Songwriting Tips, News & More

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: Making The Most of Your Time Resources Online

Posted by Jessica Brandon on Thu, Jun 09, 2011 @11:33 AM

MAKING THE MOST OF YOUR TIME RESOURCES ONLINE

By Daylle Deanna Schwartz

Daylle Deanna Schwartz, Billboard Books best-selling author

Indie artists often complain about not having the budget they’d like to market and promote their music. Nowadays, digital marketing offers a plethora of opportunities for marketing yourself and your music that doesn’t cost anything in dollars. But, it can be hard to know where to begin—and end. While much of it is good for those of you with small to no money budgets, there’s still a big expense for taking advantage of so many opportunities—TIME.

 

The good AND the bad news: the cost to break an independent act can be more in time than in dollars. It’s great to have free tools! But you could spend all of your waking hours going onto all the different social networking sites and other avenues of promotion and still not make a dent. With all the artists and labels vying for online attention, you must work to make your music stand out.

 

It’s important to brand your name online. The more people see it, the more curiosity can be generated, which leads to potential fans or clients checking you out. The more you respond to fans who write to you, the more loyal fans you’ll have. But so much of the efforts to find fans is one by one, which accounts for a lot of the time you need to put into it.

 

It’s not enough to just register on all the websites. While there’s unlimited space for everyone online, you can get lost in it all and not make any constructive progress. I know. I’m always getting links to sites I “should check out.” People email me both to my server and on the social networking sites. It gets overwhelming. Another day ends and I haven’t done any writing. So I must get tough with myself in order to function.

 

Time isn’t FREE when it costs you your sleep, your personal life and even your sanity. But you can take control of online activities to make the most of the best opportunities. Here are so DOs and DON’Ts for getting the most out of your online resources.

 

DON’T jump around to everything that seems interesting or the new flavor of the month.

DO force yourself to stay on track. Put aside things you want to check out for when you have some time or accept you can’t look over everything. Learn the benefits of hitting DELETE.

 

DON’T immediately answer emails when they come in or click when you get a link.

DO: Prioritize what most needs to be done at this point. I have a NEED TO ANSWER folder and put personal emails and those asking questions into it. Have a block of time set aside when all you do is answer emails. When time is up, leave the rest for the next block!

 

DON’T jump from one site to another and register with every one you can.

DO plan your direction carefully and prioritize your needs to work them properly. Social networking sites allow musicians to seek fans out and interact with them. But working one or two hard is strongly advised as opposed to doing a little bit on many. If you have too many, you don’t work anything well and you can spread yourself too thin. Decide which sites are best for you and concentrate your energy to build up relationships with fans on them.

 

DON’T try to do everything yourself.

DO mobilize fans to help. Get volunteers to assist you in following up with online activities. Ask them to tell other musicians on the site about you, use your music as their default on their MySpace page and drive potential fans to your sites. If you have a budget, hire an online marketing specialist to direct your efforts and do some of the legwork.

 

DON’T register with any social networking site that you’re not prepared to follow up with.

DO answer every email and make your presence known. Respond to comments. Nowadays, when people hear an artist they like or see you perform, they’ll leave a comment on your MySpace page. It’s important to respond. Musicians who keep in touch with their fans religiously build the strongest communities and get the most support.

 

DON’T focus just on MySpace and Facebook.

DO diversify. While pure social networking sites are great to exploit, get your music in places where people can find it. Do as many things as you can that don’t require constant attention that give your music potential exposure. Create iMixes up in the iTunes music store. Get your music into streaming radio sites, such as Last.fm, Pandora, Launch, iLike, etc. Send it to MP3 bloggers who review your genre of music. Post videos on YouTube. And get yourself on wikipedia, the free online encyclopedia. These efforts often just require doing something once and can drive people to find your music.

 

DON’T think that selling and promoting your music online is all you need.

DO everything you can in real life too. Touring is still important for creating a strong connection with fans. People do live a good part of their lives off the computer so follow traditional promotion routes too.

 

DON’T put all your energy into inviting people you don’t know to be your friend or worry about having big numbers of them.

DO be more concerned with connecting to real fans. Successful artists say they don’t worry about how many friends they have on MySpace. What’s important is that they’re real fans who care about reading bulletin posts and getting invitations to your gigs. Of course you can invite people to be your friend if you want to know them. But do that with an email to introduce yourself so they know who you are and why you’re requesting them as a friend. Just inviting for the sake of upping your numbers is a waste of time these days. I don’t have thousands of friends on MySpace but every one of them came to me. I like that better! <http://www.myspace.com/Daylle>

 

Before you begin, make sure you’re ready to commit the time. Even with limits, you’ll spend hours a day keeping up. Find sites that are the likeliest to reach your audience and work them with a vengeance. Take advantage of every function they offer. Join relevant communities. Interact on them as much as you can so people get to know you. Eventually some will come to your page and hear your music.

 

Being online can be a full time job and you might only have a limited amount of time to devote. ReverbNation, which I featured in the last issue, has many helpful tools that can save you a lot of time and maximize your online reach. Some people hire a promoter to do it for them. If you don’t have a budget, I highly advise that you put aside time every day to work this new model for marketing and promoting music online, with a real plan.

-----------

Daylle Deanna Schwartz is the best-selling author of 13 books, including I Don’t Need a Record Deal! Your Survival Guide for the Indie Music Revolution. Start & Run Your Own Record Label and Nice Girls Can Finish First. Daylle is giving her self-love book away for free at http://HowDoILoveMe.com She presents music industry seminars, does coaching/consulting for musicians and record labels, and publishes a free music business e-zine. Info: http://www.daylle.com  and:

http://www.IDontNeedaRecordDeal.com

 

Tags: Songwriting, Daylle Deanna Schwartz, Billboard Books, Myspace, twitter, facebook, making full use of your time

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

Songwriters Tip: Tearing Down Walls With Your Teeth

Posted by Jessica Brandon on Wed, May 04, 2011 @10:31 AM

Tearing Down Walls With Your Teeth by Molly-Ann Leikin

Molly-Ann Leikin

 

Have you looked at the Billboard charts lately, and wondered – why aren’t I there?

My songs, production chops, my voice, my performance – I’m as talented as anybody out there, and then some. So why is someone else having the hits, and not me?

Often, the difference between you and the guy in the front row at the Grammys holding the award, is one more phone call.

As sensitive people, we don’t have built-in hustle muscles. The irony is, we need them more than ever. Truthfully, no matter how talented, if you’re not willing to tear down walls with your teeth, stay out of the music business. The race is to the hungry, not necessarily the best.

The odds are against somebody swooping down and discovering you while you stay home singing to the squirrels. But, if you are brave enough to make one call a day, every day, to one new music contact, at the end of a year, you’ll have 365 new people in your business life. If only 10% of them ever listen to a note, that’s still 36. And all it takes is one.

Remember: the difference between you and the guy in the first row at the Grammys with the award in his hand, is one more phone call.

Make that call.

 

© 2011 Molly-Ann Leikin

Molly-Ann Leikin is a Career Mastery Coach and Songwriting Consultant.  An Emmy nominee, Molly has 14 gold and platinum records, plus four ASCAP Country Music Awards.  She's the author of "How To Write A Hit Song" and "How To Be A Hit Songwriter" and has written themes and songs for over four dozen TV shows and movies, including "Violet” that won an Oscar.  

Molly has helped launch the careers of thousands of singers and songwriters, three of whom have Grammy nominations. She can be reached at: www.songmd.com or 800-851-6588.

Tags: song writer, Song writing, Songwriting, writing songs, Billboard Charts, Molly-Ann Leikin, Grammy Awards, writing lyrics, music career, musician, Music Career Coach, How To Write A Hit Song

Songwriting Tip: Creating Cool, Daily Content for Your Fans. Easily.

Posted by Jessica Brandon on Tue, May 03, 2011 @04:58 PM

Creating Cool, Daily Content for Your Fans. Easily.
by Tess Cychosz

So you’re an emerging artist. That means by now, you probably feel like you’ve seen about a million articles from industry reps talking about how important it is for you have daily interaction with your fans. You need to be on Facebook getting “Likes,” Youtube getting hits, tweeting until your hands are raw, etc. etc. You get it. But unless your last name is Gaga, your life probably isn’t that fascinating on a daily basis.

So the question is, how can you create content that’s actually cool and interesting to your fans on a daily basis? Well, I’m here to try and help answer that. Here are a couple ideas and tools to capture your daily activities and make them look pretty nifty too. Added bonus: these apps and tools all allow you to immediately share via Twitter, Facebook and more.

Take “Vintage” Digital Photos. Typing “Making my morning coffee” on Twitter doesn’t sound that rad… when you say it like that. But using a photo is a fun and easy way to share something simple from your day. To make it even more exciting, there are a few fun “vintage photo” apps out there to make your morning coffee even look cool. See my super-awesome examples below. Voilà! An ordinary coffee cup is turned into a photo that could qualify for the wall of your local Starbucks (ok, that might be stretching it, but you get the idea). If you’re a Droid user, my favorite app is Retro Cam. iPhone users should check out Instagram.

From boring coffee to cool coffee

 

 

Mix Daily Video Clips with your Tunes. You’ve seen it a million times: A person sitting in front of their computer, the backdrop is a bedroom or basement, and it’s just another talking head. This is fine every once and a while to give several updates at once (a nice alternative to a newsletter) but it’s easy to expose daily activities in a more creative way. Check these out: Taking a ski trip? Pidgeon eat your lunch? Or maybe you’re really happy about a Snow Day? Putting together a few clips taken with your data phone and using some of your music as a soundtrack can be a clever way to showcase a new demo or bring back an old tune you released a few years ago. Apps with cool video effects: 8MM Vintage Camera app for iPhone and Videocam Illusion for Android. Edit clips together on your phone with apps like Reel Director or Qik.

 

Make Gig or Studio Photos into a Mini Production. Sonicbids Product Manager (and pal) Lou gave me this idea and I’m a fan. Once you’ve taken all of your cool content in the ways listed above, use it to create a quick and easy mini production. Play a gig last night? This is a great way to showcase your favorite photos from the evening in a snappier way than your average Facebook photo gallery. Animoto, lets you create quick 30 second productions (which you can throw together in minutes) for free and seems to hit it out of the park. But you can also check out Masher, too.

So there you have it. A few ideas to make that experience waiting in line at Guitar Center staving off the headache from the florescent lighting an opportunity to engage your fans. Don’t forget to show me a photo (@SonicbidsTess) when you do. This article is written by Tess Cychosz from Sonicbids

Tags: songwriter, song writer, Song writing, Songwriting, sonicbids, EPK, press kit, electronic press kit, Reverbnation, Rootmusic, Myspace

Songwriter Opinion: Whose Career Would You Kill to Have

Posted by Jessica Brandon on Tue, Apr 05, 2011 @12:24 PM

Whose Career Would You Kill to Have(and what is stopping you from having it?) by Molly-Ann Leikin

 

Molly-Ann Leikin, Hit Songwriter


Yesterday, when no one was returning my calls and my lunch date bailed after I paid for valet parking in Beverly Hills, I tore into my secret stash of peanut M & M’s and made a list of everyone, in every field, whose career I’d like to have instead of mine.  

l. Mary Oliver – the poet’s poet.  Her first collection was published by Harcourt Brace Jovanovich when I was an intern there during my New York City Jingle Days.   

2.Whoopie Goldberg- the funniest woman in America, if not the world.  

3. Lois Capps – the member of Congress from Santa Barbara, CA.  Think of the changes me, my chutzpah and galloping Jewish guilt could make in the U.S. House of Representatives.    

4. Michelle Kwan – the epitome of grace and strength and miracles in a small blue dress.  She often skated to one of my songs, “An American Hymn”, and I’ve always wished we could change places.  (This comes from growing up in freezing Canada where little girls were sent out in storms to amuse themselves. ) 

5. Lady Gaga

The trouble with wanting to be any of the gifted people I listed above is we already have one of each.  We don’t need two.  What our world could really use is you and your unique contribution. By trying to imitate the success of somebody else, you will miss yourself completely.

Do you well, learn how to get your name in the papers, and maybe someday, you’ll be an even bigger star than Lady Gaga, who, y’never know, could be sitting on the edge of her egg, gobbling peanut M & M’s, shushing the cattle from which she derives her wardrobe, so she can hear your new song.


© 2011 Molly-Ann Leikin www.songmd.com
Molly-Ann Leikin is a Career Mastery Coach and Songwriting Consultant.  An Emmy nominee, Molly has 14 gold and platinum records, plus four ASCAP Country Music Awards.  She's the author of "How To Write A Hit Song" and "How To Be A Hit Songwriter" and has written themes and songs for over four dozen TV shows and movies, including "Violet” that won an Oscar.   Molly has helped launch the careers of thousands of singers and songwriters, three of whom have Grammy nominations.  She can be reached at: www.songmd.com or 800-851-6588.

Tags: songwriter, song writer, Song writing, Songwriting, writing songs, Molly-Ann Leikin, writing lyrics, music career, musician, Mary Oliver, Whoopie Goldberg, Lois Capps, Michelle Kwan, Lady Gaga