, don’t waste an artist’s time by pitching him a song that doesn’t fit what he does.  You’ll look like you just didn’t bother to do your homework.  That doesn’t respect the artist’s artistry or their time, and you come off looking bad.

 2.  Can the artist sing the song?

I was 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.  The same goes for most artists.

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?  It has to be on-brand AND great.  Never, never, never pitch a song that you know isn’t great.  It’ll reflect poorly on you as a songwriter.  It’ll damage your reputation.  And in this business, reputation is huge.

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.

But what if you don’t have your own pitch contacts?  What if you don’t know any artists or producers? 

Well, you’re probably going to need a publisher.  And I’m happy to give you a shot at meeting one!  I want YOU to join me at Songwriting Pro’s next Play For A Publisher event- and get feedback on YOUR song in person! (No matter where you live.)

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher, no matter where in the world you live.

On Thursday, December 14, I’m having the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is John Ozier of ole Music.  John has had his hand in a bunch of hits, but the deadline to submit your song is coming up NEXT MONDAY!  DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE THIS GREAT OPPORTUNITY.

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.

Do Business Like A Pro, P4P

In Today’s Music Biz, Songwriters Must Have THIS Skill

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Hit music publisher, Dan Hodges of Dan Hodges Music, was our most recent Play For A Publisher guest, and he dropped a HUGE value-bomb on us!

It was just too good and too important to keep to ourselves, so I decided to share it.  If you want to become a pro songwriter, read on!

________________________________

To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

At Songwriting Pro’s most recent “Play For A Publisher” event, Dan Hodges was asked about the importance to a publisher of a songwriter being able to play, sing, record their own demos, etc.

His answer was surprising.

Here’s basically (paraphrased) what Dan told us.

In the 1990’s, it was really important for a songwriter to be able to write solo.  That way, you could put that writer in the room with anybody (or nobody), and you were confident that he or she could come out with a good song.

But these days, it’s different.

Now, Dan places a big value on work ethic.  Is the writer a hard worker?  Does he or she show up consistency, putting in the effort and the hours?

Then Dan hit us with something surprising.

It’s really important that the writer is a good hang.  A publisher is always looking to network, and it’s very important that the writer is LIKABLE.  Just like in the ’90’s, when publishers wanted a writer who could go into a room with anyone and come out with a good song, these days, they often want a writer who can go into a room with anyone and come out with a good RELATIONSHIP.

The social aspect of the music business is vitally important.

He told us the story of one of his songwriters.  According to Dan, this writer is a very positive person.  He just makes everyone around him feel good.  This writer recently landed a #1 hit country song, which he cowrote with the artist.

Basically, as Dan explains it, his writer got a #1 not only because he is a good writer, but the artist enjoyed writing with him.  They became friends, and after that relationship garnered 30 or so songs, one of them landed on the artist’s debut album.  It was released as a single, and eventually hit #1.

Now Dan’s songwriter has a #1 hit to go with his winning, positive personality.

Now, here’s my (Brent’s) take on that.

I know some writers who hate to hear these kinds of stories.  They hate to think of the music business as “high school all over again” or a “popularity contest” where only the “cool kids” get the attention.

That’s a loser mentality, and you can’t afford to think that way.  

(Those are my words, not Dan’s, just so we’re clear.)

The music business is FULL of writers with a ton of talent.  It’s full of writers with a good work ethic.  And there are a lot of writers trying to get into the biz who also work hard and have talent.

Bringing a good hang can be worth as much as bringing a good hook.

Why?  Because being a good hang can get you in the room again and again.  Yes, you need the talent.  But once the talent-bar has been cleared, the artist (or hit writer) still has more potential cowriters than they have time for.  So…

What’s going to get YOU in that room instead of someone else?

Be a good hang.  Be likable.  Be someone other people want to be around.

Like it or not, personality matters.  People just have too many options to be stuck spending their time with people they don’t like.

If an artist or cowriter doesn’t HAVE to write with you, it’s your job to make them WANT to write with you.

 

I want YOU to join me at the next Play For A Publisher event- and get great advice and feedback on YOUR song in person! (No matter where you live.)

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher, no matter where in the world you live.  That’s right- it’s all online, so you can join us from anywhere!

On Thursday, December 14, I’m having the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is John Ozier of ole Music.  John has had his hand in a bunch of hits, but the deadline to submit your song is coming up THIS MONTH!  CLICK HERE TO LEARN MORE ABOUT THIS GREAT OPPORTUNITY.

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.