Tag Archives: Songwriter

Turn Your Negative Title Into A Positive Song

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

Commercially-speaking, positive songs are in higher demand than negative songs.  (That’s not a surprise if you listen to the radio.)  But what if most of the titles you come up with are sad/negative?  I humbly suggest that most titles that sounds negative can be used for a positive song if you’re creative enough.

For example, “You Broke My Heart” could mean “You broke my heart out of it’s chains.”  I had an old idea called, “Minutes From A Memory” about a guy that knew his girl was about to leave him.  Thankfully, my cowriter (Jason Cox) saw it as a guy knowing he and his girl are about to make a great memory.  That’s so much more commercial!

I confess to being a negative-first kind songwriter.  Maybe pain just just more interesting.  Who knows?  But I’ve really worked on not settling for a negative idea just because it’s my first impression of a title.  Not only are those negative-title-positive-songs more commercial because they’re positive, they’re also more interesting because you have to dig deeper into your idea.  Win-win!

God Bless,

Brent

YOU VS…

Take one or two of your “negative” titles (whether you’ve already written them or not) and find a positive spin on them.  Good luck!  Also, anything you’d like to add or ask?  Leave a comment!  Are there any topics  you’d like to see addressed in a future MvR post?  Thanks!

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Brent’s Twitter: @Razorbaxter

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

The Humane Society And Songwriting

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

Have you seen those Humane Society commercials about pet adoption?  You know- the ones with Sarah McLachlan singing “Angel?”  Those are sure hard to watch- just heartbreaking.  And you know why?  It’s the PICTURES.

If those commercials only had the music and somebody TELLING you ABOUT sad, neglected animals, they wouldn’t have nearly the same impact.  Telling us about abused animals transmits information to our brains.  But SHOWING us abused animals transmits information to our hearts.

And that is why we should put pictures in the lyrics of our songs.

God Bless,

Brent

YOU VS…

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

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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

How Do You Know Who Is Looking For Songs?

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

After I posted “10 Reasons Songwriters Should Pitch Their Own Songs” (read it HERE), I got a few questions about how to pitch and how to know who’s looking for songs.  Today, let’s dive into the 2nd part- how to know who’s looking and listening for songs.

1. Personal relationships.

If you personally know an artist, producer or label A&R, they can tell you if they’re actively listening for a project.  And they MIGHT even know what they need and when they need it.  But remember, any info is always subject to change at a moment’s notice.

2. Industry chatter.

If you can’t get the scoop directly from the horse’s mouth, publishers and other songwriters are always talking.  Keep your ear to the ground, and don’t be afraid to ask questions.

3. Industry pitch sheets.

RowFax is a paid subscription service which lists projects, points of contact, etc.  It might even say what they’re looking for (usually “hits” or “great songs” or “uptempo positive”).  There are also a few inside-the-industry tip sheets, too.  But you have to know somebody to get them.  Now, these definitely carry some incorrect info- a buddy of mine is on there, and it lists the incorrect producer and music description.  So take it all with a grain of salt.  Oh, and tip sheets don’t provide contact information- you have to get that some other way.

To check out RowFax, click HERE.

4. Liner notes.

If an artist is doing well, you know they’re gonna make another album.  And they’ll probably be looking real hard when they’re on the second or third single from their current album.  Check the album’s liner notes for the name of their label and producer, then do some research for how to find them.  Of course, the artist may be changing producers for the next album, so you never know for sure.

5. Sources I missed.

I’m sure there are some tip-list services I missed.  If you know of any, please add them to the comments- along with any personal recommendations.  Teamwork makes the dream work, ya know.

I hope that helps.  I know there’s no magic bullet, but that’s just the way it is.  That’s one reason why writers that have success can keep it going more easily- they have more accurate information because of their connections.  Good luck out there.

God Bless,

Brent

YOU VS…

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

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

The Big Yes

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

When pitching a song, there is a “Little Yes” and a “Big Yes.”  The Little Yes is a person who only has the power to pass your song up the ladder.  The Big Yes is one of those very few people on a project who actually decides what gets cut.

Don’t just assume that the artist is always the Big Yes.  If he’s brand new, the producer or the head of A&R might be the Big Yes.  If you’re pitching for a specific project, don’t be satisfied with just pitching to the Little Yes.  Try to identify the Big Yes.  After all, a Little Yes can’t really say “yes,” but they can say “no.”

God Bless,

Brent

YOU VS…

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

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

6 Ways To Get The Most From Your Solo Songwriting Time

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

It’s frustrating to finally get some solo songwriting time, then to feel like it just wasn’t as productive as you hoped it would be.  Today, I want to give you six tips to make the most of your solo songwriting time.

1. Schedule it.

If you schedule your solo writing, you’re more likely to actually HAVE solo writing time.  Also, if you know it’s coming up on Tuesday at 10am, you’ll start thinking about it as the time approaches.  You’ll start thinking about what you can write about and you’ll start getting in the “songwriter state of mind” before you even sit down to write.

2. Build a transition ritual.

An athlete doesn’t just step on the field and start competing without warming up. In the same way, you might pull a brain-muscle if you go directly from board meeting or baby-changing to trying to write a hit chorus.  Transition rituals can help you make the switch to your creative mind.  They might include taking a walk, driving around the block, listening to some great music, freewriting, or sitting quietly for a few minutes.  Just make sure your transition ritual doesn’t become procrastination.

3. Go to your creative space.

I think it helps to have a place you go where your brain knows “this is where I write.”  Your tools are there (guitar, capo, notebook, etc.) and it’s comfortable (though not nap-inducing).  It could be a quiet corner of your home, or it could be the corner coffee shop where there’s just enough distraction to be white-noise.

4. Eliminate distractions.

Turn off your phone, email, internet, TV, radio, etc.  It’s easy to click over and check email when you’re stuck on a rhyme, but it’s a major time killer.  Focus, focus, focus.

5. Allow enough time.

Each of us takes a certain amount of time to get into a groove, and nothing’s more frustrating than having to quit when you’re just hitting it.  So learn yourself and schedule enough time for you to hit that groove and stay in it for a while.  It might be that one 4-hour block is twice as productive as four 1-hour blocks.

6. Get enough sleep.

It’s hard to be sharp when you’re groggy or foggy from lack of sleep.  We need our brains working well, and they work best when they get enough sleep.

Hope that helps!

God Bless,

Brent

YOU VS…

Anything you’d like to add or ask?  What are some things you do to maximize your solo songwriting time?  Leave a comment!  Are there any topics  you’d like to see addressed in a future MvR post?  Thanks!

FOLLOW AND SHARE THIS BLOG

If you like this blog, don’t miss a single post!  Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

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

Be Helpful

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

Zig Zigler is known for saying, “You can have anything you want out of life as long as you help enough people get what they want out of life.”  Sounds a little counter-intuitive, right?  But it’s true- all of a songwriter’s success is based on helping others get what they want.  Here are a few examples of what people want:

     A great lyricist wants a cowriter with great melodies.

     A great melody writer wants a cowriter with great lyrics.

     An artist who is a new writer wants a cowriter who can bring their thoughts to life without making the artist feel self-conscious.

     An artist wants a hit song.

     Radio wants fun, uptempo songs.

     Radio listeners (largely) want songs that make them feel good.

     Record labels want songs that sell records.

It’s not about getting an artist to help YOU by recording YOUR song that YOU like.  It’s about writing and pitching a song that THE ARTIST has been looking for, that THE ARTIST wants to sing and will help THE ARTIST take their career a step forward.

I don’t think anyone has ever asked me to write or cut one of my songs only to help ME out.  People write with me and cut my songs to help THEMSELVES out.  And, hey, if the result of them getting what they want is that I also get good cowrites and cuts, I’m fine with that.

So I encourage you to ask yourself, “How can I be of maximum service with my songwriting?”  “Is there something in my writing that I can develop into something that people want or need?”

Songwriting is a service business.  Improve your service, and you improve your odds of success.

God Bless,

Brent

YOU VS…

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

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

“Slash” Songwriters

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

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

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

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

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

God Bless,

Brent

YOU VS…

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

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

Pictures As Proof: Carrie Underwood & “Before He Cheats”

There are a lot of great things about “Before He Cheats” by Carrie Underwood (written by Josh Kear and Chris Tompkins).

But today I want to focus on one.  The writers never call the cheating boyfriend a name.  They never call him a jerk, a loser, etc.  Instead, they use the lyrics to paint a picture of this guy that leaves the listener thinking, “Man, what a loser!”

If Carrie just called the guy a jerk, I might believe her.  Or I might just think she’s a bitter, psycho ex-girlfriend.  But the pictures are the proof.  The writers prove to us that this guy is a jerk- we’ve seen him in action (up behind the girl showing her how to shoot a combo, buying her drinks, and dabbing on $3 worth of that bathroom Polo, etc).  Therefore, when Carrie takes it out on his truck, you at least agree that he was due some payback.

The lesson for me is: If you want the listener to think someone is a jerk, a hero, a great lover, whatever- don’t just tell the listener so.  Use pictures as proof.

Strong imagery like we find in “Before He Cheats” can really make a song stand out. If you want to build YOUR imagery skill so that YOUR songs stand out, I have a great opportunity for you. In Songwriting Pro’s upcoming live online workshop, I’ll reveal several techniques that I and other pro songwriters use to create killer imagery.

CLICK HERE IF YOU WANT YOUR SONGS TO STAND OUT.

God Bless,

Brent

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

Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

5 Ways Songwriters Make Their Lyrics “Too Old”

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Brent is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more.  He’s written a top 5 hit in the US and a #1 in Canada… so far.

Sometimes songwriters needlessly limit the pitchability of a song by making the song too “old” for most singers.  In today’s country, most artists sing “young,” meaning their songs are from a young point of view no matter how old the singer really is.

Here are some ways songwriters “age” their lyrics.  Please keep in mind that none of these things are bad in and of themselves.  However, they may limit who will sing it.  Also, I’m not telling you to never put these into your songs- they may be a vital part of a great song.  Just make sure that if you include these points in your songs, they’re there on purpose and with good reason.

1. Shacking up.

Saying things like “you came home” or “you’re moving out” means the singer and their lover/ex-lover are living together.  That’s an adult situation.

2. Working.

Have you noticed how almost no one in country music has a job these days?  “Worked all week” or “my boss is a jerk” makes the singer seem older.

3. Drinking.

If you’re drinking on the riverside, you might just be 17 or 18.  If you’re drinking in a bar, you’re at least 21, unless you have a fake ID.

4. Kids.

You might have a nice love song that works for a singer of any age, but as soon as you mention kids, the singer has to be old enough to have kids.  It definitely puts the singer in a more mature phase of life.

5. Old love.

Talking about how you’ve been together “all these years” may be true for the songwriter and his wife, but it might not make sense for the 20-year-old singer who is selling tickets to 18-year-old girls.

Again, none of these things are bad.  Just make sure that if you decide to use any of these in your song, that you do it intentionally, with purpose, knowing the effect it might have on the song’s pitchability.

God Bless,

Brent

YOU VS…

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

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

Don’t Let The Facts Get In The Way Of The Truth

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Remember, if you write to get cuts, your songs aren’t about you.  Your songs are about the artist and the listener.  You might write a song inspired by a true story from your life, but don’t be so determined to keep all the facts accurate that it makes your song confusing, complicated, or boring to the outside listener.

What matters is the emotional truth- the feeling you want the listener to feel.  The listener doesn’t care about you (heck, they probably think the artist wrote the song anyway).  The listener cares about connecting to the song.

If you want to write the song (or an alternate version of the song) for yourself, that’s great.  It’s a worthy thing to do.  But if you want cuts, it’s to your advantage to give the truth a higher priority than the facts.  It’s about communicating emotional truth, not facts.

 God Bless,

Brent

YOU VS…

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

FOLLOW AND SHARE THIS BLOG

If you like this blog, don’t miss a single post!  Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page.  It’s either in the upper righthand corner or down below.   Also, please share this blog with anyone you think would benefit from it.  I appreciate it when you share it on Twitter, Facebook, and anywhere else.  Thanks!

Brent’s Twitter: @Razorbaxter

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