Songwriting Tips, News & More

Max Martin, the Most Successful Songwriter

Posted by Jessica Brandon on Tue, Mar 15, 2016 @07:00 AM

Max Martin, the Most Successful Songwriter (in the last 20 years)

MaxMartin.jpg

Just turn on Top 40 radio and you will hear one of his songs "Shake It Off", a song recorded by Taylor Swift. Max Martin, is a Swedish songwriter and producer has replaced Diane Warren as the most successful pop songwriter of the last 20 years.. He rose to prominence in the mid-1990s after making a string of major hits for artists such as the Backstreet Boys, Britney Spears, Bon Jovi and NSYNC. Some of his earlier hits include "I Want It That Way" (1999), "...Baby One More Time" (1999) and "It's My Life" (2000).

Martin, born Martin Sandberg in Stockholm, won the Grammy for producer of the year, non-classical, in 2015 and Album of the year (for Taylor Swift’s “1989” Album) in 2016. He has written 21 No. 1s on the Billboard Hot 100, more than any other writer in history except for Paul McCartney (32) and John Lennon (26). Martin has produced 19 of the Hot 100 No. 1s, more than any other producer except for another Martin: Beatles producer George Martin, with 23. Max Martin's run began with Britney Spears' "…Baby One More Time: in 1999. He has also written No. 1s for *NSYNC, Katy Perry, Pink, Kelly Clarkson, Maroon 5, Taylor Swift and The Weeknd.

Hitting #1 on the Billboard Hot 100 Charts is the absolute "Olympic Gold Medal" measure for a songwriter. In the Billboard Charts' Hot 100's 57-year history, only Paul McCartney (32) and John Lennon (26) boast more leaders as writers.

Expanding the scope to the Billboard Hot 100's top 10, Martin's sum swells to an astonishing 58 top 10s on which he's credited as a writer. While it's not an all-time record (yet; McCartney boasts more).

 

Here are Max Martin's 58 Hot 100 Top 10s as a Songwriter

Peak Pos., Title, Artist, Peak Date

No. 7, "Do You Know (What It Takes)," Robyn, 8/2/1997

No. 2, "Quit Playing Games (With My Heart)," Backstreet Boys, 9/6/1997

No. 7, "Show Me Love," Robyn, 11/29/1997

No. 4, "Everybody [Backstreet's Back]," Backstreet Boys, 5/9/1998

No. 1 (two weeks), "...Baby One More Time," Britney Spears, 1/30/1999

No. 6, "I Want It That Way," Backstreet Boys, 6/26/1999

No. 10, "(You Drive Me) Crazy," Britney Spears, 11/13/1999

No. 6, "That's the Way It Is," Celine Dion, 3/4/2000

No. 6, "Show Me the Meaning of Being Lonely," Backstreet Boys, 3/18/2000

No. 9, "Oops!...I Did It Again," Britney Spears, 6/10/2000

No. 1 (two weeks), "It's Gonna Be Me," 'N Sync, 7/29/2000

No. 9, "Shape of My Heart," Backstreet Boys, 12/2/2000

No. 2, "Since U Been Gone," Kelly Clarkson, 4/9/05

No. 6, "Behind These Hazel Eyes," Kelly Clarkson, 6/11/05

No. 9, "U + Ur Hand," P!nk, 5/5/2007

No. 9, "Who Knew," P!nk, 9/29/2007

No. 3, "Hot N Cold," Katy Perry, 1/22/2008

No. 1 (seven weeks), "I Kissed a Girl," Katy Perry, 7/5/2008

No. 1 (one week), "So What," P!nk, 9/27/2008

No. 1 (two weeks), "My Life Would Suck Without You," Kelly Clarkson, 2/7/2009

No. 1 (one week), "3," Britney Spears, 10/24/2009

No. 10, "Whataya Want From Me," Adam Lambert, 5/1/2010

No. 1, "California Gurls," Katy Perry feat. Snoop Dogg, 6/19/2010

No. 2, "Dynamite," Taio Cruz, 8/21/2010

No. 1 (two weeks), "Teenage Dream," Katy Perry, 9/18/2010

No. 4, "DJ Got Us Fallin' in Love," Usher feat. Pitbull, 10/9/2010

No. 8, "Teenage Dream," Glee Cast, 11/27/2010

No. 1 (one week), "Raise Your Glass," P!nk, 12/11/2010

No. 1 (one week), "Hold It Against Me," Britney Spears, 1/29/2011

No. 2, "F**kin' Perfect," P!nk, 2/12/2011

No. 7, "Blow," Ke$ha, 3/19/2011

No. 6, "Loser Like Me," Glee Cast, 4/2/2011

No. 1 (five weeks), "E.T.," Katy Perry feat. Kanye West, 4/9/2011

No. 3, "Till the World Ends," Britney Spears, 5/14/2011

No. 7, "I Wanna Go," Britney Spears, 8/20/2011

No. 1 (two weeks), "Last Friday Night (T.G.I.F.)," Katy Perry, 8/27/2011

No. 3, "The One That Got Away," Katy Perry, 1/7/2012

No. 6, "Domino," Jessie J, 2/18/2012

No. 1 (one week), "Part of Me," Katy Perry, 3/3/2012

No. 9, "Scream," Usher, 8/4/2012

No. 2, "Wide Awake," Katy Perry, 8/11/2012

No. 1 (three weeks), "We Are Never Ever Getting Back Together," Taylor Swift, 9/1/2012

No. 1 (nine weeks), "One More Night," Maroon 5, 9/29/2012

No. 5, "Beauty and a Beat," Justin Bieber feat. Nicki Minaj, 1/5/2013

No. 2, "I Knew You Were Trouble.," Taylor Swift, 1/12/2013

No. 7, "Daylight," Maroon 5, 2/23/2013

No. 1 (two weeks), "Roar," Katy Perry, 9/14/2013

No. 1 (four weeks), "Dark Horse," Katy Perry feat. Juicy J, 2/8/2014

No. 2, "Problem," Ariana Grande feat. Iggy Azalea, 6/7/2014

No. 4, "Break Free," Ariana Grande feat. Zedd, 8/30/2014

No. 1 (four weeks), "Shake It Off," Taylor Swift, 9/6/2014

No. 3, "Bang Bang," Jessie J, Ariana Grande & Nicki Minaj, 10/4/2014

No. 7, "Love Me Harder," Ariana Grande & The Weeknd, 11/22/2014

No. 1 (seven weeks), "Blank Space," Taylor Swift, 11/29/2014

No. 3, "Love Me Like You Do," Ellie Goulding, 3/7/2015

No. 6, "Style," Taylor Swift, 3/21/2015

No. 1 (one week), "Bad Blood," Taylor Swift feat. Kendrick Lamar, 6/6/2015

No. 1 (one week to-date), "Can't Feel My Face," The Weeknd, 8/22/2015


  
To enter the 21st 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, Britney Spears, Co-Writing Songs, The Weeknd, Ellie Goulding, Taylor Swift, Jessie J, Max Martin

How Songwriters Make Money From Publishing

Posted by Jessica Brandon on Tue, Mar 08, 2016 @07:00 AM

How Songwriters Make Money From Publishing
by Justin M. Jacobson, Esq., The Jacobson Firm, P.C.

Songwriting

While songwriters and musicians are often advised by their fellow artists to keep their own publishing, such an approach is no longer especially applicable in the modern music economy. It is more important that artists develop a solid understanding of where exactly publishing revenue comes from, and how to deal with Performing Rights Organizations.

Every new musician is told by some other musician or industry professional “to keep your publishing” or some variation of this. Such a statement is archaic and a potentially career debilitating mistake. A better understanding of what “publishing” monies consist of and why this outdated advice of “keeping your publishing at all costs” no longer applies in today’s digital music age is needed.

Generally, “publishing money” as it is referred to, actually includes the royalties earned from the public performance of a musical work, specifically for the owners of the copyright in the underlying musical composition. Typically, the underlying musical composition in a musical work refers to the lyrics and underlying musical composition. These rights are owned by the track’s songwriters, composers and publishers.

A track’s songwriters, producers and composers must sign up with the appropriate performing rights organization to receive their public performance royalties or so-called “publishing monies.” In the U.S., the Performing Rights Organizations are ASCAP, BMI and SESAC. Each country has their own performing rights organizations, so a foreign citizen might apply and become a member of the organization for the country they are citizen of.

Once an individual is signed up with a Performing Rights Organization, they must properly index their works with that organization. This involves listing each track’s writers and composers as well as their appropriate ownership percentage. The performing rights organizations then collect and distribute these “small” public performance royalties to its members based upon its own unique pay-out formula. Each organization has its own pay-out formula and a musician can research and determine the best fit for their music on each organization’s official website.

Every Performing Rights Organization collects and licenses their members’ works for public performance usages. Some of these public usages include license fees to play the songs on terrestrial and satellite radio, on television, in motion pictures, through digital streaming services and for the live performances of the works at venues, stadiums, theme parks and concert halls as well as colleges and universities.

Today’s music business has evolved to a more 360° model, where all of the artist’s monetary revenue streams are subject to recoupment and payment to a particular entity, like a record label. These deals typically include a specific percent interest in the signing artist’s “publishing;” and, since this has become the norm, it’s nearly impossible for an artist to have such stream excluded.

In order for an artist to typically achieve the notoriety and budget needed to create a real impact in the entertainment industry, the benefits that a major label receives in return must be worth their time and effort. Without one of the most lucrative streams of income, i.e. “publishing,” such a feat is nearly impossible and impractical from a label’s point of view.

So some new advice is, keep your publishing unless you have a really good reason not to, like to bring your career to the next level, a level that you might not have otherwise been able to achieve. As they say 100% of nothing, is, well, nothing.

For additional information and membership forms, please visit www.ascap.com ; www.bmi.com; or www.sesac.com.

 

[Article used by permission from Justin Jacobson]

Justin M. Jacobson has helped bring in numerous new high-profile clients, including Celebrity DJ/Producer Joshua “Zeke” Thomas and his Gorilla Records label; international live art competition, ArtBattles; G-Unit Records recording artist, Precious Paris; former NY Jet Donald Strickland; Warner-Chappell producer, J-Dens; celebrity jewelry designer, Laurel DeWitt; and BMI Latin award-winning producer, Carlos Escalona. He also spoke at Cardozo School of Law as part of “Beyond The Billboard: Advertising Law in the Fashion Industry” presented by their SELSA & IPLS Fashion Law Committees. He is a lawyer at The Jacobson Firm, P.C.: http://www.thejacobsonfirmpc.com/
  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Recording, song demo, ASCAP, BMI, SESAC, music publishing, demo recording, Co-Writing Songs

Five Songwriting Habits You Should Drop Today

Posted by Jessica Brandon on Tue, Feb 09, 2016 @07:00 AM

Five Songwriting Habits You Should Drop Today
by Jessica Brandon
GuitarFret
If you are spending hours working on writing songs and not getting the results you want, you may have a “songwriting habit” or two that needs dropped.

Here are five habits to ditch that will help you grow your songwriting —not to mention reduce the amount of time you spend on you getting your songs cut by music artists.

1. Churning and burning.  Yes, you want to have your songs cut by major music artists, and  perhaps even yourself as a singer-songwriter act, but if you are only focused on writing new songs without paying attention to existing your existing songs, you are wasting a lot of time and energy and leaving a whole lot of  lessons learnt on the table. If you have a system in place for writing songs but it is not working – if your songs are going nowhere and you are dissatisfied with your songwriting career or singer-songwriter career, maybe you may want to think “outside the box”.

2. Getting leads on Major Artists Seeking New Songs without having appropriate songs. Getting a bunch of new leads can give your ego a huge boost, but only if you have great songs that your leads want. If you have leads with no immediate songs to provide for them, or are randomly following up, you are not only wasting time, money and effort, but you could be leaving a bad impression.

3. Chasing A&R. I’ve seen it time and time again. You get a hot lead to an A&R at some record label or music publisher and you keep chasing after him while neglecting to have great songs in place that will continually attract your ideal music publisher to you. Stop chasing, start attracting.

4. Doing the same thing. If you aren’t getting the results you want—if you aren’t living your dream life—maybe it’s time to look at doing things differently. Too many songwriters look at what their competitor songwriters are doing and think they should be doing the same thing. But that doesn’t make sense if you aren’t where you want to be.

Maybe it’s time to do the opposite of what everyone in the music industry is doing and start doing what works.

5. Going it alone. Look, I get it. Working alone can be great. You can do things your way. You don’t have to listen to what anyone else thinks. You feel really good when you succeed because it’s all you.

However, we are so fortunate to have so many resources available that can help with virtually any situation, why would you go it alone? Plus having someone to collaborate with you and give you feedback and help guide you means you will get there easier and faster. Say if you are great in writing music but suck in writing lyrics, find a lyricist who can help you with the lyrics. Rememebr that Elton John was unable to write a hit song without his lyricist Bernie Taupin.

Also, all the winning songs of the USA Songwriting Competition for the past three years were all multi-way collaborations. If you take a look at the Billboard Hot 100 Charts, you will see that most of the songs on the Top 10 are all multi-way collaborations. Last year's Grammy song of the year "Stay With Me" was written by Sam Smith, James Napier and William Phillips, with Tom Petty and Jeff Lynne receiving co-writer credits due to the song's similarity to Petty's single "I Won't Back Down" after a legal settlement.

By IMMEDIATELY dumping things that aren’t working, you’ll have the opportunity and time to apply strategies to your songwriting that do work. Who knows? Maybe you will be the next person to tell me that your big breakthrough came as a result of getting rid of something that wasn’t giving you the results you wanted.

  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Recording, A&R, song demo, songwriter split sheet, Co-Writing Songs, Habits, bad habits, Split Sheet

Singer-Songwriter Glenn Frey Dies At 67, Sending Shockwaves Throughout the Music World

Posted by Jessica Brandon on Tue, Jan 19, 2016 @03:01 PM

Singer-Songwriter Glenn Frey Dies At 67, Sending Shockwaves Throughout the music world

GlennFrey
The music world has lost a legend: Glenn Frey, 67, a co-founding member and guitarist of The Eagles, died on Monday in New York City of complications from rheumatoid arthritis, acute ulcerative colitis and pneumonia, sending shockwaves through the music world.

The Eagles had been scheduled to be part of last month's Kennedy Center Honor ceremony (December 6th) along with singer-songwriter Carole King. However with Glenn Frey’s health problems last month, it forces Eagles to defer their Kennedy Center Honor until this year in 2016. Frey has had a recurrence of “previous intestinal issues last month, which will require major surgery and a lengthy recovery period." Those  issues date back to the 1980s, when Frey spoke about the damage he believed he had done to his body during the band’s heyday, when drugs and alcohol flowed freely. In 1986, he missed a reunion with his longtime bandmate Don Henley – the band had broken up for the first time in 1980 – at a benefit concert in California because of an intestinal disorder. An attempt to reform the Eagles in 1990 was put off, in part, because of surgery to remove a large part of Frey’s intestine. And in 1994, their “Hell Freezes Over” reunion tour was interupted by Frey’s bout with diverticulitis. It resumed the following year.

With five number-one singles, six Grammy Awards, five American Music Awards, and six number one albums, the Eagles were one of the most successful musical acts of the 1970s. At the end of the 20th century, two of their albums, Their Greatest Hits (1971–1975) and Hotel California (Sold more than 32 million copies worldwide), were ranked among the 20 best-selling albums in the United States according to the Recording Industry Association of America. Hotel California is ranked 37th in Rolling Stone '​s list of "The 500 Greatest Albums of All Time" and the band was ranked number 75 on the magazine's 2004 list of the 100 Greatest Artists of All Time. The Eagles are one of the world's best-selling bands of all time, having sold more than 150 million records.

Frey is credited with co-writing many of The Eagles' best-known songs, including "Hotel California," "Heartache Tonight". "New Kid in Town", "Best of My Love" and "One Of These Nights", all hitting #1 on the Billboard Hot 100 Charts for the band. "Hotel California" has been a staple for all cover bands all over the world, the guitar solo is known as one of the best guitar solos of all time, by Guitar World magazine.

The group's first best-of collection, Their Greatest Hits 1971-1975, is among the best-selling albums of all time, having sold more than 26 million copies. It was the first album to be certified platinum (1 million sold) by the Recording Industry Association of America, which introduced that classification in 1976. They released four consecutive No. 1 albums between 1975 and 1979. ... They sold more albums in the '70s than any other American band. Moreover, though the band was inactive in the Eighties, their back catalog steadily sold 1.5 million copies a year."

The Eagles, founded in 1971 in Los Angeles, is one of the best-selling American rock bands of all time, notes the Rock and Roll Hall of Fame, which inducted The Eagles in 1998.


Glenn Frey has written (or co-written) a staggering 22 songs that have hit Top 40 on the Billboard Hot 100 Charts, including songs that are a staple of Classic Rock Radio stations all over the world:

Hotel California (#1 on Billboard Hot 100 Charts)

Heartache Tonight {#1 on Billboard Hot 100 Charts)

New Kid in Town (#1 on Billboard Hot 100 Charts)

Best of My Love (#1 on Billboard Hot 100 Charts)

One of These Nights (#1 on Billboard Hot 100 Charts)

Lyin' Eyes (#2 on Billboard Hot 100 Charts)

The Heat Is On (Solo hit, #2 on Billboard Hot 100 Charts)

You Belong to the City (Solo hit, #2 on Billboard Hot 100 Charts)

Take It to the Limit (#4 on the Billboard Hot 100)

The Long Run (#8 on the Billboard Hot 100)

I Can't Tell You Why (#8 on the Billboard Hot 100)

Life in the Fast Lane (#11 on the Billboard Hot 100)

Take It Easy (#12 on the Billboard Hot 100)

Smuggler's Blues (Solo hit, #12 on the Billboard Hot 100)

True Love (Solo hit, #13 on the Billboard Hot 100)

The One You Love (Solo hit, #15 on the Billboard Hot 100)

Sexy Girl (Solo hit, #20 on the Billboard Hot 100)

Seven Bridges Road (#21 on the Billboard Hot 100)

Peaceful Loving Feeling (#22 on the Billboard Hot 100)

Get Over It (#31 on the Billboard Hot 100)

I Found Somebody (Solo hit, #31 on the Billboard Hot 100)

Already Gone (#32 on the Billboard Hot 100)

  
  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Recording, Hits, The Eagles, Co-Writing Songs, Glenn Frey, Hotel California

Are you making any of these mistakes in Co-Writing Songs? A “Split Sheet” Just Isn’t Enough

Posted by Jessica Brandon on Tue, Jan 19, 2016 @07:00 AM

Are you making any of these mistakes in Co-Writing Songs? A “Split Sheet” Just Isn’t Enough
by Justin M. Jacobson, Esq., The Jacobson Firm, P.C.

SongwritersWritingSongs
When a band enters the recording studio they typically sign a "split sheet," a document which specifies each person's contributions and ownership percentage on a given track. This often isn't a sufficiently detailed agreement however, and artists should make an effort to take further legal precautions in order to avoid issues down the road.


For some unexplained reason, frequently when artists go into the recording studio to work on a track together, they typically sign a “split sheet” and think it suffices.  In reality, the traditional songwriter “split sheet” could merely be used as a stop-gap measure that is meant to ensure all parties are on the same page and understand what was contributed to the song by each party. Ultimately, songwriters should enter into a more elaborate and complete agreement to ensure the song can be properly used.

A “songwriter split sheet,” or “split sheet” for short, is a form that is signed by all the parties involved and lists each producer and songwriter. Each party’s contributions and ownership percentage of a particular musical composition are detailed. A typical “split sheet” should also include additional information about the parties, including each person’s physical mailing address, performance rights organization information (in the U.S., ASCAP, BMI, SESAC), publishing company information (if there is one), birthdate and Social Security and EIN number.

songwriter-split-sheet

This document may seem to be comprehensive enough to cover the parties involved as it lists each party’s specific contribution (i.e. lyrics, beats, melody, etc.) and the corresponding percentage that each party owns of the final piece; however, it does not specifically address numerous important issues that could make or break a tune and severely inhibit its commercial value.

Generally under U.S. Copyright Law, if no agreement exists between the contributors to a particular copyrighted work, the assumption is that all of the contributors are considered joint-authors and own an undivided equal share of the song. This permits each owner to issue third-party licenses without the approval or consulting of any other owner as long as they account for any profits they made to the remaining owners.  While this may be acceptable in situations where the actual work was equal among the contributors; it is not always the case, and could cause some serious issues if the composers do not understand this point.  For example, if members of a band create compositions, sign a split sheet and then break up; each individual from the group can record and release the same material, merely subject to an accounting and payment.  This is frequently thought of as a nightmare situation.  Therefore, the right to issue or enter into third-party licenses for the finished material should be agreed upon in a more formal contract. This is an important point that a typical “split sheet” does not address at all.

Additionally, a standard “split sheet” does not speak about many ancillary and important elements to a song’s commercial value.  This includes any right of publicity matters, such as utilizing a particular producer, artist or songwriters’ name in connection with the publicity and marketing of a finished work. Other important matters to address include the right to request a proper accounting from the other parties, the right to audit and inspect a particular co-owner’s business records and the right to recover (i.e., recoup) certain documented expenses (i.e. recording, engineering, mixing, mastering costs, etc.). The agreement should also address the right to proper attribution or credit on the finished work.

Furthermore, the traditional “split sheet” does not mention any warranties or indemnifications by any of the parties to each other. Without these warranties, each party could be liable for any potential unauthorized sampling, lack of appropriate rights clearance or any other unauthorized or infringing uses in the finished work by each party. A “split sheet” also does not discuss the party’s right to approve any finished work or the right to approve any marketing or promotional campaigns and budgets for the track.  Finally, it does not address which state law to apply to a particular situation and does not specify where any disputes or claims would be adjudicated.

Clearly, the traditional sentiment and reliance on the outdated and minimal “split sheet” should be disregarded and all the contributors should enter into more formal and elaborate agreements. This is necessary to ensure all the important issues are addressed and that each party is properly protected and aware of their rights and interest in the finished work.

This article is not intended as legal advice, as an attorney specializing in the field should be consulted when drafting any formal agreement.

 

[Article used by permission by Justin Jacobson]

Justin M. Jacobson has helped bring in numerous new high-profile clients, including Celebrity DJ/Producer Joshua “Zeke” Thomas and his Gorilla Records label; international live art competition, ArtBattles; G-Unit Records recording artist, Precious Paris; former NY Jet Donald Strickland; Warner-Chappell producer, J-Dens; celebrity jewelry designer, Laurel DeWitt; and BMI Latin award-winning producer, Carlos Escalona. He also spoke at Cardozo School of Law as part of “Beyond The Billboard: Advertising Law in the Fashion Industry” presented by their SELSA & IPLS Fashion Law Committees. He is a lawyer at The Jacobson Firm, P.C.:
http://www.thejacobsonfirmpc.com/
  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
TellUsWhatYouThink
  

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Recording, song demo, demo recording, songwriter split sheet, Co-Writing Songs, Split Sheet