Songwriting Tips, News & More

Songwriting Tip: How To Write A Song

Posted by Jessica Brandon on Fri, Sep 23, 2011 @09:49 AM

How To Write A Song by Toby Gad

The songwriter behind hits by Fergie, Beyoncé, Colbie Caillat, and more, opens up his box of secrets...

 Toby Gad, professional songwriter

I’ve written songs for quite a while now, over two decades, and I still get a kick out of it. I used to write eighty to a hundred songs a year but it seems like success has only made me work harder—last year I wrote and recorded a hundred and eighty songs, and this year probably just as many.

I already wrote songs when I was seven years old, very basic but useful songs that I would chant on the bicycle on my way back from school in the brutal German winter, songs that would warm my freezing hands, songs about pretty much anything that came to mind. Over the years my songs got better, but even today before most writing sessions I have moments when I think, “I really don’t know how to write a song.”

Chemistry

I have long ago given up trying to write a song by myself. I tried a few times, but mostly got insecure about it halfway through the writing process and tossed it before long. For me it’s really the chemistry with an artist that provides the fertile ground for a seed to sprout. I also find that different collaborators inspire in different ways. Last year I wrote songs with over a hundred different collaborators, some of them superstars and some of then complete unknowns. Some of them were established writers or artists I had worked with before, and some of them were upcoming artists that seemed to have something intriguing about their talent that made me want to write a song with them.

I couldn’t say that superstars are more inspiring than some unknown artists, but I certainly put more pressure on myself in A-list sessions, since the labels and managements have high expectations, and stars can spare only a little of their valuable time. I’m not sure if the pressure makes the songs better. Some good songs just happen, and I couldn’t say why on this particular day this song came about. As random as all this now sounds, I do know a few things that I have learned over the years that I can share.

Let’s start with the most basic and yet most profound:

A song is a feeling

A good song makes you feel something, often so intensely that you keep thinking about it for days, so intensely that it makes you cry, or laugh, or it can make you want to dance, or it helps you vent your anger... A bad song is a song that doesn’t make you feel anything. Often it is that simple. If you have a hit, then it is usually a song that makes a lot of people feel a lot. That’s why many listeners want to hear such a song over and over and—you hope—they also want to buy it. So it helps to trust your feelings when you write a song.

When I first meet an artist or writer, we feel each other out, talk about life, and often that leads to interesting subjects to write about. On my first session with Colbie Caillat she said, ten minutes into our conversation, that she loves singing and making records, but really what means the most to her right now is the love she gets from her boyfriend. I loved that thought and we wrote our first song “What means the most.” The song wrote itself in two hours, and every word in the lyric reflects how she feels about him. On our second writing day she was still the hopeless romantic and said she could even imagine saying “I do” to him one day. So we wrote “I Do,” which became the hit single of her current album.

These songs have a genuine urgency and authenticity to me. They feel honest and spontaneous and they really make me feel something every time I listen to them. That is my personal reward for making music.

Lyrics matter

To me the lyric has become increasingly important. I used to run around with a dictaphone and record melodies all day long. Lately I just jot down words and lyrics. The music often comes naturally, later in the writing process. Sometimes I still jam in a session and let music and lyric flow together, from scratch, but that’s more the exception now.

Maybe it’s just me, and I don’t even consider myself a lyricist, but I do listen mainly to the words in a song, and if a lyric feels out of place then even the best beat and melody can’t save it... but a great lyric with a mediocre melody can still make a great song. By “great” I don’t mean academically legitimate. To me, “great” means believable, conversational, from the heart, conclusive, unique, urgent, creative, honest, and with a purpose.

Listen

I get my best inspiration by really listening to my artists and writers. The good ideas are often between the lines, and some of my questions can feel like I’m the shrink, but by getting into the mind of the artists I make sure the song is authentic and the artist will identify with it later on.

Even when I don’t write, one ear is always listening for words that could provide good starting points for a future writing session. I collect such fragments on long lists that I browse through before writing sessions. This way I have a Plan B in case the conversation with the artist doesn’t lead to anything song-worthy.

Songwriting is a ball game

We bounce ideas back and forth, kick them around, smack them on the ground, throw them high up in the air, and during the process we assemble the elements that feel good to everyone involved. If one player doesn’t feel like playing one game then we start another game. Some games are so much fun that no-one wants to stop playing. Those are the songs that write themselves.

By bouncing ideas back and forth the good ones come together, bad ones naturally get weeded out, one sentence leads to another, and suddenly there is an unexpected great line that may never have surfaced in a different context. That’s why I’m not a fan of “closet writers” who get a track and then write everything in their own headspace. Some writers function well that way, and it drives me crazy to sit in a room with someone who doesn’t share their thoughts. I like to be part of every lyric and I want to share my melodies and ideas as they come to light and evolve. I feel only then can I be great in my capacity as an “incubator”.

Make it memorable

Back in the days of the musicals, the writers had to make songs so memorable that the audience would walk out of the theatre and still sing the songs, after hearing them only once. The movie musical Mary Poppins has a good example of “memorable”... maybe annoyingly so, but so much fun that even the most serious audience member walks out singing “Supercalifragilisticexpialidocious”. I adore how shamelessly creative this word is... creative license!

Let go

If something doesn’t feel right while you’re writing it, then maybe it’s time to try something else. In some sessions we write for three hours and suddenly one of us doesn’t feel good about the concept anymore. Then it is really important not to be afraid to toss everything and start over. Usually that leads to a better idea.

Last year I also had a few sessions that ended with no song. That can be very frustrating, especially if it is with an important artist. But I find it better not to record anything if it doesn’t feel right. Otherwise I record something I don’t like, only to find myself having to arrange that bad song, mix it, play it to my curious publishers and managers and the artist’s record label, and spread a meaningless idea that I’m not proud of.

The big question I ask myself is this: Can songwriting ever become boring? After several thousand songs, will I run out of song ideas one day, or just write bad songs after all the good ones have been written? But so far every writing day still feels like a safari. I get better at spotting the leopards, I’m less afraid of rhinos, and I still find new surprises all the time.

 

This article is reprinted by permission by Recording magazine. Toby Gad’s writing credits include Beyoncé’s “If I Were A Boy,” Fergie’s “Big Girls Don’t Cry,” Colbie Caillat’s “I Do,” Nicole Scherzinger’s “Don’t Hold Your Breath,” The Veronicas’ “Untouched,” Demi Lovato’s “Skyscraper” and Selena Gomez’ “Year Without Rain”, to name a few. Photos courtesy Toby Gad. For more information on Recording Magazine, go to: http://www.recordingmag.com

 

For information on USA Songwriting Competition, go to: http://www.songwriting.net

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tags: songwriter, song writer, song write, Song writing, Songwriting, Toby Gad, Fergie, Beyonce, Colbie Cailat

Songwriting/Collaboration: The Power of Co-writing

Posted by Jessica Brandon on Mon, Aug 08, 2011 @05:21 PM

Creative Collaboration: The Power of Co-writing by Melissa Axel

 

Melissa Axel (Artist Relations, USA Songwriting Competition) & Andy White, photo by James E. Jacoby

Everybody knows the three keys to a successful business are "location, location, location!" For successful songwriters, there is another mantra: "co-write, co-write, co-write!"

Still, many of us have grown accustomed to making music alone in our creative caves and may be nervous about teaming up with other writers. Let's take a look at some of the benefits of creative collaboration, whether it takes place in the same room or online with a co-writer many miles away …

Different minds bring fresh perspectives. Unless you've been deliberately writing about a variety of subjects, it's likely (and natural) that your songs tend to focus on the same handful of topics you know best or care about most. Pairing with someone else brings a second lifetime of experiences to the writing table, challenging you to try on new shoes and see what another person's ideas might look like told through your eyes.

Variation opens up new melodic and harmonic possibilities. If you tend to favor the same keys and chord progressions, writing with someone whose first instrument is different from yours can lead you down fresh musical paths. Guitarists could try writing with a pianist, violinist, cellist, mandolin player, etc. (and vice versa). Also, look for people who share some of your influences and lyrical interests but are into other musical styles or approaches to songwriting as well. Always wanted to explore African grooves or incorporate bluegrass elements into a pop song? Find an artist/writer comfortable in territory that's new to you, and give it a try!

Two heads really are better than one. It's easy to beat our heads against the wall or even put a song aside for years when we get stuck on a section of lyrics or melody that just doesn't feel "right." Or perhaps you have some choruses that need verses or a song that's missing a bridge. Trusted writing partners not only bounce ideas off of each other but also can become a great for completing unfinished songs and making sure each word and note is the strongest possible choice.

So where do you find people to co-write with? They might be performing artists in your local music community, writers you know from songwriting websites and social network groups, composers who usually write instrumental music, or producers who create tracks for artists who only sing or rap. Be open to meeting songwriting partners if you travel to perform or attend songwriting conferences, too. It's easy to write across the miles with online audio/video chat programs or even by sending MP3s and lyrics back and forth via email.

If you're ready to broaden your songwriting horizons, take your time and get to know potential co-writers and their writing styles. As your songwriting becomes more plentiful, diverse, and enriching, you'll be glad you reached out and found creative collaborators who are a really great fit.

 

Melissa Axel is an Artist Relations representative of USA Songwriting Competition. At just eight years of age, she was writing songs about the bittersweet journey of life, love, struggle, and inspiration. The piano-driven singer/songwriter studied at Boston's renowned Berklee College of Music and went on to earn her master's degree in Interdisciplinary Arts from Nova Southeastern University. Axel's new album love . humanity . metamorphosis will be released September 20, 2011. For more information on USA Songwriting Competition, go to: http://www.songwriting.net

Tags: songwriter, song writer, song write, Song writing, Songwriting, Berklee, writing songs, Co-writer, writing lyrics, Creating in a Group, collaboration, co-writing

One Thing a Day for My Songwriting Journey By Doak Turner

Posted by Jessica Brandon on Fri, Jul 15, 2011 @03:26 PM

One Thing a Day for My Songwriting Journey

by Doak Turner

 

Doak Turner

If I told you that you could do 300+ things for your songwriting journey between today and this time next year – would you think that I am crazy or what?

As a songwriter who lived outside of Nashville until moving in October 2002, I would follow a plan that really helped me stay focused and stay on my songwriting journey. I made trips to Nashville for (6) years before moving to town. I called it simply, "Do One Thing a Day for my songwriting." Those "things" have enabled me to develop a great network in Nashville of friends and industry professionals, to be prepared when I moved to Nashville with the craft and business of songwriting, to write better songs on my songwriting journey, and to really keep my songwriting goals focused over the years prior to moving to Nashville.

One thing a day includes making a phone call or e-mail to a songwriter to set up a co-write session, or an industry professional to ask a songwriting business question, or someone in the local songwriting workshop to discuss an upcoming event. Or, I might make plans for my next trip to Nashville, plans for an upcoming workshop meeting and guest speakers for the local events. I would also contact the media for those local songwriting events. Sometimes I would talk to a couple of out-of-town or out-of-state friends who are on the songwriting journey to share ideas, goals, challenges and successes. Sometimes a call would be needed to say hello to someone whom I haven't spoken to for a while, who always encouraged me in life, and to share what was going on in my life, even thought that friend was not a songwriter. They are (and still continue to be) great, positive friends who believe in me.

Other kinds of one thing a day include opening my hook-book to write a hook that I had just found reading a book, a conversation overheard during the day. My hook-book contains “Hooks” – thoughts and ideas for songs that I use when writing and co-writing songs. Or, I might find a hook from watching a movie or TV, from the preacher's sermon, a newspaper, or magazine. Sometimes, the hook "came to me from the sky," or wherever those hooks come from, and seem to find our songwriter's antenna, move into our head, and then down our arm onto the paper. I also open the hook book to review ideas I've written in it, to see if I could write another verse or chorus to something I had started previously, and maybe even complete a song in my hook book. Looking at music sites on line can be very helpful by finding ideas from artists and songwriters, learning and networking on-line with myspacemusic and other sites from organizations and songwriters. 

I might play the guitar or keyboard - even for a couple minutes a day - which is another excellent thing to do that may inspire an idea. I would learn another melody that can lead to a song, learn a new chord or strumming pattern, or work to improve a song that I've written. If I have more than a couple minutes, then I play the instrument and visualize myself playing my songs to an audience, a concert hall, one of our local venues, or playing live in the venue if that is my ultimate goal. Keeping the guitar on a stand instead of in the guitar case makes it much easier to play! So have them in as many rooms of your house as possible – you may pick one up for a couple minutes and strum a melody that you haven’t thought of yet – starting another song!

One thing a day also includes reading just a chapter - or even one or two pages - of a songwriting book a day to increase my songwriting skills. Hey, folks - we all know what our favorite room to read is - so go ahead and have a songwriting book in there at all times! If I read a little before going to bed, I often make it a songwriting or industry publication for my bedtime stories. I read the "how to" songwriting books, biographies about people in the songwriting or music industry, or any book or industry magazine that enables me to learn one thing per day. American Songwriter Magazine, Music Row and Performing Songwriter are a couple magazines to have around the house. It's is a great investment for my songwriting journey. I highly recommend every songwriter reading “The Craft and Business of Songwriting – Third Edition” by John Braheny. If you read just (2) pages a day – you will learn something new every day about songwriting! The book by Douglas Waterman “Song – the world’s best songwriters on creating the music that moves us” is another great book to have at your desk or nightstand – somewhere easy to pick up and read – maybe just ONE interview a day with a great songwriter will make a difference on your journey!

Some other things that I did while still in Charlotte, NC and you can too is to attend and get involved in the local songwriting community. I was the Nashville Songwriters Association International (NSAI) coordinator in Charlotte from 1996 - 2002. I was fortunate to have two great co-coordinators for the last year in Charlotte, as I had my condo on the market and was making plans to move to Nashville. I know from personal experience that it's great when songwriters ask what they can do to get involved with the local songwriter workshop.

I highly recommend networking in your local community by attending the music events and singer/songwriter nights. This is an excellent place to meet new co-writers and friends that have the same interests as you and inspire new songs.

One thing a day should include time to review your goals. I wrote my goals down and placed them where I could see them every day. I still do this. That way, I can pause for a minute, look and make sure I have done one thing that day for my songwriting journey. Visualize your goals happening with your songwriting. But, the most important thing for you to do each day is - Have Fun on Your Songwriting Journey!

Doak Turner is a songwriter in Nashville, TN. He has songs on independent CD projects, former 6-year local coordinator in the NSAI Charlotte workshop, produced several successful songwriting events, a writer for www.musicdish.com in the “Song Works¨ section of the site, and editor and publisher of The Nashville Muse. 

Tags: songwriter, song writer, Song writing, Songwriting, Nashville, hit songs, doak turner, one thing a day

Songwriting Tip: Creating in a Group, The Collaborating Game

Posted by Jessica Brandon on Thu, Jul 14, 2011 @10:39 AM

Creating in a Group – The Collaborating Game

 Pat & Pete Luboff

Here’s a fun way to get your creative juices flowing. Get two or three, or more people in a room to play the collaboration game. The rules are simple:

 

1. NO NOES!

 

You can point to your nose and shake your head to emphasize this rule! This means anything goes! Ignore all your self-imposed limitations and barriers. Utterances such as “I can’t sing,” “That won’t work,” “I’m not good at lyrics,” “That’s stupid,” and all the variations on that theme are NOT ALLOWED. You’ll be surprised how easy it is to eliminate the negative if everyone agrees to this rule.

 

2. NO EVALUATIONS

 

If you judge your ideas before you express them or simultaneously with expressing them, you stop the flow of your ideas. When working in a group, each person has the responsibility to say WHATEVER IDEAS ARE TRIGGERED IN THE PROCESS. If you think to yourself, (trying to avoid Rule 1 by not saying it out loud) “That’s stupid,” and stop yourself from saying it, you have eliminated the stimulus that might have inspired the next person’s thought. Our rule of thumb is, if you really think it’s stupid, you are OBLIGATED to say it out loud. In the early stages of creating, all ideas are good ideas! The time for judging them comes much later in the process. Leave your judge outside the door for now.

 

3. STAY POSITIVE

 

No noes means all yeses! Every idea can be greeted with a “yes.” Every idea will inspire new ideas in other members of the group. Here are some positive phrases that can be used to build on ideas:

 

Yes, and…. Suppose…. Another idea….

Or…. Also…. How about….

What if…. And…. Let’s….

 

These phrases are indispensable tools for expressing respect for all the ideas that flow in a collaboration.

 

 

4. HAVE FUN!

 

Be silly. Make jokes. Say the wildest thing you can think of. Laugh! Aren’t we lucky to be writing songs?

 

Let’s play the collaboration game:

 

You can use any photo as the stimulus for the game. For example, use a photograph of two people kissing.

 

There’s one at http://www.masters-of-photography.com/D/doisneau/doisneau_kiss.html Double-click the photo and it will be large enough to fill one page, which you can print out. Each person in the room takes a turn saying a sentence or two about the story of the picture.

 

The idea is to say anything that comes to mind very quickly and then pass the picture to the next person. Keep going round and round until you really feel you’ve dug that kissing well as deep as you can! Here are a couple of examples:

- She just told him she’s pregnant.

- Their braces are stuck together and they’re going to an orthodontist to get unstuck.

- He doesn’t know her at all. He’s kissing her to distract her while he picks her pocket.

 

There is no end to the ideas that you can come up with. What did s/he he say just before this photo was taken? What are the fellow behind them and the woman next to them thinking? What’s going to happen next? These are the questions you will be asking about the people in your songs, so you are practicing the art of characterization.

 

This game of getting the creative flow going without boundaries can be played with any photograph or curious item. You will have to remind yourself to return to the fun, open attitude of this game whenever you feel yourself getting bogged down creatively.

 

Collaboration business tip: We think it’s best if everyone agrees up front that the song will be shared equally by all the writers who are participating in the collaboration. Mathematics can kill a collaboration. That’s why they call it division!

 

Write On!

 

Pat & Pete Luboff have recordings by Snoop Dogg ("Trust Me," the first single from the platinum-selling album "Top Dogg") Patti LaBelle (gold album and the title song for "Body Language: the Musical"), Bobby Womack (No. 2 on Billboard's Black Music chart), "Hometown, USA" from the John Travolta movie "Experts," on Michael Peterson's new CD, recently charting Miko Marks, and more.  They've been teaching songwriting workshops together since 1979. The Luboffs are the authors of the Writer's Digest new book "101 Songwriting Wrongs and How to Right Them" and "12 Steps to Building Better Songs," which they self-publish. For more information, visit http://www.writesongs.com

Tags: songwriter, song writer, song write, Song writing, Billboard Charts, Songwriting Tips, Billboard Books, Billboard Album Charts, Billboard #1 Hit, Billboard, Creating in a Group, The Collaborating Game, Pat, Pete Luboff

Networking in the Songwriting Business by Doak Turner

Posted by Jessica Brandon on Tue, Jun 28, 2011 @01:02 PM

Networking in the Songwriting Business by Doak Turner 


Doak Turner
You are at songwriting round, open mic, showcase, CMA Week party, Jason Blume BMI workshop, NSAI Song camp, ASCAP Party, 3rd Sunday at 3 event or other networking event in Nashville. You attend the event to meet songwriters and other industry professionals, and want to be prepared and leave a great impression on the people that you meet. 

Start by introducing yourself and ask about the other person. Maybe tell them you enjoyed their songs, or ask how long they have been in Nashville, or other small talk. Take an interest in the other person, and DO NOT tell them what a great songwriter that YOU are, or hand them your CD and ask them to listen to your songs! This is a relationship town, and you need to show an interest in other people, take the time to get to know them, and the time will be right to play your songs for that person. Do NOT meet a hit songwriter at The Bluebird Café or other venue, introduce yourself and hand them your CD. This is a relationship town – just tell them you enjoyed their songs and you look forward to seeing them around town – as you will, at the YMCA, grocery store, another songwriting event or someone’s party in the future. You want them to like you, not avoid you because you hand them a CD and ask them to write with you – which is another Not To Do Thing! Hey – a great book that will help you with those topics is “The Do’s & Don’ts of Music Row” by Liz Hengber. Read that book!

Now, it is time to exchange business cards, and you want to be prepared and do not want to fumble through a pocket full of everyone else's cards you have collected that particular day, trying to find one of your cards that does not have scribbled notes on it. One networking tip is to have Your Business Cards in your Left pocket, and Everyone Else's Cards in your Right pocket. Always have a pen in your pocket and take notes from your conversation, after you have said your, “see you around town¨ or “I will call you next week and set a co-writing appointment¨, or whatever happens during your conversation. 

Speaking of business cards, your card should include your name, phone number, PO Box or address, website AND e-mail address, and be easy to read. Be sure to include your e-mail address on every business card. If you just have your website address, you are asking people to spend the time (most won't take this extra time) to go to your website, find the contact section and then send you an e-mail. Do not have fancy music logos such as music notes on your business card, unless maybe it is your company logo. You should have your personal music business card, not your day job company business card, if you work outside of the music business. 

I mention PO Box and offer this tip for everyone in Nashville. Go to the Acklen Post office in Hillsboro Village (behind the Sunset Grill) and obtain your personal PO Box. About 99% of Music Row receives their mail at this location, and this can prove to be a great networking location. I have made several contacts, a co-write or two appointment after running into people that I met previously, and several acquaintances from standing in line, or just saying hello at this post office location. 

Another unique networking tip for your business card is when you see someone looking for a piece of paper or something to write on at an event, offer your card and a pen that you should always have in your pocket at these events. Tell that person to use the BACK of your business card to write notes. I do this all the time, and got a call one day from a pro songwriter telling me that he had six of my cards in his wallet from the previous evening's event. I asked him if he thought it was a coincidence, “I don't think so”! 

The key to networking is being prepared before you get to the event. Always have a positive attitude at the event, ask positive questions instead of dwelling on how tough it is, how it is not fair, or you do not understand why your songs are not on the radio. I may ask a question like, “What is happening good for your songwriting world¨ or “What is happening good in your life these days¨? This will get the other person off on a good note and they may want to spend a couple extra minutes talking to you. 

I like to arrive early at an event and get a plate of munchies or the food they are serving at the showcases. This prevents you from trying to talk to everyone, shake hands and do the business card exchange while holding a plate in one hand and a drink in the other hand. 

Always strive to have fun at the events, meet new people, learn something new and just enjoy the experiences on this journey of songwriting! Best wishes for your music journey and I will see you networking in Nashville! 
Click me
Doak Turner is a songwriter in Nashville, TN and he has hosted the USA Songwriting Competition's showcase at the Bluebird Cafe in the past. He has songs on independent CD projects, former 6-year local coordinator in the NSAI Charlotte workshop, produced several successful songwriting events. For information on USA Songwriting Competition, please go to: http://www.songwriting.net
 

Tags: songwriter, song writer, Song writing, Nashville, USA Songwriting Competition, NSAI, doak turner, Networking, Songwriting Business

What is 'Podsafe' Music?

Posted by Jessica Brandon on Mon, May 23, 2011 @02:05 PM

What is 'Podsafe' Music? 
by David Wimble, The Indie Bible

David Wimble

As you visit the hundreds of music podcast and MP3 blog sites you'll notice that most them feature something called PODSAFE MUSIC. For this article I have gathered information from various internet sites in order to help clarify what podsafe music is and how it can become another helpful tool to place into your marketing utility belt.

Definition of podsafe music (from Wikipedia 
en.wikipedia.org)
Podsafe is a term created in the podcasting community to refer to any work which, through its licensing, specifically allows the use of the work in podcasting, regardless of restrictions the same work might have in other realms. For example, a song may be legal to use in podcasts, but may need to be purchased or have royalties paid for over-the-air radio use, television use, and possibly even personal use.

The effective definition of "podsafe" for a given work depends entirely on the contract through which the podcaster licenses the work; there is no single podsafe license. The concept of podsafety, in its true form, greatly favors the artist and the profitability of the artist's product, in exchange for only very limited concessions to the podcasting community.

While some works such as public domain works or works under some Creative Commons licenses are inherently podsafe, the only actual requirement for a work to be podsafe is that any licensing requirements it has, if applicable, allow for the work's free use (typical broadcast use in its original form, if in no other form, depending on the specific license) in a podcast or web broadcast. This gives specific favor to podcasts only, allowing the artist to impose more traditional constraints on everyone else. Podsafe licensing can, for example, continue to require non-podcast consumers to pay for the work, require royalties on derivative works, and profit significantly from the work's use in traditional radio, television, or film.

The licensor of any podsafe work must be legally capable of making it so. An artist cannot distribute his or her own work through a podsafe license if doing so would break any laws or breach any standing agreements (e.g. with the RIAA). The creator of a derivative work may also not claim this work podsafe without express permission from the original copyright holders. (PMN has more specific and stringent terms to this effect in its agreement.) Another point of contention is that not all podcasts are non- commercial works; in fact, an increasing number of podcasts are taking on sponsors and looking to make a profit. In general, no significant distinction is yet made between podsafe for non- commercial use and podsafe for commercial use, but it could easily arise at any moment.

Motives for the podcaster to use podsafe music (from Wikipedia 
en.wikipedia.org)
As podcasting grows more and more popular, illegal use of heavily licensed music (as through the RIAA) becomes increasingly difficult to hide. This is in general of greater concern to podcasters than to the typical sharer of music, because podcasters usually produce their shows for and promote them to the public-a far more overt and traceable action.

Including such licensed music legally has its own set of caveats. Indeed, under many jurisdictions it's currently impossible, but the message from those in the know is that many licensing agencies, if they do intend to allow the use of their music on podcasts, will require not only the payment of royalties but also the use of DRM on the shows. (DRM, because of its proprietary, system- specific nature, would be destructive to the general openness and system independence of podcasts.)

Use of podsafe music instead of more stringently licensed material allows a podcaster to continue to produce an inexpensive, legal program with little hassle. Not least important for an independent podcaster is the promise of being able to avoid the confusing maze of licensing organisations.

Motives for the artist to use podsafe music (from Wikipedia en.wikipedia.org)
Conventional radio (and television) can present a difficult, and not always logical, barrier of entry for a musician or other media artist involving large sums of money and often a great deal of surrender in both ownership and creative freedom.

In contrast, podcasting, an increasingly popular medium for audio programs, is as a whole very receptive, indeed thirsty for artists and input. This is due in part to the creative and economic nature of the largely independent podcasting community and further fueled by its need to avoid repetition. While a conventional radio show may be able to risk replaying a large part of its music selection from day to day, there would be little point in downloading a music podcast whose selection did not vary significantly from a previous show. Podcasting is thus a voracious medium. With a growing and international audience podcasting is now becoming an effective means for inexpensive artist promotion often aimed squarely at the people most like to be interested in that type of music.

What is The Podsafe Music Network?
The Podsafe Music Network (
music.podshow.com) is a comprehensive source for podsafe music. It was founded in 2005 by ex MTV VJ and current podcaster Adam Curry (Daily Source Code). PMN brings a large group of podcasters together with a wide variety of all-podsafe music and the artists who produce it.

According to PMN, podsafe music is music that meets all of the following conditions:
1. Works submitted to the Podsafe Music Network are the property of the artist, and all rights to these works, including lyrics and music, are the property of the artist.

2. All works contain no recordings, lyrics, copyrights, or other elements that are the copyright of any other artist, except under the limited provisions of the Creative Commons License Agreement www.creativecommons.org

3. Despite any recording contracts with RIAA, ASCA, BMI or other recording industry entity, the artist retains ownership of the works and is free to distribute, broadcast, license or sell these works at the artist's discretion.

The licensing agreement between the artist and PMN: 
music.podshow.com/music/artistTerms.htm What are Creative Commons Licenses? (from www.creativecommons.org)

Creative Commons Licenses help you publish your work online while letting others know exactly what they can and can't do with your work. When you choose a licence, we provide you with tools and tutorials that let you add licence information to our own site or to one of several free hosting services that have incorporated Creative Commons.

1. Standard License License your song under your terms. Our set of standard licenses will let you share music with fans while protecting your song from limits you put in place. Or, choose a prepared license for audio works.

2. Sampling License People can take and transform pieces of your work for any purpose other than advertising, which is prohibited. Copying and distribution of the entire work is also prohibited.

3. Share Music License This license is aimed at the musician that wants to spread their music on web and filesharing networks legally for fans to download and share, while protecting the music from commercial use or remixing of any kind.

How does a Creative Commons license operate?
Creative Commons license are based on copyright. So it applies to all works that are protected by copyright law. The kinds of works that are protected by copyright law are books, websites, blogs, photographs, films, videos, songs and other audio & visual recordings, for example. Software programs are also protected by copyright but, as explained below, we do not recommend that you apply a Creative Commons license to software code or documentation.

Creative Commons licenses give you the ability to dictate how others may exercise your copyright rights-such as the right of others to copy your work, make derivative works or adaptations of your work, to distribute your work and/or make money from your work. They do not give you the ability to restrict anything that is otherwise permitted by exceptions or limitations to copyright- including, importantly, fair use or fair dealing-nor do they give you the ability to control anything that is not protected by copyright law, such as facts and ideas. Creative Commons licenses attach to the work and authorize everyone who comes in contact with the work to use it consistent with the license. This means that if Bob has a copy of your Creative Commons-licensed work, Bob can give a copy to Carol and Carol will be authorized to use the work consistent with the Creative Commons license. You then have a license agreement separately with both Bob and Carol.

Where are the forms that I have to fill out?
Creative Commons licenses are expressed in three different formats: the Commons Deed (human-readable code), the Legal Code (lawyer- readable code) and the metadata (machine readable code). You don't need to sign anything to get a CCL. Just select your license here: 
www.creativecommons.org/license Hmmm ...what if I change my mind?

This is an extremely important point for you to consider. Creative Commons licenses are non-revocable. This means that you cannot stop someone, who has obtained your work under a Creative Commons license, from using the work according to that license. You can stop offering your work under a Creative Commons license at any time you wish; but this will not affect the rights with any copies of your work already in circulation under a Creative Commons license. So you need to think carefully when choosing a Creative Commons license to make sure that you are happy for people to be using your work consistent with the terms of the license, even if you later stop distributing your work.

Before you do anything, make sure you have the rights!
Before applying a Creative Commons license to a work, you need to make sure you have the authority to do so. This means that you need to make sure that the person who owns the copyright in the work is happy to have the work made available under a Creative Commons license.

Where do podcasters find podsafe music? (from Dave's Imaginary Sound Space 
soundblog.spaces.live.com)
Discovering new music and the ability to use it fairly without fear of copyright infringement is a key issue for podcasters and listeners alike. Artists, composers, producers and consumers can all benefit from clear, fair and flexible copyright licenses that embrace new technologies. 'Podsafe' means non-RIAA audio and video that can be used legally in podcast productions and freely distributed online for downloading. Podsafe music can be found in many locations on the web including: artists websites, MP3 blogs, open source music communities, podcast directories, netlabels, P2P networks and BitTorrent hosts. A quick search for "podsafe" in a podcast directory like PodcastAlley.com reveals a rich and diverse array of productions featuring podsafe music. Unfortunately it becomes extremely time consuming for podcasters to source available music and listen to it. Recommendations by listeners and fans play an important part in the podcast production process.

The definitive list of podcasting safe music sites can be found at
http://soundblog.spaces.live.com/Blog/cns!1pXOS7l93k8mqeQ7FlEEmOSQ907.entry It's always about the music

For an artist just entering into the podcast/MP3 blog universe, the amount of information to take in can be overwhelming. It's not unlike a lifelong typist being plopped in front of a computer and asked to create a spreadsheet with colored charts.

As you watch the internet continue to explode with new technologies, it may feel like life has passed you by and left you lying in the dust. However, the truth is we're all still tightly bundled together. No one is ever left behind. The opportunity to move towards the cutting edge is available to anyone (my father-in-law has just learned how to use a computer at the age of 81). Don't let fear (and the excuses it can conjure up) lessen your attempts to succeed.

Remember, it has always been, and always will be about the music - that unique expression that you have to offer to the world. Podcasts, podsafe music, MP3 blogs, Creative Commons licenses and all that other bounce-off-the-head stuff is simply a collection of new and useful tools to help you get your music heard by more people.

Final thoughts
For the newbie, my suggestion would be to take it slow. Open one small door at a time and get a feel for it all. You'll eventually discover that bloggers and podcasters are simply human beings with a passion for music - a collection of music lovers that are ready and willing to help you get your songs heard by a new stream of potential fans.

 

David Wimble is Editor and Publisher of the Indie Bible - a yearly music directory for recording artists that helps them to gain exposure for their music. The Indie Bible was first published in 1999. www.IndieBible.com

 


Tags: songwriter, song writer, Song writing, Songwriting, Podcast, David Wimble, Indie Bible, Podsafe, Creative Commons, RIAA, licensed music

USA Songwriting Competition Winner Kate Voegele on TV, Releases CD

Posted by Jessica Brandon on Wed, May 18, 2011 @03:20 PM

USA Songwriting Competition Winner Kate Voegele Back on "One Tree Hill," Releases 3rd Album

Knitting Factory

NEW YORK (Billboard Magazine) – USA Songwriting Competition Winner Kate Voegele is back on TV show “One Tree Hill” and has just released her third album yesterday "Gravity Happens" under ATO records. Kate Voegele won first prize in the 10th Annual USA Songwriting Competition in the Pop category. She went on to perform at USA Songwriting Competition's showcase during SXSW (see picture), went on to get signed after winning the USA Songwriting Competition and she hit Top 40 in the Billboard charts with the same song that she won at the USA Songwriting Competition with “Only Fooling Myself”. 


On the May 17 episode of CW's teen drama "One Tree Hill," Mia Catalano -- the character played by Kate Voegele -- returns to Tree Hill feeling refreshed after a brief sojourn to work on her music.


Voegele knew exactly how her character felt: the pop-rock singer/songwriter missed a few episodes of "One Tree Hill" this past winter to finish her third album "Gravity Happens" for ATO Records (May 17).


"It was a much-needed little sabbatical to take because music is really my first language," the 24-year-old artist said. "I've been doing it a lot longer than I've been in this acting world, and I'm so happy that I took the plunge and did it."


Since joining the show in early 2008, Voegele has juggled her musical endeavors (her last album, 2009's "A Fine Mess," hit top 10 on the Billboard 200 Album Charts) with her filming schedule. She also toured the country with Jordin Sparks. 


While the dual commitment has made Voegele's day-to-day life more hectic, her role on the show has resulted in original songs like "No Good" and "Wish You Were" garnering prime placements on the long-running program.


"Heart in Chains," the first single from "Gravity Happens," will be performed by Voegele on the show's season finale -- the same day the album is released.


Meanwhile, Voegele will showcase her visual artistry in an upcoming sponsorship with Oakley sunglasses: The budding painter designed original artwork for a signature pair of shades that will hit stores this summer. Each pair will include a free download card for "Gravity Happens.""It's all very connected," Voegele says. "Even some of my lyrics are in this design for the sunglasses. Oakley has been an amazing partner and sponsor, and I'm stoked to see come out soon."


In the meantime, Voegele will be busy unveiling "Gravity Happens," which she described as "more honest and raw." The set features sing-along tracks like "Hundred Million Dollar Soul" and "Sunshine in My Sky." She's joining Natasha Bedingfield on the latter's Less Is More summer tour, which kicks off June 5 in Northampton, Mass.


As for taking on additional acting projects aside from "Hill," Voegele says, "I never would have dreamed that we would have such a cool tie-in with a show like 'One Tree Hill.' So you kind of just take it as it comes."


(Editing by Jessica Brandon & Zorianna Kit)

Tags: songwriter, song writer, song write, Song writing, Songwriting, Kate Voegele, One Tree Hill, Billboard, Gravity Happens, ATO Records, CW, Jordin Sparks, Oakley sunglasses

Inspirational Words From Noted Songwriters And Composers (Part 2)

Posted by Jessica Brandon on Mon, May 16, 2011 @04:10 PM

Desmond Child, Hit Songwriter
Desmond Child, Hit Songwriter

"Live life to the fullest, and then write about it. Dare to suck and put your music out there, and just keep on going" ~ Desmond Child, songwriter of #1 hits such as "Livin’ La Vida Loca", "Livin' On A Prayer" and "You Give Love A Bad Name"

 

"I felt a kinship with country music, because country has lyrics that tell stories" ~ Desmond Child

 

"Don't fall in love with everything you write, many of the times it can be improved" ~ Ken Hirsch, Hit Songwriter of songs such as: “I've Never Been To Me”, “If I Could”, etc and First Prize winner of 15th Annual USA Songwriting Competition

 

"Music is structure out of Chaos" ~ Stephen Sondheim, Lyricist

 

‎"I don't recommend analyzing a market or particular artist too much. Write the best song you can and let the professionals figure out what to do with it" ~ Billy Steinberg, songwriter of #1 Hits "Like a Virgin", "True Colors", "Eternal Flame", "Alone", etc.

 

"I guess you could write a good song if your heart hadn't been broken, but I don't know of anyone whose heart hasn't been broken" ~ Lucinda Williams, songwriter

 

"I'd rather write great songs because the word "commercial" is so subjective" ~ Beth Nielsen Chapman

 

"It's not about record companies, it's about finding other avenues to market your music" ~ Mark Mothersbaugh, songwriter, Devo.

 

"You should listen to songs and listen to what works. Listen to why a song is a hit. Check it out--not to imitate it, but there are certain things that work - hooks and melodies. Hear what works through the ages" ~ Diane Warren

 

"I think there's something strangely musical about noise" ~ Trent Reznor , songwriter, composer, former member of “Nine Inch Nails”.

 

"Songs are your best teachers. I try to learn something from every song I hear" ~ Pat Pattison, Songwriting Professor at Berklee College of Music

 

"Music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music" ~ Wolfgang Amadeus Mozart

 For more information on the 16th Annual USA Songwriting Competition, check out: http://www.songwriting.net

 

Tags: songwriter, song writer, Song writing, Songwriting, Berklee, Ken Hirsch, Diane Warren, Pat Pattison, Desmond Child, Wolfgang Amadeus Mozart, Stephen Sondheim, Billy Steinberg, Like A Virgin, Lucinda Williams, Beth Nielsen Chapman, Mark Mothersbaugh, Devo, Trent Reznor, Nine Inch Nails, I've Never Been To Me

Songwriting Tip: In Defense Of The Title

Posted by Jessica Brandon on Thu, May 12, 2011 @12:57 PM

In Defense Of The Title

by Mark Cawley

Mark Cawley, Songwritier Advice

As songwriters we’re all paying attention to lyric, melody, structure, rhyme scheme, groove, track and more. In coaching writers I usually find the last thing a young writer considers is “the idea”. What is the song about? Is it an idea that will make a listener want to discover the song, listen further and get you beyond the dreaded “nice” comment? Is it relatable?

 

Sometimes it starts with a title, I admit to being a title writer. I think if the title gets people to listen to the song, open the book, try the movie then we have a leg up.

 

Not to say that every great song has to have a clever title but it sure can help a co-write get off the ground, give your subconscious something to work on or make a publisher pick your CD out of the pile.

 

I have to share one instance with you of a title really working. Years ago I moved to Nashville and while most of my success was in Pop music, especially in the UK at that time, I was getting country cuts. I was writing with Hall Of Fame songwriter Kye Fleming, still one of my best friends and the best pure lyricist I know. So.. we were stuck and she suggested we take a break in the middle of the day and go see a movie. We went to see Jerry Maguire. You remember, the “show me the money” movie.

 

The theatre was mostly empty aside from a few songwriters and music folk we both knew. Midway through the movie René Zellweger looks at Tom Cruise and says...."you had me at hello”. Kye elbowed me and said, “watch this”. Sure enough 4 people got up and made their way out, in the middle of the movie. They knew they had found their idea, or the perfect title. In her wisdom Kye told me that they would all go write it, a couple will demo it, a few publishers will get it to producers and one will be a hit in 6 months!

 

Around 6 months later Kenny Chesney had a number one called “you had me from hello”.

 

I still keep a running list of anything that remotely sounds like an opening line, great title or just a good idea.

 

One Nashville writer I know always cautioned me to “make sure the journey was worth the destination.” Don’t just depend on the twist or the hook to carry a song but make sure every part of lyric is seamless leading up to the big idea. In other words, a great title on it’s own is not a great lyric. Good advice!

 

Mark Cawleys’ songs have appeared on more than 15 million records. Over a career based in LA, London and Nashville his songs have been recorded by an incredibly diverse range of artists. From Tina Turner, Joe Cocker, Wynonna, Diana Ross and Chaka Kahn to The Spice Girls, Tom Scott, Kathy Mattea, Paul Carrack, Will Downing and Pop Idol winners in the UK and around the world. He has had #1 records in the UK and throughout Europe as well as cut’s in Country, Jazz & R & B. His groundbreaking website “Song Journey” created with Hall of Fame writer Kye Fleming was the first to mentor writers from around the world one on one online. He is currently writing and publishing as well as helping writers and artists in the US, UK and Australia with a new one on one co-active coaching service. Visit www.idocoach.com for details.

Tags: songwriter, song writer, Song writing, Songwriting, USA Songwriting Competition, Mark Cawley, Tina Turner, Joe Cocker, Wynonna, Diana Ross, Chaka Kahn, The Spice Girls, Tom Scott, Kathy Mattea, Paul Carrack, Will Downing

The Differences Between Songwriting in NYC & Nashville

Posted by Jessica Brandon on Mon, May 09, 2011 @04:02 PM

The Differences Between Songwriting in NYC & Nashville

~written by Cliff Goldmacher

 

Cliff Goldmacher

As a transplanted songwriter from Nashville to New York City, I’ve had the chance to observe, up close, the approaches to songwriting and the songwriting communities in both cities.  While there are of course many similarities, there are also quite a few differences. By the way, I feel I should mention that the following observations are really more my impressions than hard facts.

 

Differences Within the Similarities

In this article, I’ll start with a similarity between New York and Nashville as it’s readily apparent and then explain how, within that similarity, one city differs from the other.  One of the first similarities is that both cities have huge songwriting populations.  The depth and breadth of talent in both places encompass many more genres that the obvious country music for Nashville and pop and rock music for New York.  There are great pop writers in the suburbs of Nashville and extremely accomplished country songwriters living in Greenwich Village. 

 

Finding the Songwriters

One difference between the two songwriting communities is how easy they are to locate.  Because Nashville’s artistic community is predominantly made up of singers, songwriters and musicians, it’s much easier to find the music/songwriting community there.  New York, on the other hand, has a wonderful songwriter population, but it’s mixed in with the countless other artists and creative types that live there and is thus less obvious.  In other words, it takes a little more effort to find the songwriters in New York, but believe me, they’re there.

 

Before moving from Nashville to New York, I’d taken several writing trips a year up to New York and, by a process or trial and error, I found a core group of NYC songwriters that became my go to people on every trip.  This way, when I eventually moved to New York, I felt like I was instantly part of the community even though I had to discover it little by little.   I highly recommend this approach for anyone considering a move to New York as it eases the transition and makes the entire process much less overwhelming.

 

Co-writing

Although both New York and Nashville have large numbers of songwriters, co-writing is much more a part of the day to day routine in Nashville.  It’s not unusual for a Nashville writer to have five co-writing appointments in a week where they meet with a different cowriter every day in a publishing company office on Music Row.  This happens for several reasons.  First of all, as a hired staff songwriter for a Nashville publishing company, you are given a yearly quota of songs that you need to fulfill. The more songs you write,  the more quickly you’ll fulfill your quota.  Publishers make a real effort to connect songwriters they think will work well together and go as far as to set up co-writing appointments for their writers.  As a result, it’s fairly common in Nashville to be set up on a “blind date” cowrite. Secondly, even though you’re only credited with half a song for a cowrite, it’s easier to motivate yourself to write if you’ve got someone to collaborate with.  The act of scheduling appointments and being expected to show up significantly eases the stress of having to create on a schedule.  This approach seems odd to a lot of New York writers who are either artists themselves and used to writing with their own bands or are songwriters used to working with artists whose schedules are much less predictable.

 

Lyrics

Staying with the generality that you’re writing country in Nashville and pop or rock in New York,  I’ve noticed  that the rules of lyric-writing between these genres and cities differ significantly.  In Nashville, the story is king.  This means that the lyric has to make perfect sense, the images are concrete and the story has a logical flow from beginning to end.  There’s not a lot of room for poetic, impressionistic lyrics that don’t have the arc of a story.  New York, on the other hand, while it certainly has its share of great songwriter/storytellers,  has a broader tolerance in its pop and rock genres for words that “feel” and “sound” good together.  Please don’t misunderstand.  It takes just as much skill to write a great pop lyric where the words convey the emotion of the song and carry the nuances of the melody as it does to write a great story in a country song, but it’s a different skill set.  I’ve found that switching from one approach to the other can be creatively liberating and quite a bit of fun.  Also, it’s interesting to see how one city’s lyrical approach can bleed into the other’s.  In this way, you can end up with country lyrics where the words in the story sound good next to each other or pop lyrics with the arc of a story to them.

 

Labels

Speaking of artists, another similarity in the two cities is that they are both home to major record labels and their signed artists.  This alone attracts a huge number of songwriters to both cities.  The difference here is that country music artists are still largely dependent upon outside songs for their projects.  In New York, bands tend to write their own material and it is less common for these artists to go looking for outside songs.  Occasionally songwriters will be paired with these bands/artists in New York allowing the writers to end up with cuts on these acts.  Of course, all of these distinctions are lessening as more country artists write and cowrite their albums as well.

 

You Can’t Lose

At the end of the day, both communities are great places to work and create.  Ironically, after living in Nashville, working as a staff songwriter and writing for the country market for twelve years, my first cut was with a New York writer and was recorded by an Irish tenor on Universal Records named Ronan Tynan.  In my opinion, it was the blend of our New York and Nashville songwriting sensibilities that came together to create that song.  What I mean by this is that somewhere between the soaring melody more suited to pop and the lyric that had more of a country attention to detail, we came up with a classical crossover song.  So, if you’re a Nashville writer thinking about working in New York (or vice versa) I’d highly recommend it.  Sometimes it’s the differences that create the best art.

 

Good luck!

 

Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter and his company http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos. 

Tags: song writer, Song writing, Songwriting, Nashville, Music Row, co-writing, Differences, New York City, NYC, SongCircle, songwriting community, music publishing, collaborations, Universal Records, Ronan Tynan