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[Songwriting Advice] Is Music Publishing The Holy Grail?

Posted by Jessica Brandon on Tue, Feb 20, 2018 @03:21 PM

[Songwriting Advice] Is Music Publishing The Holy Grail?

Music_Publishing_Contract.jpg

by Graham Turner

 

I started writing songs quite late in life relatively.

I’d mostly had a successful career in management and business, having started and managed one very successful business, followed by another disastrous one that ended up costing me my house.
It was during the aftermath of my failed business venture that I wrote a song that opened the door to my unexpected creative path.

Within my first two years of writing, I was offered 28 separate single song contracts with various publishers.

Strangely, I don’t really know why I set out to get a publishing deal, other than it seemed to be the Holy Grail of songwriters I’d met at the various Network Events I’d attended. I was even invited out to Nashville for a month to write with some of the best writers on the Planet. I learned a lot in a very short space of time. I was like a sponge; soaking up every piece of information I could. Lots of Tips and Tricks, about writing better songs, but also lots of plentiful advice about getting published.

I figured that while I was in Nashville, I would write and record 4 songs, get 100 CD’s done and put them in a rucksack so I could knock on every door on Music Row.

Before I left London, I went to see Dr Richard Niles, who had previously picked out one of my songs at a Network Event, as “ an excellent example of songwriting”.

I went to his house and played him 14 songs in the hope that he’d think all my songs were fantastic.
I came away quite bruised to learn that he didn’t think quite as much of some of these other efforts as the one he’d picked out previously.

He did narrow things down to 5 “potential hits’ that I could take with me.
So, armed with my new CD, I went door-knocking Nashville and was surprisingly, soon offered 4 single song contracts. I was over the moon.

I came back to London feeling like I had made it. I also came back with some regret; realising that I had, after all these years of being very commercially aware, I hadn’t actually given enough time to my creative side. Oh boy ! I wish I had discovered songwriting earlier in life.

A couple of weeks later, the publishing contracts came through.

I’m no lawyer but it was at this moment that I’m glad I had the business background I’d had, because to me, the contract was so loaded in favour of the Publisher, I thought “how can I even begin to negotiate this?”.
I took some legal advice, and sure enough, I needed to go back to the publisher and ask some pretty blunt questions about changing the terms to a more favourable arrangement.
A few days went by, and I was met with an email which basically said “ this is the same contract we’ve been using for years; if it’s good enough for Scottie Turner, it’s good enough for you. I thought “ who the hell is Scotty Turner? Little did I know he’d written with everyone from Buddy Holly to Willie Nelson.

I did say it was a steep learning curve.

There was no advance, completely exclusive rights to use my songs as they damn well please, anywhere in the world, for as long as they wanted and I couldn’t do a damn thing about it, even if I wanted to get out of it, in the event that they didn’t do anything at all with my songs. There were no guarantees about how they would help me promote the songs. So, in short, they were happy to sit back and take the money, but, as far as I could see, they were never actually going to do anything for their money, and no transparency about showing me any accounts.

I can see why some people get duped into thinking a publisher is a great person to have in your camp once a song is making money,  providing the terms are on an equal footing, but why on Earth would someone be so keen to sign something so detrimental? I didn’t get it. I still don’t get it, even now.

I’m still offered publishing deals, some from independents, some from Major publishers. I have friends, professional writers, who have either left their publisher or who can’t wait to get out of their publishing deal.

Some have had advances but most don’t. Either way, an advance is only a loan against potential future income. You still have to pay it back.

I probably sound like I’m against publishers. I’m not.

I’m happy to sign any deal that is going to be mutually beneficial, but like anything in this business, if it’s good enough for Scottie Turner, it probably means it belongs in a bygone era where Musicians and Songwriters were exploited, and it isn’t worth signing. Some might argue though, that with Streaming sites offering creatives like us such a pittance, the Scottie Turner model is as prevalent today, just living in the clouds.

There are 4 or 5 publishers that I deal with who I trust implicitly and who help me progress my songs. I have built these relationships from a humble door knock or from meeting them at network events. I don't drive them mad, but when I have something I think they could work with or they have something they think I can help with, we reach out.
 
Be careful out there with any deal that’s offered to you and seek proper legal advice. The Musicians Union provide some legal assistance for free as part of your membership and most lawyers are happy to give you some introductory advice before you commit to any fees.

We hope you enjoyed this story and piece of advice, to find out more about our friends at Music Gateway you can visit their website and check here Music Gateway Review.


Information on the 23rd Annual USA Songwriting Competition, go to: http://www.songwriting.net


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Rewrite, Re-writing, graham tucker, music publishing, Music Publishing Contract, Music Publishing Deal

[Songwriting Advice] Does Songwriting Take A Village?

Posted by Jessica Brandon on Mon, Feb 12, 2018 @08:00 AM

[Songwriting Advice] Does Songwriting Take A Village?

by Mark Cawley

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The multi-way co-writes have been on songwriters' minds. This is the fifth consecutive year that all Top 3 winners of the USA Songwriting Competition were co-writes. A staggering 29 out of 30 songs in the Top 10 country category for the past 3 years were all co-writes.  And songwriters e-mailed us and called us to say "you are so unfair, all your top winners are all co-writes!".
 
The debate rages on about co-writing and the current state of multiple writers on a song. Check out the songwriting credits on the Grammy nominees for best song this year. A lot of names, eh? No Lennon and McCartney, Jagger and Richards, Bacharach and David, Elton and Bernie and defiantly no Brian Wilsons or Carole Kings.

"Despacito," Ramón Ayala Rodriguez, Justin Bieber, Jason Boyd, Erika Ender, Luis Fonsi & Marty James Garton Jr., songwriters (Luis Fonsi & Daddy Yankee featuring Justin Bieber)


"4:44," Shawn Carter & Dion Wilson, songwriters (Jay-Z)
"Issues," Benjamin Levin, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels)


"1-800-273-8255," Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury, Khalid Robinson & Andrew Taggart, songwriters (Logic featuring Alessia Cara & Khalid)


"That's What I Like," Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

I've had major cuts that I wrote on my own, with a co-writer, with 2 co-writers and even a few with 5. When I've gotten up to more than 2 I got a little confused about who did what I admit. But…

As I mentioned, Ive had a few experiences with 5 or more writers including a #1 with Day And Night” by Billie Piper and the story behind that one is a typical example of how it can happen and, in this case, I couldnt complain. I was writing a bunch with Eliot Kennedy in the UK and Eliot had a team at Steelworks in Sheffield. The studio turned out a bunch of hits, sort of Motown style. Artists came in, the team wrote with them, did pre-production in house as well as the final record.

I loved this process enough to sign with them on their joint venture with Universal. Gave me some great opportunities I never would have had otherwise as most of these projects werent taking outside songs. I might do my part with Eliot, his partners take it to final production, the artist is there and, in the end, multiple writers. It becomes about numbers and how much faster you can turn out songs with a team. I had the same experience writing with The Spice Girls there and more. Did I miss the idea of writing on my own or with another writer? Sure, but I found I could do that AND write with a group sometimes but, and its a big but, it worked because much of my time was spent as a team member.

Beyond this method you see lots of songs that, due to losing (or settling) a lawsuit are legally required to add the writers of the original source of inspiration or sample. Case in point, “Uptown Funk” now has 9 writers listed. I love that song so…can it still be inspired if it takes a village to produce it?

All this is a hot topic of debate with songwriters the past few years. I coach writers all over the world and I understand the frustration when they feel it’s impossible to break in to a production team or to write a song that could be pitched to the Beyonces of the world. It’s not impossible but it is getting pretty rare to see a song written by one writer, not connected in some fashion to the label or production team associated with the record.

So…what’s the kid in his or her bedroom, making music and dreaming supposed to do? How about 4 ideas to start?

  1. Be your own artist. You still might get pressure from a label to write with the current crop of hitmakers but at worst your ideas make it to the record!

  2. Develop mad tracking skills. More and more successful writers are coming from the ranks of track guys. Even here in Nashville you might find a great track guy in the same writing session with a couple of proven hit makers.

  3. Similar to my 2nd point but in this case, become part of a production team. Maybe you start by making tea and graduate to being a part of the creative process. For this you need to be a good hang as well as adept at more than one skill.

  4. Be awesome. An overused word but in this case it works. Be so awesome in your songwriting that the powers that be can’t overlook you. Still hard to be heard but some of the ones who have made this work took to the streets, to social media and to clubs until their tribe grew and they became names. Ed Sheeran is one great case in point. Started as a busker.

In the end, this current state is just that . . . the current state. Complaining about the songwriting business and how unfair it is or how “watered down” the songs are is good fodder for social media posts but not for change. For that I think you work within it or work outside it and again…be awesome


About Mark Cawley

Mark Cawley is a hit U.S. songwriter and musician who coaches other writers and artists to reach their creative and professional goals through iDoCoach.com. During his decades in the music business he has procured a long list of cuts with legendary artists ranging from Tina Turner, Joe Cocker, Chaka Khan and Diana Ross to Wynonna Judd, Kathy Mattea, Russ Taff, Paul Carrack, Will Downing, Tom Scott, Billie Piper, Pop Idol winners and The Spice Girls. To date his songs have been on more than 16 million records. . He is also a judge for Nashville Rising Star, a contributing author to  USA Songwriting Competition, Songwriter Magazine, sponsor for the Australian Songwriting Association, judge for Belmont University's Commercial Music program and West Coast Songwriter events , Mentor for The Songwriting Academy UK, a popular blogger and, from time to time, conducts his own workshops including ASCAP, BMI and Sweetwater Sound. Born and raised in Syracuse, NY, Mark has also lived in Boston, L.A., Indianapolis, London, and the last 20 years in Nashville, TN.

 

 

Information on the 23rd Annual USA Songwriting Competition, go to: http://www.songwriting.net


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Rewrite, Re-writing, Mismatched Syllables, Melody writing, Mark Cawley

[Songwriting Tips] Finding Time to Write

Posted by Jessica Brandon on Thu, Feb 01, 2018 @08:00 AM

[Songwriting Tips] Finding Time to Write

By Sara Light
Finding Time to Write.jpg

 

Sara and her husband Danny have been contributing articles on songwriting for a few years on our blog. In this latest edition, Sara talks about taking the time to write songs - which many songwriters today can certainly relate to her.

“Who will free me from hurry, flurry, the feeling of a crowd pushing behind me, of being hustled and crushed? How can I regain even for a minute the feeling of ample leisure I had during my early, my creative years? Then I seldom felt fussed, or hurried. There was time for work, for play, for love, the confidence that if a task was not done at the appointed time, I easily could fit it into another hour. I used to take leisure for granted, as I did time itself.”  — Bernard Berenson, Sunset and Twilight, from the Diaries of 1947-1958

I am finding that the older I get, the more difficult it is to feel unencumbered. I do not have the same sense I did in my 20’s and 30’s of having the time or energy to follow my muse, explore my own interests, or even rest my mind.  The tasks that I commit to now, even the ones I voluntarily choose, come with a sense of heaviness;  How will I fit that in to my schedule? What do I prioritize today? If I do THIS, it’ll take away from THAT.

I’m beginning 2018 pretty well. I’m back to starting most days with a yoga video and green tea BEFORE I check my schedule, answer my emails and walk my dog. I’m even on a streak with my Head space meditation app and I’m finally able to turn off my brain at night and get some deep sleep. And, check this out, I’m writing a blog entry (an activity that I enjoy, but usually fits into the “how will I fit that into my schedule today?” category).

Some of the lessons I find that are working for me this year that I haven’t tried in the past are:

  •      Doing a little bit consistently can be as satisfying as going “all in”.  This is a good one for songwriters. If you only have a couple of minutes to work on a song today, do that. Don’t wait until you have half a day to devote to writing a whole new song. If you think one new title today call that your day’s work and let yourself feel accomplished.
  •     Good is good enough.  Perfection isn’t a mandatory requirement. Just get the job done the best you can in the time you have and move on. Don’t berate yourself for not doing something exactly the way you imagined.  This frees up a lot of time.
  •     Deadlines are often flexible.  I have been noticing that a lot of the people around me also feel crunched for time. Because of that, they often are more than happy to move around appointments and extend deadlines. They, too, have a million other things they can fit into that slot.  Flexibility reduces stress.
  •     Take a break from social media. Yikes, lately, I have been seeing so many articles about the addictive (aka drug-like) qualities of those pings and likes and notifications. It wasn’t a coincidence that on my birthday this year, as much as I thoroughly enjoyed reading all the sweet notes and well-wishes throughout the day on Facebook, I also left my notebook with my favorite recipes on a shelf in the grocery store (never to be recovered), threw my dog’s leash out with the trash and generally walked around with fog-brain as if I were hung-over.  This week, I resisted the urge to post a cute picture of my daughter hugging our dog in the unusually snowy day in Nashville. That meant that I also missed seeing all the  photos of my friends’ kids. But the payoff was additional time and FOCUS.
    “The only way past it, is through it.”   This is my new mantra every time my procrastination instinct kicks in. I got this one from an interview by Gretchen Rubin of writer Greer Hendricks .
 
About Sara Light
Sara Light has been writing professionally in Nashville since 1996. Her credits include the John Michael Montgomery title track and the hit single "Home To You" which received an ASCAP airplay award in addition to being named SESAC song of the year for having garnered 2 million spins on radio. She also composed songs for the musical "Urban Cowboy, The Musical" which opened on Broadway in March 2003 and was nominated for a Tony Award for Best Original Score." Sara has always combined her love of teaching with her love of songwriting and has given countless songwriting seminars throughout the U.S. and Canada. In 2001 she co-founded, along with her husband Danny Arena, the online educational website www.SongU.com. Besides being one of the main administrators (and now bloggers) Sara teaches Song Feedback and Lyric Writing at www.SongU.com

 

Information on the 23rd Annual USA Songwriting Competition, go to: http://www.songwriting.net


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, song demo, Co-Writing Songs, music publisher, record label, Rewrite, Sara Light