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Songwriting Tips: 25 Mistakes Music Artists Make

Posted by Jessica Brandon on Tue, Apr 22, 2014 @02:10 PM

25 Mistakes Music Artists Make

By Eric Alexandrakis

25 Mistakes Music Artists Make

A rogues’ gallery of slipups every recording songwriter should avoid!

They’re everywhere, like cheap wine in a crinkly brown Mini-mart bag. Some think they look cool walking around drinking out of it, but in the end, it shows no control... no discipline... no clue. Yes, you know what I’m talking about. Or do you?

I see them every day: those constant mistakes that artists make without thinking. Some are minute, some are grand, some are just so incredibly dumb—but all can be avoided with some simple logic, and restraint from laziness.

WARNING: The things you are about to read are real. They have been taken from real examples of bad promo campaigns and bad career decisions. If you happen to recognize yourself in any of these examples, I apologize, but... No I don’t. If you haven’t fixed what you’re reading about yet, here’s hoping you’re now embarrassed enough to do so!

1. I’m going to make a living from music and be rich and famous... and the best part is, I don’t have to do real work!

You know how you go to college to train, work toward a major in order to get a full-time job to support yourself, and work for years to build your profession to make a better living and to improve, blah blah blah? Yeah, guess what!

Making music a profession requires the same attention to detail. It’s a full-time job which requires daily investment, generally until the day you die, or until you have enough niche success to sustain you so that you don’t have to work anymore. Don’t read past this line until you come to grips with this scary reality.

How cool, you kept the crinkly brown bag from the Mini-mart, I’m glad. Now keep breathing into it... that’s right... sloooowly... don’t pop it, because you’ll need it for the rest of your life. Or for the rest of your musical career. Or both.

2. Who needs a plan? I’m just getting started here, I can wing it...

Start with a two-year plan with monthly goals. Design it like a business plan. If you have to make a bar chart with pictures of girls stacked on top of each other for measurement, so be it. Without a plan, you’re spinning your wheels and I’m wasting my time writing this.

3. A bio? I can handle that, I just have to tell everyone I’m a genius!

No, you can’t write it yourself, and neither can your English major cousin Miri. Yes, yes, Auntie Grizelda is always raving at family get-togethers about Miri’s wonderful grades... as her department-head boyfriend 20 years her senior sits next to her looking posh in his bowtie, asking you to pass the yams.

Sorry, I got carried away... No I didn’t—get a proper bio written. Comparing yourself to every major rock star and hit album in a bio does not make you relevant. I see this all the time. “With a voice like Bono and a stage presence like Michael and a political awareness reminiscent of Lennon...” Yeah, and just a hint of cinnamon. You have to leave it up to the critics to call you the next Kevin Federline. (Assuming that’s what you want.)

If you need help with your bio and absolutely don’t know where to turn, I’ll let you in on someone I’ve personally worked with successfully. Have a look at the website for Katy Krassner, www.katykrassner.com, and if you like what you see, commission her to write you a bio. She writes bios and press releases for major artists, actors, brands, and indie labels.

4.  Website? You’re kidding, right? Everybody just uses Facebook!

I’m a bit of a hypocrite on this one, as for the last few years I’ve been using Facebook as my hub, but I am now constructing a proper site. FB has worked well with a lot of EDM artists and labels, for example, but ultimately it’s a trend. What if it went away tomorrow? Do you really want all of your content to live only on Facebook? It’s just best to be able to have your own separate hub, where you can control your content entirely, and not be subject to weird rules where suddenly a picture of you taking a bath is owned by some corporation and ends up on a billboard on I-95.

By a “proper” site, I don’t mean use a free template from some random business site or whatever. Hire a reputable company via word-of-mouth/research (yes, even this takes effort), and do it right. If you must use a service that offers template sites, at least use one like HostBaby, one that understands what musicians really need in their web content and won’t leave you with a site that doesn’t deliver.

5. The world will recognize the genius in my every note.

Just because you can make music, doesn’t mean it’s good. I know a guy (one of many, actually) who has all the right intentions, but his ego is out of control. He has money and thinks that just because he has the means, his music is good. It’s average, and worst of all, he can’t sing, but thinks he can sing and doesn’t take criticism.

Take the criticism, it’ll save you money in the long run, but don’t take it from Auntie Em. She’ll always love your singing. My Aunt Pauline loves my piano playing and tells everyone about it, but she’s never heard me play.

6. I’m on Internet Radio!

No one cares if some random internet radio station inIndianais playing you. Your mother might, but she already got her copy of the album for free. Focus on the greatest audience, with the most practical and realistic means.

7. We’re growing our brand organically!

Organic food rots faster because it lacks those evil preservatives. Remember that. Do it right.

8. My music’s available on iTunes!

Don’t sell your music on iTunes, unless you have a good cover or can get into the “New Releases” section. What’s the point of creating a middleman? Why invest in a publicist, radio promoter, etc. so that iTunes can prosper? Just direct everyone to your site and sell direct from there.

9. Singles are the new Albums!

Why are you selling singles? If you can’t write a decent album, you have no purpose. Don’t listen to this nonsense about the album being dead. Make a good one, and sell it as such. If you’re going to put marketing efforts and dollars into one song, sell an album as a whole and make $10 instead of 99 cents. Just don’t stop promoting it after two months. 10 songs = 10 months of promo possibilities. Duh!

10.  I’m looking for a label and manager...

How nice. Have you sold 20,000 copies on your own? Because if not, they aren’t looking for you. If you’re not willing to do the work, no one of value or credibility will either.

11.  On social networks, posting the same posts promoting the same songs over and over again will eventually get people to buy the music.

No, people will start deleting you, and you will look desperate and lame.

12. I can tell folks I’ve sold 2 million albums even though the RIAA says I haven’t. Who’ll know?

Don’t think people won’t check riaa.com. I always do.

13. I’m too cool to pay bills on time... or at all.

If you couldn’t afford it, you shouldn’t have ordered it. Don’t blame it on the fake accountant.

14. What do you mean, that’s not what the contract says? That’s not how I read it!

Read and understand your agreements, and blame yourself for not getting what you thought you were getting. If you paid for one month of promotion, don’t ask to Skype with the promoter every month for 4 months, after your month has expired.

15. My new producer had two Grammies and a platinum album... in 1985!

Just because a producer has some decent credits...from 20 years ago, doesn’t mean they are worth your hard-earned cash. I’ve seen some ridiculous deal points in my day. Everything from $10K/song production costs, to 3 points + 10% of all placement fees on top. Stay away from this nonsense. I’ll hook you up with a great and affordable mixer. Just ask.

16. There’s nothing wrong with my image!

Yes, well. We can tell you’re really 50 and not 25, Madame. Dude, about that beard—ZZ Top was cool 20 years ago. Even a poor musician can afford $3 for a razor and shaving cream. I don’t care if it’s part of your vibe, what would you say if your mother saw you?

Tattoos are overdone and usually done badly, and you can’t take them off if you decide you hate them. And unless you’re in the iTunes top 10, you shouldn’t be wearing leather pants.

17. Wait. Image? What’s that? Do I need one?

And please don’t dress like a bank teller and pose with a guitar looking vaguely dissatisfied. I’m mystified at how imageless some artists can be. Did you not have posters of your favorite musicians on your walls when you were younger? Like, ever?

18. Faking people out is edgy, folks like to be fooled.

Deception is not a marketing tool. If you lie, it will always come back to bite you. You don’t have to disclose your debit card PIN, just be realistic.

19. I’m too cool to have a budget!

Pretending you have money when you don’t is beyond idiotic. Have more confidence in yourself and write a good song.

20. I got straight to the secretary of this big guy inHollywood, piece of cake!

Good for you, bub. When’s the premiere?

21. Yeah, I post more pictures than songs, so what? It’s all about image, right?

We get it, you’re in love with yourself, but if you spend more time posing for pictures than writing and releasing music, people will notice just that.

22. Meh, who cares what I tweet, as long as I do it a lot?

It’s called “social” networking for a reason. Be social, entertaining, charming, interesting and most of all, engaging.

23. I’ve got 100,000 followers on Facebook and Twitter!

Yeah, but between 0 and 10 impressions per post. No sucker will believe you really have that many people interested in you with those numbers. Social networking is an art and a science, and it seems that brands are finally starting to realize its importance. A great example of how social networking is supposed to work is at facebook.com/DuranDuran. The aforementioned and wonderfully talented Ms. Katy Krassner runs it.

24. This is serious stuff, man! Don’t you dare laugh at me!

Martin Solveig is a really cool electronic artist fromFrance, and he has a really fun sense of humor and is willing to laugh at himself. Have a look at some of his videos on YouTube. It’s about music and entertainment, not about trying to show off the fake jewelry or Bugatti you borrowed for the shoot.

25. Play every day? Why?

That’s what you’re supposed to do, remember? And don’t just play. Be a music student, not a rockstar wannabe. Learn everything you can, because ultimately it will come down to how good the music is, not how much of a poser you can be.

 (Reprinted by permission from Recording Magazine

Eric Alexandrakis is a highly successful songwriter, producer, and recording musician. He has had several Top 40 hits on the Adult Contemporary charts, has licensed hundreds of songs for film and video, and recently completed a remix of Depeche Mode’s new single “Should Be Higher”. Learn more at www.ericalexandrakis.com. And he’s recommending Katy Krassner because he likes her work, and thinks you will too.

For more information on the 19th Annual USA Songwriting Competition: http://www.songwriting.net/enter

 

Tags: song writer, song write, Song writing, Songwriting, songwrite, A&R, Eric Alexandrakis, recording songwriter

Songwriting Tip: The Money Angle

Posted by Jessica Brandon on Fri, Apr 05, 2013 @11:30 AM

Songwriting—The Money Angle

MoneyStack

A pro songwriter points the way toward profitable projects

By Eric Alexandrakis

Songwriting—it has such a nice ring to it. You know what would sound even better? Making money from it. How in the world does one even begin to start that process? Following up on my article in our last Songwriters’ Issue (March 2012), here are some more ideas and talking points for the songwriter with serious ambitions.

There are hundreds of success stories about one-hit wonders and flavors-of-the-month, and they all have one thing in common: Somebody was in the right place at the right time. But to get ready to make the most of that right moment requires patience, organization, and, of course, talent! Meanwhile there is one avenue to making money from your music that has become much more accessible than it used to be—licensing. We’ll focus on that. But first, let’s talk about another kind of focus—yours.

Where is your focus?

Will you be a professional songwriter, writing for a job, or are you going to write what you want, and damn people’s opinions/agendas? If it’s the latter, keep your day job—forever.

Make a decision and stick to it. What are you going to shoot for? Have you considered writing for television, or for advertising, or movies? While it’s not realistic to absolutely want to decide this early on, somehow you already know whether you gravitate towards The Beatles, or John Williams, or both.

No matter what music genre and media outlet you have in mind, songwriting comes down to one thing, and that’s a hook and a theme. If you try to go pro with the widest appeal, Pop music owns that market. There are so many Pop writers and writer wannabes. How does one stand out?

Pop—what Pop?

These days Pop music encompasses everything from Hip-Hop to Country, to Rock, etc. One of the biggest mistakes inexperienced artists/writers make very early on is that when they’re asked what their genre is, they say something like “Well it’s a little Pop, with a little Country, and some Metal, and Progressive Rock, etc.” Do you know what that tells me? It tells me that you have no idea what the heck you’re doing. No focus!

If you suddenly decide that you’re going to write Pop songs, and your favorite band is Metallica or some stoner band, you’ll never get it. If you didn’t gravitate towards Pop early on, chances are you never will. If you really want to study the great Pop writers, I highly recommend learning the entire Beatles and Monkees catalogues. Pop songs in the ‘60s were so simple, yet really hooky, and many are great examples of the lyrical and musical simplicity needed to grab hold of the average radio zombie listener. How does the listener relate to the lyrics? Is the hook stuck in their head for the rest of the week? A writer can’t go wrong with universal themes, but deliver them in a clever way. This sets one apart.

Show and tell

Once you’ve gotten your focus together and produced some decent tunes, make some decent demos. Presentation is everything. If your music is rendered professionally, you’ll be perceived as professional right off.

While it’s not vital to do so, many committed pro songwriters find that to get where they want to be, they have to move to where the business is. Try Nashville, Los Angeles, etc. When you get there, seek out publishing houses, jingle houses, and the like. Make a professional presentation. Assume everyone will say “no”, but keep pushing and writing. If you want to be a jingle writer, make up jingles for various products already on the market.

For songwriting I suggested to focus on one style, but in the case of jingles, no matter what music style, it is also true that the focus is the hook and its clever delivery. That’s the universal factor in jingles. So try making everything from a 1940s vibe to modern ad music.

Network and collaborate. Go to every networking event you can. Make note of the major names, seek them out at functions. Network with other aspiring writers as well, and collaborate with them. You never know, one of them could be the next John Lennon, and if they get a hit, it could rub off on you. Just make sure you know how much of the song you retain before you leave that night.

Be quick. When someone asks you for something, get it to them quickly and perfectly. No half-assed work, as that first request could end up being your last.

Life’s a learning lab

Study everything. Understand that there is always something to learn, and that you must be open to anything. I have friends who are some of the top players in the universe, have been in the top bands, and still strive to learn new things. I also know some guys who are 40 years old, still talk about a garage band they were in at age 20, haven’t done anything since, and think they play as well as Alan White of Yes. That type of mentality/ego has no future. You can never peak at your skills, you can only evolve. The moment you think you’ve done it all is the moment you should quit.

Have you heard of Jingle Punks? Check out some of the shows they provide music for. If you’re determined to try as many avenues as possible, watch the shows they work with, study the music they use, and make loads and loads of tracks just like the ones they broadcast. Seek out the music supervisors/editors, and try to get noticed somehow.

Learn the business inside out. Make sure you learn how licensing deals, songwriting deals and fees all work. There are plenty of resources available, and it is essential that you understand it all. It’s not enough to write a great tune, you have to learn how not to get screwed when you sell it.

The three Ps

These are somewhat general and idealistic concepts, but they will get you there:

~ Pray. Religious or not, you’ll need all the help you can get. It’s free, and couldn’t hurt even if it does or doesn’t work.

~ Perfect your craft. I’ve seen so many artists who do not have the capacity to understand how crappy they are!

~ Persevere. Those who have great skill and are determined always rise. Some kind of niche and opportunity will present itself as long as you do not quit.

Put these concepts into practice, and you’ll be on the road to success in a very difficult business. But if nothing else, they may help you to realize that you really did want to become an architect, like Mother suggested.

 

Eric Alexandrakis ([email protected]) is a highly successful songwriter, producer, and recording musician. He was a pioneer in digital copyright protection, producing the first-ever digitally watermarked CD while in graduate school, and has had several top-40 hits on the Adult Contemporary charts. Learn more at www.ericalexandrakis.com.

This article is printed with permission from Recording magazine. For more information on recording magazine, go to: http://www.recordingmagazine.com

For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Songwriting, producer, money, profitable projects, Eric Alexandrakis