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Frettie's an exclusive community for songwriters to get feedback on their music and connect with other songwriters and industry professionals. Hundreds of songwriters from all over the world use Frettie and you should too. Frettie's a growing community and we're currently accepting new songwriters. Join today!
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Tips & Resources by Brent Baxter, Songwriting Pro on November 11, 2019
Here's great songwriting - and pitching - advice from a hit music producer.
Ted Hewitt produced Rodney Atkins' multi-platinum breakthrough album "If You’re Goin' Through Hell,” which yielded four consecutive #1 singles and an ACM nomination for "Album of the year" ~ To date he has produced six #1s as well as 3 top 20 hits on Rodney. He’s also a producer on Rodney’s current album, “Caught Up In The Country.” And that’s not all.
Ted was a recent guest on Frettie.com's "The Hang," and he shared some great, real-world advice for songwriters.
Here is a bit of Ted's advice (paraphrased):
On searching for songs for Rodney Atkins:
I get songs through Laurel (A&R) at Curb Records. She's great. There are also some publishing companies that I go to that I know have done their homework on Rodney and where he is as an artist. And they have great writers and great songs, too. So that’s mainly where I go. But it’s not the only place I go. Rodney’s manager is a good song person, too. It’s sort of a joint effort.
I ask myself, “Can Rodney sing this? Can he be the character in this song?”
When pitching to an artist, there’s a brand involved, and there’s also where the artist is at that point in his/her life. The song may be great, but it may not fit the artist’s current life. That’s as important as understanding the artist’s brand.
It’s important to study the artist and pitch for where the artist is going. Don’t just pitch to where the artist has already been.
In Nashville, everybody’s talented. The songwriters that are doing really well are also really hard workers. In this town, you can’t get by on talent alone.
Songwriter mistakes when pitching:
Don’t misspell the artist’s name. It’s Rodney Atkins, not Rodney Adkins. If an artist sees their name misspelled, it’s just not gonna fly.
It’s hard to pitch songs about life with kids. It’s just so personal.
A songwriter may have a great idea, but they often mess up by making it a ballad when it didn’t have to be. Give it some energy! And so many songs are written with the “default groove.” Go for something different and more interesting!
There are a lot of things you can do as a songwriter to increase your odds of a cut. Write with more tempo. Avoid the "default groove." Write with the artist. Find your peer group, your fellow travelers, so you can all rise together. Focus on the people you really click with.
If you want to hear EVERYTHING that Ted had to say, or if you want to check out our other Hang videos (featuring hit producers, hit songwriters, etc.), you can log into the Frettie Member Area right on this site! (If you aren’t a Frettie subscriber, it’s a great time to join.)
Oh, and do you have a question you'd like ask a hit songwriter or a hit music publisher? If so, I have TWO great opportunities coming up for you... and they're FREE. On November 18, I'm hosting a "Know The Pro" event with pro music publisher, Butch Baker of Mojo Music & Media. Butch has mentored hit songwriters including Dean Dillion (George Strait, Kenny Chesney, etc.) and Phil O'Donnell (George Strait, Blake Shelton, etc.) Then, on November 19, we have another "Know The Pro" event with hit Christian songwriter, Michael Farren. He's penned hits for Lauren Diagle ("Come Alive [Dry Bones]" & "Trust In You"), Michael W. Smith ("Let It Rain") and others. And you can ask these pros YOUR questions. And it's an online event, so you can join us from anywhere in the world.
This is YOUR chance to sit down face-to-face (online) with two real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
Candy is...
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on October 28, 2019
Music publishers are evolving. The music industry is evolving. Are you, as a songwriter, evolving, too?
In episode 193 of The C.L.I.M.B. Show, my co-host, Johnny Dwinnell, and I take a look at the changing landscape of music publishing. Things just do NOT operate like they used to. And if you want to work with a music publisher, if you want to write cuts and hits, then you need to understand the music industry as it IS, not as it used to be or as you’d like it to be.
So here are some takeaways from this episode. Read on!
A lot of publishers these days are focused on building “great rooms.” That means, they try to put their writer in the room with an artist or producer and let the writer write the hit. This is better odds than the writer writing a great song (without an artist in the room) and the publisher trying to get it recorded after the fact. They try to create leverage for their writers by getting them in great rooms.
Publishers also look to sign writers who bring in their own leverage. Maybe the writer is an artist. Or a producer. Or the writer is tight with an artist and writes with him or her already. Of course, having great songs is a lever of it’s own. But in a town with so many great writers and songs, the writers with relationship leverage have an advantage.
An artist’s “camp” is the close network of the artist and his songwriter and producer friends. The songs that come from the artist’s camp get the first look and the best look when it comes to making the album.
Signing a publishing deal with a major publisher isn’t a cure-all or an easy-button. Just because you sign a deal doesn’t mean you get to just waltz into the room with a major writer or artist. Publishers still have a hard time getting their writers into the room with certain artists. You still have to do the work.
Great songs make networking much easier.
Leverage stacking is putting as many levers together as possible. One leverage is having great songs. Another is great relationships. Another is having an artist in the room. And that’s not all. How much leverage can you stack when working your songs and building your career?
If you want to hear the whole episode and hear ALL the value-bombs, you can listen right here:
You can also listen here:
Discmakers.com/CLIMB (Select "Menu" then "Episodes.")
Spotify
TheCLIMBshow.com
And do YOU have a question you'd like ask a hit songwriter or a hit music publisher? If so, I have TWO great opportunities coming up for you... and they're FREE. On November 18, I'm hosting a "Know The Pro" event with pro music publisher, Butch Baker of Mojo Music & Media. Butch has mentored hit songwriters including Dean Dillion (George Strait, Kenny Chesney, etc.) and Phil O'Donnell (George Strait, Blake Shelton, etc.) Then, on November 19, we have another "Know The Pro" event with hit Christian songwriter, Michael Farren. He's penned hits for Lauren Diagle ("Come Alive [Dry Bones]" & "Trust In You"), Michael W. Smith ("Let It Rain") and others. And you can ask these pros YOUR questions. And it's an online event, so you can join us from anywhere in the world.
This is YOUR chance to sit down face-to-face (online) with two real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
My first kiss was...
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on October 21, 2019
Here's great songwriting advice from a hit music publisher.
Joe Dan Cornett is a Creative Manager at Daywind Music Publishing, one of the most successful gospel music publishing companies in existence. Joe Dan also leads up Billy Blue Publishing, which focuses on bluegrass and Americana music. He also working in country & film/tv music.
Joe Dan was a recent guest on Frettie.com's "Know The Row," and he shared some great, real-world advice for songwriters.
Here is a bit of Joe Dan's advice (paraphrased):
The reason I network all the time is so that I’m not “cold pitching” to the person. And, in Country especially, you may only get one shot to impress them. So you better bring your A-game.
Southern Gospel is a rare thing in that you can actually go to a show and hand a song to an artist at the merch table. Be sure you have your contact info on there, in case they love it and want to record it.
In Southern Gospel, relationships are king. But you (as an unsigned writer) can make those relationships, too. And it’s kind of a dying breed to be able to pitch directly to an artist like that.
Bluegrass often blurs the lines between Bluegrass and traditional Country. It's not "just" Bluegrass songs.
Bluegrass artists, overall, don’t mind recording covers- songs that have been recorded before by other artists. That’s not often the case in Country or Southern Gospel. So a Bluegrass cut can have some long legs.
I love being able to sign a songwriter and just let them write- whatever they write that day- because we have relationships in several genres.
The last writer I signed was recommended to me by a major Bluegrass writer. We met, and he’s a hilarious guy who’s been around the industry a while. I loved his songs, and we signed him to Billy Blue, our Bluegrass publishing company. When you sign a deal with a publisher, you are a team at that point. My job as a publisher is to serve songwriters.
The last Country songwriter I signed, I met through an NSAI event that showcased unsigned writers (I was actually going to see a different writer). This guy started the round, and my jaw hit the floor. It was about a year process of “dating” this writer. Dating, meaning both sides are feeling each other out. During this process, I usually set up cowrites to see where the writer's strengths and weaknesses are.
What separates our very-successful Southern Gospel writers from others? Commercialism. You can't just write a song for Southern when you’ve never heard Southern before. Our top writers study, they study, and they study the market some more.
If you want to write for a particular genre, you can’t study it enough. You need to listen to it so much that you dream it. Pull up the charts and study the hits. See if you can determine what makes those songs hits.
Hey, do you have a question you'd like ask a hit songwriter or a hit music publisher? If so, I have TWO great opportunities coming up for you... and they're FREE. On November 18, I'm hosting a "Know The Pro" event with pro music publisher, Butch Baker of Mojo Music & Media. Butch has mentored hit songwriters including Dean Dillion (George Strait, Kenny Chesney, etc.) and Phil O'Donnell (George Strait, Blake Shelton, etc.) Then, on November 19, we have another "Know The Pro" event with hit Christian songwriter, Michael Farren. He's penned hits for Lauren Diagle ("Come Alive [Dry Bones]" & "Trust In You"), Michael W. Smith ("Let It Rain") and others. And you can ask these pros YOUR questions. And it's an online event, so you can join us from anywhere in the world.
This is YOUR chance to sit down face-to-face (online) with two real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
My hometown is...
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on October 14, 2019
Here's great songwriting advice from a hit music publisher.
Tim Hunze is Creative Director for Anthem Entertainment, a successful music publishing company, in their Nashville, Tennessee, office. Tim has had his hand in getting songs recorded by many, many artists.
Tim was a recent guest on Frettie.com's "Know The Row," and he shared some great, real-world advice for songwriters.
Read on!
Here is a bit of Tim's advice (paraphrased):
Roughly 70-75% of the country chart are songs that are artist cowrites. The rest are “open” cuts. So I try to build cowrites that makes sense- writers with complimentary personalities and strengths.
Most of my cowrites these days, we usually have one artist in the room with two writers, and one of those writers is usually a producer (“track guy”).
As a publisher, having a “track guy/girl” is the room is fantastic. It’s saves my company thousands of dollars a year in demo costs. I love it.
A publisher these days may spend 75% of their time booking calendars and 25% pitching songs. But I still believe the song that doesn't get pitched doesn’t get cut. So I still pitch, and I still get cuts.
The last writer I signed was recommended to me by a publisher friend. He’s an artist/writer. I hear about writers through all kinds of ways... attorneys, etc., but mostly from my own writers through their cowrites or the grapevine. One of my creative staff brought me a writer the other day that she discovered on Instagram.
Great music always rises. If you’re really in it, and you’re working hard, and sharing music... great music rises. Connect and network with people who can help you along. But, bottom line, someone’s gotta hear it somehow.
Most of the time, success in a publisher meeting results in an open door to hear more. And maybe I’ll give you some homework. If you keep putting in the work and improving, the relationship will grow. If someone at my level gives you an open door, don’t overdo it, but use it.
Don’t be disappointed if you’re not immediately offered a publishing deal. Build the relationship.
Pretty much any deal I do, I’m expecting to put out about $100,000 before I see any money back. It’s a big commitment, not just in money, but in time and mentoring.
Find your uniqueness, your voice, that “thing” that you do. Be authentic to yourself. But it’s also good to pay attention to the market and know your strengths and weaknesses.
Hey, do you have a question you'd like ask a hit songwriter or a hit music publisher? If so, I have TWO great opportunities coming up for you... and they're FREE. On November 18, I'm hosting a "Know The Pro" event with pro music publisher, Butch Baker of Mojo Music & Media. Butch has mentored hit songwriters including Dean Dillion (George Strait, Kenny Chesney, etc.) and Phil O'Donnell (George Strait, Blake Shelton, etc.) Then, on November 19, we have another "Know The Pro" event with hit Christian songwriter, Michael Farren. He's penned hits for Lauren Diagle ("Come Alive [Dry Bones]" & "Trust In You"), Michael W. Smith ("Let It Rain") and others. And you can ask these pros YOUR questions. And it's an online event, so you can join us from anywhere in the world.
This is YOUR chance to sit down face-to-face (online) with two real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, dive into this topic...
The last thing that made me cry was...
Where does this take you? Have fun and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on October 07, 2019
"How long should it take to write a song?" Is there such a thing as writing a song too fast or too slowly?
I see this question going around every now and then, and I figure if one person wonders about it, there are probably a lot of people who wonder about it. So let's dive in!
Writing a song takes as long as it takes.
First of all, if anyone tells you anything like, "it should only take 30 minutes to write a song" or "it should never take less than 3 hours to write a song..." ignore them. They aren't being correct, and they aren't being helpful.
Maybe they get their best work done within a certain timeframe. But that only works for them. They aren't you. You should take as much time (or as little time) to write the song as the song dictates.
"Stand By Your Man" but not by your clock.
The country standard, "Stand By Your Man" was written by Tammy Wynette and Billy Sherrill. And they wrote it in about 15 minutes. But so what? They aren't you.
"The House That Built Me" was not built in a day.
Tom Douglas and Allen Shamblin went back to "The House That Built Me" for several years before they finally got it right. And it is a new country classic and won both the ACM and CMA Song Of The Year. But you know what? It doesn't matter. They aren't you, either.
My point with sharing these polar opposites is to show that great songs don't have a certain writing deadline.
Some songs come quickly. Some take hours. Some take years of "let's take another look at this one." And that's okay. You don't have to judge yourself by anyone else's opinion of how fast you should finish a song. You write however it is that you get your best results. Period.
Two warnings:
Avoid shallow thinking.
Don't be in such a hurry to finish every song that you don't really dig into them. If you just want to write songs, I guess it doesn't matter if you put in much effort. But if you want to write GREAT songs, it's going to take work.
If you hear those stories about someone writing a hit in 20 minutes, you have to remember that the hit wasn't their first song. Or probably anywhere in their first 100 songs. They'd written a bunch of songs by that point, and so they were able to work more efficiently- not having to think about structure, rhyme scheme, etc. It was "built in" to their writing by that point.
Bottom line: it takes a lot of work to make it look easy. So put in the work.
Avoid analysis paralysis.
On the other end of the spectrum, maybe you overthink your song and beat it to death in your head so much that you never finish it. You second-guess every syllable. Then you third-guess it. Then fourth-guess it, etc.
At the end of the day, for you, maybe you just need to practice calling songs "done." Maybe you're overthinking your songs because you are scared of actually putting them into the world where they might "fail" (whatever failure means to you). Maybe you're avoiding something by refusing to finish a song.
Bottom line: you'll never reach your songwriting goals if you don't finish some dang songs! So finish a few and just let them go.
Either way you write, whether fast or slow, nobody really cares. They only care if your song knocks their socks off. That's all. Then they'll be curious how long it took you to write it.
You do you, and you'll do just fine.
Hey, do you have a question you'd like ask a hit songwriter or a hit music publisher? If so, I have TWO great opportunities coming up for you... and they're FREE. On November 18, I'm hosting a "Know The Pro" event with pro music publisher, Butch Baker of Mojo Music & Media. Butch has mentored hit songwriters including Dean Dillion (George Strait, Kenny Chesney, etc.) and Phil O'Donnell (George Strait, Blake Shelton, etc.) Then, on November 19, we have another "Know The Pro" event with hit Christian songwriter, Michael Farren. He's penned hits for Lauren Diagle ("Come Alive [Dry Bones]" & "Trust In You"), Michael W. Smith ("Let It Rain") and others. And you can ask these pros YOUR questions. And it's an online event, so you can join us from anywhere in the world.
This is YOUR chance to sit down face-to-face (online) with two real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, try using this subject to kickstart your next song...
The first time I remember crying was...
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
We're excited to introduce you to member, Michael Saleta! We sure appreciate him and his music around here, and we hope you'll take a moment to get to know him, too. If you think Michael is as cool as we do, please share this around!
- How did you get started in songwriting?
When I was 16 years old, I started a band in High School and I found it hard to learn other peoples songs and just decided to make my own for the band. We recorded 2 EP’s (badly, I might add) but ,hey, everyone starts somewhere for better or worse.
- What’s your biggest success to date?
Writing a song for one of the Bali Bombing survivors, Nicole Mclean, back in 2003. It was featured on 60 Minutes in Australia, and we performed the song in Canberra, which is the equivalent to Washington, at parliament house for the prime minister and the heads of state and invited guests for the 1 year memorial of the bombings. Nicole also wrote a book several years later and there is a chapter in the book about the song, me writing it for her and the things that happened because of the song. It really was a humbling experience.
- What are you working on just now?
Right at this moment, I was doing a mix-down of a song i co-wrote with a young writer/artist in the making by the name of Andrew Mack who is from Nashville. I met him at NSAI Song Camp. I have been working with around 30 different co-writers during this trip to Nashville, which has produced a bunch of songs!
- What are your goals for the next 6 months? And how are you planning to achieve them?
When I get home from Nashville, I will need to chill for a minute to adjust back to normality, but I will continue to write with as many writers I have met in Nashville as I can via Skype. I have put plans in place to return to Nashville at the end of March- in time for Tin Pan South, and I will stay for one month. Between now and then, I just want to keep writing as much as I can to get better and maintain the relationships with my co-writers from Nashville.
- What’s the best piece of songwriting advice you’ve ever been given?
Show up to write something every day!
- Who are your influences, and how have they shaped your songwriting?
Biggest influence is the Beatles. Years ago, they did shape how I wrote, but now days not so much of their direct influence. Great melody, harmony and catchy songs is what I learned the most from the Beatles. And I try to implement those factors when writing alone or with others.
I am also influenced by The Eagles, Bee Gees, Foo Fighters and Butch Walker. I think listening to all of them over the years they have each crept into my songwriting one way or another. My influences have always had melodies that interest me.
- What has been your biggest challenge so far? How have you overcome it? (Or, how you are aiming to overcome it, if you haven’t overcome it yet!)
My biggest challenge was depression. I actually didn't know what was going on with myself and wasted a lot of years not knowing where I was going. Losing the connection with my teenage daughters hit me hard but my fiancee’ encouraged me to get help, so I did and got my life back on track and really got stuck into my songwriting and rediscovered how much I loved it. I overcame my challenges one step at a time and now have focus to succeed. I meditate, listen to positive podcasts, music industry podcasts that also help me stay on track to keep away from the darkness of my past.
- We are all aiming for “success”, but that can mean different things to different people – what does it mean for you?
Success is being happy, for me. Finishing a song is success, one person liking it is success, people clapping to your song is success. I have had success in the past that gave me moments of happiness but it didn't last. I feel even taking the leap to travel across the globe to write songs is success.
- What advice would present-day-Michael give to just-starting-out-songwriting-Michael?
Keep showing up and keep writing, you got this...
- What’s your favorite song of yours so far, and why is it your favorite?
I don't have a favorite, I've had so many emotions poured into songs and I've written too many to have any favorites.
- What’s your favorite trick or technique to get writing on those days where inspiration doesn’t just strike like a bolt from the blue?
There no real trick. I just pick up the guitar and play around, challenge myself to write using different chords, and most of the time things just flow. If it sux, I’m ok with that, onto the next idea.
- If you could write a song with any songwriter or performing artist (past or present, alive or otherwise), who would it be, and why them?
I would choose John Lennon because he is a Beatle and although it’s a hit and me for me with his songs I just find him to be very interesting and honest at the same time.
- What are your hobbies outside of music and songwriting?
The biggest thing I love is cooking- I love cooking for others and from all reports, my food tastes incredible.
- How is the music scene and industry where you live?
It’s interesting, lots of cover muso’s. There are original acts/artists. Its thriving for sure. I would say now experiencing Nashville that the industry isn't as helpful as here.
- What kind of writing space do you have?
I have a bedroom at home i do a lot of writing and recording in (picture enclosed)
You can follow Michael on Instagram with a CLICK HERE.
You can listen to Michael's music on Frettie with a CLICK HERE!
Thanks for being a part of things here, Michael!
-Team Frettie
PS- Thanks for stopping by Frettie! We appreciate it. As a matter of fact, we want to give you a special little something just for your visit. It's our FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Announcements by Brent Baxter, Songwriting Pro on October 01, 2019
*November 18, 2019 (7:30pm-8:30pm Central): Hang out with Hit Country Music Publisher, Butch Baker!
*November 19, 2019 (7:30pm-8:30pm Central): Hang out with Hit Contemporary Christian & Worship Songwriter, Michael Farren!
*Join two music industry professionals as they reveal what YOU need to know about earning success in the music business.
*Ask YOUR questions- and get answers!
*Join these live, online video-conferences from anywhere in the world.
*This event is FREE for subscribers of Frettie.com!
DOES THIS SOUND LIKE YOU?
I feel like the music business is a world away. I write good songs, but I can’t seem to “crack the code."
What do I REALLY have to do to get a cut or a publishing deal?
I have a few questions that nobody can seem to answer. I need to talk to somebody actually IN the music business.
If you keep on guessing how to succeed, you’ll probably keep getting the same results you’re getting now: taking too much time figuring out the truth on your own while spending too much money recording songs that will probably never get cut.
Trying to get a hit without understanding the music business is like throwing darts in the dark and trying to hit a bullseye.
You can spend your time and money filling the air with darts and hoping to get lucky... or you can let Songwriting Pro and Frettie pull back the curtain and let some light in. Learning how Music Row works- getting an insider’s perspective- will put you in a much better position to get cuts or a publishing deal.
WHAT IS "KNOW THE PRO?"
In this exclusive online event, I invite a music industry friend of mine to come in and answer YOUR questions. We start off with a short interview full of insider information that will help you on your songwriting journey. Then we open it up to your questions.
WHEN?
Hit Music Publisher, Butch Baker: November 18, 2019. 7:30pm to 8:30pm CENTRAL time zone
Hit CCM Songwriter, Michael Farren: November 19, 2019. 7:30pm to 8:30pm CENTRAL time zone
WHERE?
It's online, so you can join us from anywhere in the world! (details below)
WHO IS BUTCH BAKER?
Butch Baker leads Mojo’s Nashville office, ensuring that the company’s writers and catalogs are professionally managed and relentlessly promoted. A Nashville resident since 1979, Butch began his career in music as a staff writer for the legendary Acuff-Rose. He made the transition to artist in the mid-80’s, signing with Mercury Records, working with producer Harold Shedd and charting several radio singles. Butch transitioned to the business side in the early 90’s, working as an independent A&R rep for Giant Records, where he worked with Blake Shelton and Clay Walker and Sony Records, where he repped Montgomery Gentry. Following his love for song plugging and music production, Butch was soon running Nashville’s Encore Publishing and joined Ronnie Gant at HoriPro in 2005. In a decade-plus, Butch helped grow the HoriPro brand in Nashville, signing and nurturing such writers as Dean Dillon and Phil O’Donnell, mentoring some of the town’s best song pluggers and launching community and charitable events reflecting the company’s giving spirit which have become modern traditions.
WHO IS MICHAEL FARREN?
Michael Farren is an ASCAP, SESAC and Dove Award winning songwriter and producer. His songs include "Trust In You" and "Come Alive [Dry Bones]" (Lauren Daigle), "I Am Blessed" (Karen Peck & New River), "Say Amen" (Finding Favour), "Every Time I Breathe" (Big Daddy Weave), "Let It Rain" (Michael W. Smith), "Sing It Now" (Reba McEntire) and "Let The Worshipers Arise" (Phillips Craig & Dean). His songs have also been recorded by Natalie Grant, Aaron Shust and Jaci Velasquez. Farren, who is the worship pastor for Gateway Franklin in Tennessee, is a member of the Kingdom Songs collective and a worship seminar instructor.
HERE'S HOW TO JOIN THE EVENT.
After you reserve your spot by joining Frettie, you'll receive an email with more details. But the basics are this: a day or two before each event, I'll email you a special invitation link. You will use that link to join the video-conference, which will be hosted on the Zoom platform. Zoom is simple to use, and it's free. You can find out more at Zoom.us. It's easy.
"KNOW THE PRO" IS FREE FOR FRETTIE MEMBERS!
If you subscribe to Frettie.com, you will automatically receive the invitation link a day or two before the event. If you miss it, you will still be able to watch the replay in the Frettie video archives.
If you are NOT a Frettie subscriber- join today! It's only $5/month to subscribe. I host "Know The Pro" at least once per quarter. PLUS, you gain access to all the Frettie video archives, which contain replays of each "Know The Pro" event (past events include hit songwriters Byron Hill, Jimmy Yeary, artist/writer Aaron Goodvin, music publisher Scot Sherrod and more) along with a ton of other great, helpful videos. And that doesn't even cover all the great benefits of Frettie membership.
LEARN MORE AND JOIN FRETTIE TODAY WITH A CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on September 30, 2019
You might have the best idea in the world, but you can still screw it up if you confuse the listener.
If people don't understand your lyrics- what they mean, you've just wasted your best song idea. And that's extremely frustrating. Here you go with such a good idea... and nobody responds the way you want them to. They just don't "get it." Ugh. I've been there. Let me help you avoid that. So here are 4 ways your song may be confusing - and losing - the listener.
1. Too Many Characters
If the listener has to keep up with the singer, the singer's new love, the singer's old love, mom and baby sister, they're going to get confused. I don't care how carefully you craft the lyric, the more characters you put in your song, the more chance you have that the listener will get confused about who's doing what, to whom, etc.
2. Overlapping Pronouns
If you're singing ABOUT your new love and ABOUT your ex-love, they'll both end up being referred to by the same pronoun: "he" or "she." The listener may get confused about which "he" or "she" certain lines are talking about. And just like in real life, it's awkward when people confuse your ex-love with your current love. Yikes!
3. Too Much Story
It's a song, not a novel. The listener only has so much attention to pay your song. Remember, most listeners are listening while they're doing something else- driving, eating, folding laundry, walking the dog, etc. It's rare that the listener will give your song their full, undivided attention. Even at a show or in a publisher meeting, their phone may light up with a distracting text or call. If your song has too much story, you might be asking too much of your listener.
4. Unclear Time Jumps
Sometimes you might want to do a time jump in your song. Maybe a character is a teenager in verse one then a twenty-something-year-old in verse two. But if the time jump isn't immediately clear and presented well, your listener will probably be confused. "Wait... you had a girlfriend in verse one, and now you're talking about your wife. What?"
When you confuse the listener, you lose the listener.
If your songs are not getting the response you want from your listeners, maybe you're confusing them. To dive into these (and other) ways of accidentally confusing your listener - and how to FIX those issues, I have a great event coming up for you! In October, I'm hosting a 4-night songwriting workshop called “Your M.A.P. To A Hit Song Lyric.” If you're tired of your songs NOT affecting your listeners, if you're tired of your songs not being noticed, if you want your songs to be more memorable, to connect with your listeners more, and to affect your listeners' emotions, this is the workshop for you.
CLICK HERE TO GET ALL THE DETAILS AND JOIN THIS CAREER-CHANGING EVENT!
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
MONKEY
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
Tips & Resources by Brent Baxter, Songwriting Pro on September 23, 2019
Every time you use a cliche in your song, you miss the opportunity to do something great.
Cliches get used so much because they’re so easy. They are the first things that come to mind when we want to communicate certain things.
For example, it’s a lot easier to just say we’re “raising hell” or “painting the town” than it is to dig deeper and say we’re “filling Friday night full of empty cans” or “trying to make the Barhopper’s Hall of Fame.”
The cliche' may be useful because it's like a lyrical shorthand- it can give the listener a lot of information in a few words. But it’s forgettable because the listener has heard it a thousand times. There’s no emotion left in it. (Unless you somehow set up the cliche' in a way that makes it fresh.)
However, when you go beyond the cliche', you have a chance to wow the listener with something they haven’t heard before.
A great example of this is “Summertime,” an older song recorded by Kenny Chesney and written by Craig Wiseman and Steve McEwen. It’s about being young in the... you guessed it... summertime, and there’s a part in the chorus where they reference driving around.
Young + summertime + driving = radio up + window down. Right? Yes. We all know that. And that’s why it’s a worn out cliche'. Sure, it’s true- we’ve all lived that line many times. But there’s nothing memorable or “wow” about it.
Instead, these hit writers reference a Yoo-hoo bottle on the floorboard. "Cheap shades and a tattoo and a Yoo-hoo bottle on the floorboard." So much better!
It’s believable. I can totally picture young guys leaving a Yoo-hoo on the floorboard.
It’s fresh. I’ve never “seen” that image in a song before.
Bonus: It provides a fun internal rhyme (with "tattoo") and melodic moment when Chesney sings, “Yoo-hoo!”
They writers took a cliche' moment and made it a hit moment. It’s our job to do the same.
If you want to upgrade YOUR cliche' moments into hit moments songs, I have a great event coming up for you! In October, I'm hosting a 4-night songwriting workshop called “Your M.A.P. To A Hit Song Lyric.” If you're tired of your songs NOT affecting your listeners, if you're tired of your songs not being noticed, if you want your songs to be more memorable, to connect with your listeners more, and to affect your listeners' emotions, this is the workshop for you.
CLICK HERE TO GET ALL THE DETAILS AND JOIN THIS CAREER-CHANGING EVENT!
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
HOSTAGE
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
We're excited to introduce you to member, Marvin Adcock! We sure appreciate him and his music around here, and we hope you'll take a moment to get to know him, too. If you think Marvin is as cool as we do, please share this around!
- How did you get started in songwriting?
At age 11 the Beatles turned me on to music. I really just wanted to learn to play guitar, but after forming a band it seemed a natural progression to start writing original songs we could play.
- What’s your biggest success to date?
I had holds with several major artists, but sadly only indie cuts so far. My biggest success is probably one that is taking place right now. I have an independent major artist in Canada recording a song of mine and creating a video as well for it.
- What are you working on right now?
I have no new songs that I am currently working on. My time right now is being spent pitching, and improving on current songs in my catalog.
- What are your goals for the next 6 months? And how are you planning to achieve them?
I hope to wrap up the project with the Canadian artist, and keep swinging for the fences.
- What’s the best piece of songwriting advice you’ve ever been given?
Never give up.
- Who are your influences, and how have they shaped your songwriting?
Paul McCartney, John Lennon, Don Henley, Glenn Frey, Craig Wiseman, Bobby Braddock, Vince Gill and many many more.
- What has been your biggest challenge so far?
Finding time to write on a consistent basis. I tend to go in spurts.
- We are all aiming for “success”, but that can mean different things to different people – what does it mean for you?
Success to me is to create a song to the very best of my ability.
- What advice would present-day-Marvin give to just-starting-out-songwriting-Marvin?
None. I don't regret nor would I change anything about my songwriting journey. I figure everything has happened, or not happened for a reason. I kinda have a "not my will, but His" mentality about it all.
- What’s your favorite song of yours so far, and why is it your favorite?
It would probably be "Broken Glass" because I wrote it about a couple of very wonderful people who fought alzheimer's. My second choice would be "Lettin' Go" for the same reason. It's the personal songs that I gravitate towards writing.
- What’s your favorite trick or technique to get writing on those days where inspiration doesn’t just strike like a bolt from the blue?
If nothing hits after struggling for awhile I will go do something else such as exercise or hiking. I constantly have melodies and lyrics floating around in my thoughts so sometimes I write the best when I am not really trying to write at all.
- If you could write a song with any songwriter or performing artist (past or present, alive or otherwise), who would it be, and why them?
Either Craig Wiseman or Vince Gill because I just love what they have written.
- If you could have any artist perform one of your songs, who would it be and why?
Probably Ronnie Dunn just because I love his voice.
- What are your hobbies outside of music and songwriting?
I love all kinds physical activity like exercise, walking, hiking, biking. My favorite outside hobby however is still scuba diving. I was a volunteer water rescue and search and recover diver for the fire department for many years.
- How is the music scene and industry where you live?
Ha! Let's just say non-existent. The town I live in has less than 500 people.
- What kind of writing space do you have?
I have a music room with keyboards, several guitars, computer, recording equipment, monitors, etc.
You can listen to Marvin's music on Frettie with a CLICK HERE!
Thanks for being a part of things here, Marvin!
-Team Frettie
PS- Thanks for stopping by Frettie! We appreciate it. As a matter of fact, we want to give you a special little something just for your visit. It's our FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on September 16, 2019
I didn't get it.
Back when the Steve Holy single, “Good Morning, Beautiful,” was climbing the country charts and getting a bunch of radio spins… I was stumped.
I mean, it was okay, but I didn’t really get what all the fuss was about. So I asked a female friend of mine, Heather, why she liked it so much. She just smiled and said...
“Because it’s what I want to hear somebody say to me.”
Ooooohhh… (I’m a little slow sometimes. Probably explains why I was so single back then.)
So a singer directly addressing the female listener and telling her something sweet that she wants to hear… makes her want to listen. (Note to self: Try this on my wife.)
Make your song more commercial by having your lyric say something the listener wants to hear.
Tell her she’s pretty. Tell him you want to kiss him. Yes, I know this should be pretty obvious, but if you’re like me… sometimes the obvious isn’t so obvious when you’re considering different ways you could write a given song title or hook.
And direct address is the best way to do this. Direct address is “I” singing to “you.” “You're beautiful” is a lot more impactful than “She's beautiful.” "I love you" is a lot more impactful than, "I love her." After all, if you like someone, which you rather hear them say? “I love YOU” or “I love HIM/HER?” Yeah. Thought so.
Here’s your homework.
Turn on the radio or your favorite playlist. Find a song or two that answers the question, “What’s in it for the listener?” with “It’s what I want to hear!” This can be either what you yourself as the listener want to hear or what a listener of the other gender would want to hear.
If you want YOUR songs to consistently connect with the listener (like "it's what I want to hear!"), I have a great event coming up for you! In October, I'm hosting a 4-night songwriting workshop called “Your M.A.P. To A Hit Song Lyric.” If you're tired of your songs NOT affecting your listeners, if you're tired of your songs not being noticed, if you want your songs to be more memorable, to connect with your listeners more, and to affect your listeners' emotions, this is the workshop for you.
CLICK HERE TO GET ALL THE DETAILS AND JOIN THIS CAREER-CHANGING EVENT!
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
CUSTOMER
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
Tips & Resources by Brent Baxter, Songwriting Pro on September 09, 2019
I’m sure we’ve each had this experience...
You're in the room with someone who’s on the phone and is really excited about something. She’s saying, “really?” and “that’s awesome!” But you have no idea what she’s talking about. Of course not- she’s speaking to an audience of one- the person on the other end of that call.
While the people on the phone are communicating with each other, they’re not communicating to you. So you either get frustrated or you tune it out. Me, I usually end up leaving the room- because if I'm alone, I prefer to be by myself!
Sometimes, unfortunately, we write songs that way.
We write for an audience of one- either to one other person who already knows what’s going on, or to ourselves. Either way, the song may bore or frustrate other listeners- the people overhearing your “call.”
If your goal is to have millions of people hear your song, you need to include them in your conversation. Make sure your song includes all the information they need in order to understand it.
Don’t just talk... communicate.
After all, if you’re the only one who understands your song, you may be the only one who ever hears it.
If you want YOUR songs to consistently communicate- to connect with the listener so they don't feel left out, I have a great event coming up for you! In October, I'm hosting a 4-night songwriting workshop called “Your M.A.P. To A Hit Song Lyric.” If you're tired of your songs NOT affecting your listeners, if you're tired of your songs not being noticed, if you want your songs to be more memorable, to connect with your listener more, and to affect your listeners' emotions, this is the workshop for you.
CLICK HERE TO GET ALL THE DETAILS AND JOIN THIS CAREER-CHANGING EVENT!
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Let's get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
STATE
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
Tips & Resources by Brent Baxter, Songwriting Pro on September 02, 2019
Imagine yourself in a dark movie theater.
The movie starts to play, but there is just sound- no picture. You'd be upset, right? Then why do we often write songs that way? Why don't we give our listeners some pictures right at the beginning of our movie/song? After all, the hit songwriters know how important this is, and they do it consistently.
I think the movie analogy is an appropriate one for songwriting.
Songs are basically 3-minute movies.
And just like someone making a movie, we want to hook our audience immediately. We want to draw them into our story as quickly as possible. And you know what does this extremely well?
Imagery.
Well-written imagery quickly lets the listener know the setting for our story or gives them a sudden emotional punch. Or it builds mystery or interest. And, along with good melody and production, that will keep the listener listening further into the song.
The main job of your song's 1st line is to make the listener want to hear the 2nd line.
Here are the first lines of a few of my songs that have been cut.
You left your Bible on the dresser, so I put it in the drawer - "Monday Morning Church" recorded by Alan Jackson
Sunday morning was a fight, I was runnin' from that clip-on tie - "Every Head Bowed" recorded by Randy Travis
Past the cotton fields and the old Spring Mill, we laid a blanket out where the world was still - "Crickets" recorded by Joe Nichols
There's a towel on the bathroom door, a t-shirt in my dresser if you like - "Last Night Last" recorded by Lady Antebellum
But don't just take my lyrics for it. Here are the first lines of the current top 10 songs on Billboard's Hot Country Songs.
Right now I just need you to get real loose - "The Git Up" by Blanco Brown
I've had a largemouth bass bust my line - "Beer Never Broke My Heart" by Luke Combs
This truck needs a half tank - "Knockin' Boots" by Luke Bryan
Wipe the footprints off my dash - "Rearview Town" by Jason Aldean
Right outside of this one church town - "God's Country" by Blake Shelton
I'm jealous of the blue jeans that you're wearing - "All To Myself" by Dan + Shay
Pour me, pour me another drink - "Whiskey Glasses" by Morgan Wallen
I've cheated and I've lied - "One Thing Right" by Marshmello & Kane Brown
Tour was up, middle of June, she was planning a welcome home barbecue - "The Ones That Didn't Make It Back Home" by Justin Moore
I don't know about you, but I never could make it this far- "I Don't Know About You" by Chris Lane
7 out of the top 10 songs start with an image in the first line. That's 70% of the current top 10, and it's something you should pay attention to. It's interesting to note that the other three songs, "The Git Up," "One Thing Right" and "I Don't Know About You" are the most pop of the songs in the top 10. So that's worth noting, as well. And "The Git Up" and "I Don't Know About You" are packed with imagery, just not so much on the first line.
And though it's not always the case, note that not all these first-line images are literal. Hmmm...
Put images in your song's first lines to draw your listener in.
If you want YOUR songs to consistently pull the listener in, I have a great event coming up for you! In October, I'm hosting a 4-night songwriting workshop called “Your M.A.P. To A Hit Song Lyric.” If you're tired of your songs NOT affecting your listeners, if you're tired of your songs not being noticed, if you want your songs to be more memorable, to connect with your listener more, and to affect your listeners' emotions, this is the workshop for you.
CLICK HERE TO GET ALL THE DETAILS AND JOIN THIS CAREER-CHANGING EVENT!
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Lets get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
HATER
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Lets get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
MAGNET
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Lets get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song...
CASSETTE TAPE
Where does this take you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Lets get your creative wheels turning and kickstart your next song! Today, try using this word or phrase in the first line of your song:
BURN
Where does this lead you? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
CONGRATULATIONS to our 3 Frettie Subscriber winners!
In appreciation of our awesome Team Frettie, I randomly chose three subscribers to receive some cool gifts. And your winners are...
Dave Wermers: One free hour of private pro songwriter coaching!
Michael Casali: Free access to the Premium Package of "Using Imagery To Supercharge Your Songwriting (Like The Pros Do)!"
Dori Weaver: A free copy of "Cut/able: Lessons In Market-Smart Songwriting!"
Congrats, Dave, Michael & Dori. I appreciate ya'll, and I'll be in touch shortly to deliver your prize packages.
Now, what about YOU? Are you not yet a Frettie member? It's a GREAT time to join, as Frettie has some cool events coming up!
On Tuesday, August 13, we're hosting a “Know The Pro” event with successful independent songplugger, Shane Barrett. Frettie also has a "Know The Pro" event on August 20 with hit music publisher, Tim Hunze of Anthem Entertainment (formerly Ole' Music). This is your chance to hang out online and ask YOUR questions to a real sungplugger and a real music publisher. Together these pros have secured cuts by artists including George Strait, Jason Aldean, Luke Bryan and many, many more!
This is YOUR chance to sit down face-to-face (online) with real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where most of the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com.)
Lets get your creative wheels turning and kickstart your next song! Today, try seeing the world through a different set of eyes. Try writing a song through the “eyes” of a...
CAR
How would it see the world? How would it describe a love song or another situation? What would it tell us about itself? What is its story? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on July 29, 2019
If you’re a professional songwriter living in Nashville, it’s pretty easy to keep your head in the game. It’s no sweat to keep your goals in mind because it’s in your face every day. (And in your mailbox with every bill that arrives.)
That’s very much NOT the case if you’re working a regular job in another town. Add to that any family obligations you may have, and it can be pretty easy to stop thinking like a songwriter. One day you might look up and realize it’s been two months or more since you’ve really even picked up the pen or guitar.
Yes, there are natural ebbs and flows to the creative life. And, yes, there are times when family needs will limit your writing time (I couldn’t do any co-writing for about 3 months right after Ruby Jean was born and Emily needed me at home every night). Hey, stuff happens.
But overall, you need to keep your head in the songwriting game if you're pursuing it as a profession. You can’t afford to take months off just because "life got busy.” You have to keep thinking like a songwriter. If you don’t, you’ll look up to find 20 years have passed without many songs being written and without much music business progress being made. And I don’t want that to happen to you.
I want you to keep your head in the game.
I want you to keep focused. And two things can help you do that: appointments and subscriptions.
APPOINTMENTS:
Solo Writing:
Nothing will keep you thinking like a songwriter like actually writing. You and your skills get rusty if you don’t keep the "machinery" up and running. Trouble is, it’s easy to skip out on solo writing in the midst of daily life. So try to have a standing appointment with yourself, even if it’s just once a week. Hopefully, you’ll find other times, too. But if nothing else, you (and your family) know that every Thursday night is your writing time.
But don’t just schedule it. Actually show up, sit down and do the work!
Cowriting:
Still, it’s easy to not show up for solo writing appointments. So try scheduling regular cowriting appointments. You might let yourself down, but you’ll be less likely to bail out on someone else.
Even if you don’t live around many potential cowriters, the internet is a wonderful place to find them. Frettie members meet potential cowriters in our online Co+Writer Cafe' events. Facebook groups such as the Frettie Members Forum, Songwriting Pro Facebook Group and The CLIMB Community are good, non-spammy places to meet potential cowriters. And these days, writers are much more comfortable writing over videoconferencing platforms like Skype and FaceTime. It's something I do on a fairly regular basis.
Cowriting keeps your head in the game more than just during the write itself. You won’t just start thinking about the cowrite as you’re walking in the door of the writer’s room or logging into Skype. You’ll think about it ahead of time. The fact that you have an appointment coming up and a cowriter expecting you to take it seriously will encourage you to spend time gathering ideas, prepping, etc.
Education:
Books, online songwriting courses, and other resources are a great way to keep your dream in front of you. You may be in a season where you don’t have hours of time to sit down and write. Maybe your appointment is just that few minutes you have to read in bed. Well, reading that book (heck, just having it on the nightstand) will keep reminding you that you have a dream to chase. And maybe you need to leave your phone outside your "other office" (the bathroom) so you're more likely to pick up the songwriting book or magazine that you keep in there.
Books and online classes will also give you tools to write better songs and make progress in the music business. And progress makes you hungry for more progress, so you’ll spend more time thinking and working toward that.
Events:
Workshops and other events can be very beneficial. You may find potential cowriters (and friends) at live events, and you’ll leave fired up and motivated. You’ll also leave wiser and with a few more songwriting tools in your tool belt. Plus, you’ll be in the company (in person or online) of other motivated, inspired and inspiring songwriters. Sometimes you just need to know you’re not alone.
If you’re on the market for a cool community with monthly online events at a super-affordable price, this very website, Frettie.com, happens to be one of them.
SUBSCRIPTIONS:
Blogs:
Get informed, educated, entertained and inspired- all from your email inbox. I humbly suggest The Frettie Journal, which you're reading right now, and SongwritingPro.com. Subscribing will send a few helpful posts directly to your inbox every week. But there are several other good blogs, too.
Podcasts:
If you’re like me, you have more time for listening than you do for reading. And lucky for you, podcasting is exploding. This can turn your daily commute, jog or dog walk into a songwriting and music business workshop and inspiration refill!
There are several good ones, including Bobbycast, And The Writer Is, Made It In Music Podcast, Pitch List, NSAI Coffee Break, Songcraft, and one that I co-host twice a week, “The C.L.I.M.B.” These shows are each a little different, but they each give you a valuable insider’s look at the music business from a songwriter’s perspective.
YouTube (or Vimeo):
YouTube is a huge search engine. Just do a search for “songwriting advice from hit songwriters” or something like that. You’ll have more to look at than you know what to do with. I can’t vouch for how accurate or authoritative everything will be. Actually, I can. Some will be GREAT. And some will be junk. But either way, it’ll keep reminding you that YOU are a songwriter.
Magazines:
Check out American Songwriter, Billboard and Music Row Magazine, among others. Turn the hall bathroom into your own personal “inspiration zone.”
What about you? How do you keep your head in the game? I'd love to hear from you in the comments!
As I mentioned before, events are a great way to keep your head in the game. And, boy, does Frettie have some cool events coming up for you! On Tuesday, August 13, we're hosting a “Know The Pro” event with successful independent songplugger, Shane Barrett. Frettie also has a "Know The Pro" event on August 20 with hit music publisher, Tim Hunze of Anthem Entertainment (formerly Ole' Music). This is your chance to hang out online and ask YOUR questions to a real sungplugger and a real music publisher. Together these pros have secured cuts by artists including George Strait, Jason Aldean, Luke Bryan and many, many more!
This is YOUR chance to sit down face-to-face (online) with real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
Welcome to Wordplay Thursday!
(In case you're wondering where the OTHER Wordplay Thursdays are... they're over at my other site, SongwritingPro.com. I started bringing Wordplay over here starting last week.)
Lets get your creative wheels turning and kickstart your next song! Today, try seeing the world through a different set of eyes. Try writing a song through the “eyes” of a...
SONG
How would it see the world? How would it describe a love song or another situation? What would it tell us about itself? What is its story? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on July 22, 2019
Songwriters, beware! There are some songpluggers out there who will waste your time and money.
In our last blog (HERE), we discussed what independent songpluggers do (and don’t do). Hopefully, it helped you decide whether or not you want to hire one. There are some legit pros out there who do great work. But today, I’m going to reveal the kind of songpluggers you do NOT want to hire.
First, what are independent songpluggers?
Independent songpluggers don’t work for a major publishing company - they work for songwriters. (Although some may have their own publishing company in addition to taking on clients.) They pitch your songs and attempt to secure cuts. They typically do NOT take a share of your publishing up front. The songwriter pays the plugger a monthly retainer. It’s kind of like a reverse publishing deal.
In a normal publishing deal, the publisher pays the songwriter a monthly draw and pitches his or her songs in exchange for publishing (ownership) of the songs.
With a songplugger, you keep your ownership. In some deals, though, the songplugger will also earn some publishing and/or a monetary bonus if they get a major cut or the song reaches certain sales or chart positions. It’s an incentive for the plugger to not just get you cuts, but get you the BEST cuts possible.
Now, on to our “Stay-Away-From” list. You’ll have to be discerning, though. Songpluggers don’t put warning labels on their business cards.
*The Lovable Loser:
This independent songplugger means well. They have good hearts and the best of intentions. They really want to get cuts for their clients, and they’ll work hard. However, they just don’t have either the ears to hear great songs or the network to get your songs into the right hands. They mean well, they just can’t get the job done.
*The Way Too Earlybird:
Maybe they’re great people, a good hang, work hard and will eventually make the right connections... but you’re starting to pay them about 5 years too early. They can’t get your songs into the right hands yet, and that’s a lot of money down the drain.
*The Shark
This black-hearted scumbag preys on the hopes and dreams of aspiring songwriters. This jerk knows he or she isn’t really going to pitch your songs and try to get you cuts. They can fake their pitch logs and feed you baloney about how Luke Bryan’s producer loves your song or Ed Sheeran himself put your song on hold. BS. They just feed you enough hope to keep your checks coming.
*The Morally Compromised Pro
This person IS a legit independent songplugger. They have the ears. They have the connections. But they also have a stack of bills bigger than their stack of cuts. So they give in to the temptation to take on clients that they know aren’t ready. They know you aren’t writing hits, but they need the money. They’ll probably play your songs here and there to sooth their conscience... but they won’t play your songs so much that it hurts their reputation. Either way, you’re wasting your money.
But again, there are some good, legit songpluggers. I’m not trying to talk you out of hiring one- I just want you to spend your time and money wisely. So, if you’re considering shopping for an indie songplugger, I’d ask about their:
*Track record.
What cuts have they actually gotten? Any recent cuts or “name” artists? It may be an uncomfortable conversation, but you must ask.
*Network.
Who are their strongest industry contacts? Who are their golfing buddies? The stronger and wider their network, the better chance they can actually get you cuts.
If you’re interested in finding out more about independent songpluggers, I have a great opportunity for you. On Tuesday, August 13, I’m hosting a “Know The Pro” event with successful independent songplugger, Shane Barrett. And if you're interested in how standard publishing deals work, I have an additional "Know The Pro" event on August 20 with hit music publisher, Tim Hunze of Anthem Entertainment (formerly Ole' Music). This is your chance to hang out online and ask YOUR questions to a real sungplugger and a real music publisher. Together these pros have secured cuts by artists including George Strait, Jason Aldean, Luke Bryan and many, many more!
This is YOUR chance to sit down face-to-face (online) with real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
Welcome to Wordplay Thursday... 300!
(In case you're wondering where the OTHER 299 Wordplay Thursdays are... they're over at my other site, SongwritingPro.com. But I think we'll bring them over here starting this week.)
Lets get your creative wheels turning and kickstart your next song! Today, try seeing the world through a different set of eyes. Try writing a song through the “eyes” of a...
DIAMOND RING
How would it see the world? How would it describe a love song or another situation? What would it tell us about itself? What is its story? Dive in and be fearless!
I'd love to hear what you come up with, so please share in the comments. Oh, and please keep your posts below an R-rating. It's a family show, after all!
Wordplay Thursday is a fun way to generate new song ideas- and who doesn't need more song ideas? If you'd like MORE "creative kickstarters," join the Frettie community today! In our private Facebook group, I share a creative kickstarter EVERY SINGLE DAY. Plus, there's plenty more cool stuff for Frettie members! Find out more about Frettie with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Songwriting Pro on July 15, 2019
With publishing deals getting harder and harder to come by, more and more songwriters are considering hiring independent songpluggers. Is this a good idea? Let’s talk about that today!
First off, what are independent songpluggers?
Independent songpluggers don’t work for a major publishing company - they work for songwriters. (Although some may have their own publishing company in addition to taking on clients.) They pitch your songs and attempt to secure cuts. They typically do NOT take a share of your publishing up front. The songwriter pays the plugger a monthly retainer. It’s kind of like a reverse publishing deal.
In a normal publishing deal, the publisher pays the songwriter a monthly advance and pitches his or her songs in exchange for publishing (ownership) of the songs.
With an songplugger, you keep your ownership. In some deals, though, the songplugger will also earn some publishing and/or a monetary bonus if they get a major cut or the song reaches certain sales or chart positions. It’s an incentive for the plugger to not just get you cuts, but get you the BEST cuts possible.
So... songpluggers DO pitch your songs. But what do they NOT do?
Every plugger and deal is sure to be different, so you’ll need to clarify all this on the front end. Do NOT hire an indie songplugger and just assume they’ll do everything a regular publisher will. For example, I would not expect an indie songplugger to:
*Schedule my cowrites
*Give song feedback / fixes
*Assist in the demo process
However, I would expect my plugger to provide a PITCH LOG. This is a record of when they pitched your song, to whom, and the response they received. Here are a few other things a good independent songplugger can do for a writer:
*Expand your song’s reach.
A legit songplugger has connections you don’t. That’s the whole point. They can get songs heard by people who can say “yes.” No songplugger can guarantee a cut, but the best can get them at least a fair listen.
*Raise your songwriting profile and legitimacy.
If you’re working with a reputable - I repeat - reputable - songplugger, they will get your songs heard by music business professionals. More people will hear your songs and hear your name. Also, as you’re looking to book cowrites, having a legit songplugger makes you more attractive. There’s a better chance that if you write a great song, it’ll get into the right hands. What potential cowriter doesn’t want that?
There’s a catch, though...
The best songpluggers know that they can only properly represent a certain number of ongoing clients honorably. They are conscientious professionals who want the best for their clients, so they aren’t going to work with too many of them at any one time. If they’re getting paid, they want to give their clients and their songs the attention they deserve.
Also, the best songpluggers know that their careers are only as good as the songs they represent. So they don’t take just any client with a checkbook. They are picky about who they represent. Bring in too many dud songs, and their connections will stop taking their calls. No more meetings... no more songplugging business.
So, if you’re considering shopping for an indie songplugger, I’d ask about their:
*Track record.
What cuts have they actually gotten? Any recent cuts or “name” artists? It may be an uncomfortable conversation, but you must ask.
*Network.
Who are their strongest industry contacts? Who are their golfing buddies? The stronger and wider their network, the better chance they can actually get you cuts.
If you’re interested in finding out more about independent songpluggers, I have a great opportunity for you. On Tuesday, August 13, I’m hosting a “Know The Pro” event with successful independent songplugger, Shane Barrett. And if you're interested in how standard publishing deals work, I have an additional "Know The Pro" event on August 20 with hit music publisher, Tim Hunze of Anthem Entertainment (formerly Ole' Music). This is your chance to hang out online and ask YOUR questions to a real sungplugger and a real music publisher. Together these pros have secured cuts by artists including George Strait, Jason Aldean, Luke Bryan and many, many more!
This is YOUR chance to sit down face-to-face (online) with real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on July 08, 2019
Here's great songwriting advice from a hit music publisher.
Matt Lindsey is the owner of Matt Lindsey Music, a successful independent music publishing company in Nashville, Tennessee. Matt has had his hand in getting songs recorded by George Strait, Garth Brooks, Bonnie Raitt, The Dixie Chicks, Kenny Chesney, Brooks n Dunn, Willie Nelson, and more.
Matt was a recent guest on Frettie.com's "Know The Row," and he shared some great, real-world advice for songwriters. Here's some of what he had to say.
Read on!
Here is a bit of Matt's advice (paraphrased):
Every cut matters (major artist, indie artist, film/tv, etc.), so you've got to try and get every one you can. There's always an opportunity, but you have to take time to seek them out.
I find out who's looking for songs by sharing information within various publisher groups. It's important to maintain relationships and to always keep your eyes and ears open.
It's almost like music publishers have become the new artist developers. I'm always on the hunt for a new, unsigned writer/artist.
Just because you have a publishing deal doesn't guarantee you success. It takes time. I had a #1 with Blake Shelton ("Who Are You When I'm Not Looking") on a song that was 9 years old. I had pitched it to him for years, even got it cut by Joe Nichols. But I kept taking it back to Blake. I just took that long.
You can't sell someone on a song. The song has to sell itself. To me, it's a turnoff to over-hype the music. It has to speak for itself.
Events are an important way to get on the radar of people in the music industry. I get hundreds of emails every day, and it's impossible to keep up with all that. I meet people at events, through PRO recommendations (ASCAP, BMI, SESAC), word-of-mouth from other songwriters, etc.
It's important to keep up with who's who in Nashville- and to be able to recognize their faces if you see them around town.
If you'd like to hear EVERYTHING Matt had to share, the full video replay is available in Frettie's Member Area. It's right there along with full video replays of other events with hit songwriters, Byron Hill & Jimmy Yeary, artist/writer Aaron Goodvin, and more.
Also, I have two really cool events coming up. In August, I'm hosting two "Know The Pro" events: August 13 with independent sungplugger, Shane Barrett and August 20 with hit music publisher, Tim Hunze of Anthem Entertainment (formerly Ole' Music). This is your chance to hang out online and ask YOUR questions to a real sungplugger and a real music publisher. Together these pros have secured cuts by artists including George Strait, Jason Aldean, Luke Bryan and many, many more!
This is YOUR chance to sit down face-to-face (online) with real-deal music professionals, and I hope you won't let it slip away.
Here's the best part: these events are FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to these events. If you are NOT a Frettie subscriber... what are you waiting for? Heck, it's only $5 a month!
CLICK HERE TO GET ALL THE DETAILS AND JOIN FRETTIE AND THESE EVENTS!
God bless,
Brent
Announcements by Brent Baxter, Pro Songwriter on June 21, 2019
*August 13, 2019 (7:30pm-8:30pm Central): Hang out with independent sungplugger, Shane Barrett.
*August 20, 2019 (7:30pm-8:30pm Central): Hang out with Creative Director of Anthem Entertainment, music publisher, Tim Hunze.
*Join two music industry professionals as they reveal what YOU need to know about earning success in the music business.
*Ask YOUR questions- and get answers!
*Join these live, online video-conferences from anywhere in the world.
*This event is FREE for subscribers of Frettie.com!
DOES THIS SOUND LIKE YOU?
I feel like the music business is a world away. I write good songs, but I can’t seem to “crack the code."
What do I REALLY have to do to get a cut or a publishing deal?
I have a few questions that nobody can seem to answer. I need to talk to somebody actually IN the music business.
If you keep on guessing how to succeed, you’ll probably keep getting the same results you’re getting now: taking too much time figuring out the truth on your own while spending too much money recording songs that will probably never get cut.
Trying to get a hit without understanding the music business is like throwing darts in the dark and trying to hit a bullseye.
You can spend your time and money filling the air with darts and hoping to get lucky... or you can let Songwriting Pro and Frettie pull back the curtain and let some light in. Learning how Music Row works- getting an insider’s perspective- will put you in a much better position to get cuts or a publishing deal.
WHAT IS "KNOW THE PRO?"
In this exclusive online event, I invite a music industry friend of mine to come in and answer YOUR questions. We start off with a short interview full of insider information that will help you on your songwriting journey. Then we open it up to your questions.
WHEN?
Shane Barrett: August 13, 2019. 7:30pm to 8:30pm CENTRAL time zone
Tim Hunze: August 20, 2019. 7:30pm to 8:30pm CENTRAL time zone
WHERE?
It's online, so you can join us from anywhere in the world! (details below)
WHO IS SHANE BARRETT?
Shane Barrett is an independent songplugger who has pitched songs to (and gotten them recorded by) artists including: Luke Bryan, Jason Aldean, Wynonna, Trisha Yearwood, Faith Hill, Kenny Rogers, Gretchen Wilson, Jo Dee Messina, Danny Gokey and more.
Shane has also worked for MCA Nashville and Ole' Music, where he was instrumental in securing cuts by artists including: George Strait, Reba, Gary Allan, Eli Young Band, Billy Currington, Montgomery Gentry, High Valley, Martina McBride, Ronnie Milsap, Randy Travis and Josh Turner.
Shane's job is to represent songwriters and get their songs recorded by major artists. So, yes, YOU want to hang out with Shane Barrett and get his advice on the music business.
WHO IS TIM HUNZE?
Tim started his career by starting his own record label, right after graduating from college. After the label scored a hit video on BET and a charting single, Tim sold his interest and moved into the publishing world.
In his first job as archive manager at Hamstein, he got his first cut and when it went to #14 on the Billboard Country chart he was promoted to Creative Director. He stayed with the company as it sold to Mosaic and then to Stage Three where he became General Manager.
Under his management, Stage Three had over 15 #1 hits and helped Bobby Pinson become BMI 2009 Writer of the Year and Brett James become 2010 ASCAP Writer of the Year.
In 2011, along with JP Williams, Tim started Parallel Music Publishing and in their first few years they have scored 5 #1 hits.
Tim is currently the Creative Director for Anthem Entertainment (formerly Ole' Music). His roster or writers and writer/artists include hitmakers such as Chris Janson, Jordan Davis, Travis Denning, Adam Hambrick, Gord Bamford and many more. Tim is the real deal.
HERE'S HOW TO JOIN THE EVENT.
After you reserve your spot by joining Frettie, you'll receive an email with more details. But the basics are this: a day or two before each event, I'll email you a special invitation link. You will use that link to join the video-conference, which will be hosted on the Zoom platform. Zoom is simple to use, and it's free. You can find out more at Zoom.us. It's easy.
"KNOW THE PRO" IS FREE FOR FRETTIE MEMBERS!
If you subscribe to Frettie.com, you will automatically receive the invitation link a day or two before the event. If you miss it, you will still be able to watch the replay in the Frettie video archives.
If you are NOT a Frettie subscriber- join today! It's only $5/month to subscribe. I host "Know The Pro" at least once per quarter. PLUS, you gain access to all the Frettie video archives, which contain replays of each "Know The Row" event (past events include hit songwriters Byron Hill, Jimmy Yeary, artist/writer Aaron Goodvin, music publisher Scot Sherrod and more) along with a ton of other great, helpful videos. And that doesn't even cover all the great benefits of Frettie membership.
LEARN MORE AND JOIN FRETTIE TODAY WITH A CLICK HERE.
God bless,
Brent
Announcements by Wade Sutton, Rocket to the Stars on April 25, 2019
The following is a transcript of the latest episode of The Six-Minute Music Business Podcast, which can be heard on iTunes, Spotify and iHeart Radio. It is being reprinted with permission.
This is going to leave a bad taste in the mouths of a lot of musicians.
You know how difficult it can be for bands to create leverage when trying to negotiate better guarantees from venues? Well something is happening in Pennsylvania that is going to make that even more difficult ... and musicians nationwide should be keeping an eye on this because it is something that could spread to other states.
The issue is Pennsylvania House Bill 561, an amendment to the Pennsylvania Liquor Code that was recently introduced by state Representative Sheryl Delozier. Delozier is a Republican lawmaker representing Pennsylvania’s 88th District, which includes a portion of western Harrisburg.
What does the amendment do?
Here is the part that matters: “… a hotel, restaurant or club licensee may permit a minor of any age to perform music if the minor is not compensated and the minor is under the supervision of a parent or guardian.”
Yes, it allows any establishment with a liquor license to hire minors to perform as long as the venue DOES NOT PAY THE ARTIST.
As it stands now, the Pennsylvania Liquor Code permits minors to perform in a licensed establishment but only if that performance is part of the minor receiving some kind of instruction in a performing art. Delozier’s amendment strikes the instruction requirement from the code.
Now you might be hoping the bill simply won’t pass the state House.
It already has ... and the vote was overwhelming.
The state House approved the amendment by a final vote of 185 - 12. Even more concerning is that the bill was given the “thumbs up” by every state representative from Pittsburgh and all but one representative in Philadelphia, the commonwealth’s two biggest music hubs. The bill now goes to the state Senate for approval before going to the governor for his signature.
There are two things about the passage of this bill that should concern musicians not only in Pennsylvania but around the country.
Firstly, professional performing artists have long been at odds with venues willing to do what ever was possible to bring in free music, particularly when it is done under the guise of “getting exposure.” As Philadelphia-area entertainment attorney Bryan Tuk said in a recent opinion piece for PittsburghCurrent.com, this bill institutionalizes the idea that young performers should perform for free in exchange for exposure ... and not only do I agree with his assessment, I would go a step further and argue that the bill institutionalizes the continuing devaluation of music in live form.
By removing the instructional requirement from the Pennsylvania Liquor Code, venues will be able to pursue any and all musical talent under the age of 18 and offer them stage time at zero cost. That means professional performing artists will be faced with much more competition for slots at establishments with liquor licenses as this free talent suddenly becomes legal and available.
The second big concern artists should have has to do with why this amendment came about. This wasn’t a situation in which venues banded together and pushed for the change. The only reason Delozier introduced the bill is because a teenager in her district wanted to be able to perform at local establishments that had liquor licenses. In a written statement on the Pennsylvania legislative website, Delozier said this change would allow that artist to “continue to grow his talents.” She introduced this bill completely ignorant to how its implementation would impact professional artists.
So what you have here is what many call “feel good legislation,” which is legislation pushed through more so on the basis of emotions than common sense. You know what I mean. They are doing it “for the kids.” And if you vote against it, you aren’t for helping the kids and what lawmaker wants to be labeled in such a manner?
Not many ... and that is a big part of the reason why this bill passed the House Appropriations Committee by a vote of 34 - 0 before getting full House approval by a vote of 185 - 12.
Musicians in other states should keep an eye on this. If operators of establishments in other states see not only that this passed in the Pennsylvania House but also why it passed, they could easily go to their own lawmakers and suggest similar changes there because, you know, they want to do it to help the kids.
I’m sure their hearts will be in the right place.
Wade Sutton is the founder of Rocket to the Stars, an artist services record label with clients around the world. He is the creator and host of The Six-Minute Music Business Podcast which was named by CD Baby as one of “five music business podcasts artists can’t live without.” Wade was also a featured speaker at the 2018 Music Entrepreneur Conference at Harvard University. For a free 24-page preview of Wade’s new music business book, Hacking Music, visit www.GiftFromWade.com.
Tips & Resources by Brent Baxter, Pro Songwriter on January 28, 2019
Here's some great songwriting & artist advice from hit singer/songwriter, Aaron Goodvin.
Aaron is a rising artist on Warner Bros. Canada with several hits and awards already in his young career. He recently signed a record deal in the United States with Reviver Records. Additionally, Aaron is an accomplished songwriter, landing cuts on artists including Luke Bryan and Cole Swindell.
Aaron was a recent guest on Frettie's "Know The Row," and here's some of his advice for singers and songwriters.
As an artist, yes, there’s money in being a writer on your own songs. But you have to remember how a great, career song can also be financially beneficial no matter who writes it. For example, a career song will increase ticket prices to your shows.
As a songwriter, don’t “save” your songs for big-name artists. Just get your songs out there. As Bobby Pinson (a hit writer) once told me, “God’s gonna put your songs where they’re supposed to be.”
I think you have to be present in Nashville to win. It’s easy to be forgotten if you’re not around consistently. I try not to forget people, but I know I was forgotten by some people when I first started making trips from Canada.
New cowriters get on my radar through publishing company, management or label hook-ups and through personal contacts. My wife also works in the industry, and she’ll recommend people she thinks are cool.
People (the fans) aren’t all musicians. Most just want to go out, have a beer and sing along with your songs- even if they've never heard your songs before. Just repeating simple words over and over makes it easy to sing along- and they love that. It’s easy to forget that when you’re trying to write great songs, but it’s important to remember what the fans want. Being on the road and playing for the fans has made me a better songwriter.
There’s a tension between being a songwriter and writing the crap out of a song and being the artist and just giving the fans something they can sing.
If you'd like to hear EVERYTHING Aaron had to share, the full video replay is available in Frettie's Member Area. It's right there along with full video replays of other events with hit songwriters, Byron Hill & Jimmy Yeary, music publisher Scot Sherrod, and more.
Also, I have a really cool event coming up. On February 5, I'm hosting a "Know The Row" event with multi-hit music publisher, Matt Lindsey. This is your chance to hang out online and ask YOUR questions to a real music publisher. Matt has secured cuts by artists including Garth Brooks, George Strait, Blake Shelton, Kenny Chesney, Willie Nelson and more!
This is YOUR chance to sit down face-to-face (online) with a real-deal music publisher, and I hope you won't let it slip away.
Here's the best part: this event is FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to the event. If you aren't already a Frettie subscriber... what are you waiting for?
CLICK HERE TO GET ALL THE DETAILS AND JOIN THE EVENT!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on January 21, 2019
Here's golden advice from a hit music publisher.
Scot Sherrod is the VP/General Manager of Rare Spark Media, a successful music publishing company in Nashville, Tennessee. Scot has had his hand in getting songs recorded by Garth Brooks, George Strait, Rascal Flatts, Dixie Chicks, Carrie Underwood, and more. His current roster includes rising country star, Walker Hayes (“You Broke Up With Me” and “Craig.”)
Scot was a recent guest on Frettie.com's "Know The Row," and he shared some great, real-world advice for songwriters. Here's some of what he had to say.
Read on!
Here is a bit of Scot's advice (paraphrased):
Publishings companies have really taken on the role of developing talent- not just songwriters, but artists and producers.
Now is a good time to be different. But you still have to be good. Sometimes the hardest part is just to be brave and be honest with yourself.
New writers generally get on a publisher’s radar several different ways. It might be a writer’s night or through just being in town and getting to know people. Or through writer reps at the PROs (BMI, SESAC, ASCAP). You have to be present in some way, network, get to know who’s who, and get your stuff out there.
You have a much better change of getting on people’s radar if you either live here (Nashville) or make regular trips.
Get your stuff out there over and over and try not to get too frustrated. You’ll get a few hundred “no’s” for every “yes.”
You have to know what your strengths and weaknesses are. Then get in the room with someone who is strong where you’re weak.
I used to pitch songs 80% of the time, now I spend about 60% of my time working to get my writers in the best rooms.
Writing songs for synch (film/tv) is just as competitive as writing songs for radio. But it can be done.
I spend most of my time on the writer’s I’ve signed. I owe that to them. But at the same time, I don’t want to miss something great. Most of the outside stuff I listen to is from writers who are actively pursuing it- they live in town or visit a lot, they’re actively writing songs and getting to know people, etc.
These days, there’s a great place in the writing room for people who are very lyric-conscious.
If you'd like to hear EVERYTHING Scot had to share, the full video replay is available in Frettie's Member Area. It's right there along with full video replays of other events with hit songwriters, Byron Hill & Jimmy Yeary, artist/writer Aaron Goodvin, and more.
Also, I have a really cool event coming up. On February 5, I'm hosting a "Know The Row" event with multi-hit music publisher, Matt Lindsey. This is your chance to hang out online and ask YOUR questions to a real music publisher. Matt has secured cuts by artists including Garth Brooks, George Strait, Blake Shelton, Kenny Chesney, Willie Nelson and more!
This is YOUR chance to sit down face-to-face (online) with a real-deal music publisher, and I hope you won't let it slip away.
Here's the best part: this event is FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to the event. If you aren't already a Frettie subscriber... what are you waiting for?
CLICK HERE TO GET ALL THE DETAILS AND JOIN THE EVENT!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on January 14, 2019
Here's golden advice from some #1 hit songwriters.
Jimmy Yeary's Lee Brice hit, "I Drive Your Truck" was awarded Song of the Year honors at the 47th annual Country Music Association Awards, as well as Song of the Year at the 49th annual Academy of Country Music Awards. More recently, he landed another chart-topper with David Lee Murphy and Kenny Chesney's "Everything's Gonna Be Alright."
Chris Lindsey is a Grammy-nominated songwriter and producer, and his cuts include "Amazed" by Lonestar, "Every Time I Hear That Song" by Blake Shelton, as well as cuts by Carrie Underwood, Keith Urban, Tim McGraw, The Civil Wars and more.
Jimmy and Chris were recent guests on Frettie.com's "Know The Row," and they shared some great, real-world advice for songwriters. Here's some of what they had to say.
Read on!
Here is a bit of Jimmy Yeary’s advice (paraphrased):
You don’t necessarily need to write with the artist. It certainly helps, but the right song can overcome that. I’m a firm believer that the best song wins.
If I write with an artist, I generally let that artist lead and guide. Nobody knows what the artist wants to say better than the artist.
If I feel the emotion of the song, you (the listener) will feel it. If I don’t feel it, you won’t either.
It’s really important to be yourself- to do what YOU do. Expose that to other people and let them decide if the value you bring is something they want. And it helps to be a writer that people want to be around.
I go through a ritual every day to get my brain revved up. Reading, vigorous exercise and brain exercises get me ready to write. I can’t just wake up, hop in the truck and go write.
Get going early. Bring in ideas so you can find the idea quickly. Then you have more time to work on the song.
Here is a bit of Chris Lindsey’s advice (paraphrased):
You need to be writing edgy material, because it could be 6-8 years out from hitting the radio. “Every Time I Hear That Song” was 6 years old when it went #1 for Blake Shelton.
However honest you can be with yourself about your songs, that’s how far you can go in the music business. It’s key to honestly evaluate yourself and your music. Be vicious with yourself.
When you work with artists, you’re really trying to assist them.
If it’s not working, try something different- different cowriters, different style of writing, etc.
Songwriters tend to be precious with their songs- their babies. But if a producer passes on a song, it’s not personal. Your song just isn’t what they need at that time for that project.
If you'd like to hear EVERYTHING Chris and Jimmy had to share, the full video replay is available in Frettie's Member Area. It's right there along with full video replays of other events with hit songwriters, Byron Hill & Kenna West, music publisher Scot Sherrod, artist/writer Aaron Goodvin, and more.
Also, I have a really cool event coming up. On February 5, I'm hosting a "Know The Row" event with multi-hit music publisher, Matt Lindsey. This is your chance to hang out online and ask YOUR questions to a real music publisher. Matt has secured cuts by artists including Garth Brooks, George Strait, Blake Shelton, Kenny Chesney, Willie Nelson and more!
This is YOUR chance to sit down face-to-face (online) with a real-deal music publisher, and I hope you won't let it slip away.
Here's the best part: this event is FREE for Frettie subscribers! So if you're already a Frettie subscriber, you'll receive an invitation to the event. If you aren't already a Frettie subscriber... what are you waiting for?
CLICK HERE TO GET ALL THE DETAILS AND JOIN THE EVENT!
God bless,
Brent
Announcements by Brent Baxter, Pro Songwriter on November 14, 2018
*November 29, 2018 (7:30pm-8:30pm Central): Hang out with Christian/gospel songwriter, Kenna West (over 30 #1 hits).
*Join two music industry professionals (West and hit songwriter, Brent Baxter) as they reveal what YOU need to know about earning success in the music business.
*Ask YOUR questions- and get answers!
*Join this live, online video-conference from anywhere in the world.
*Space is limited, so reserve your spot today.
*This event is FREE for subscribers of Frettie.com!
DOES THIS SOUND LIKE YOU?
I feel like the music business is a world away. I write good songs, but I can’t seem to “crack the code."
What do I REALLY have to do to get a cut or a publishing deal?
I have a few questions that nobody can seem to answer. I need to talk to somebody actually IN the music business.
If you keep on guessing how to succeed, you’ll probably keep getting the same results you’re getting now: taking too much time figuring out the truth on your own while spending too much money recording songs that will probably never get cut.
Trying to get a hit without understanding the music business is like throwing darts in the dark and trying to hit a bullseye.
You can spend your time and money filling the air with darts and hoping to get lucky... or you can let Songwriting Pro and Frettie pull back the curtain and let some light in. Learning how Music Row works- getting an insider’s perspective- will put you in a much better position to get cuts or a publishing deal.
WHAT IS "KNOW THE ROW?"
In this exclusive online event, I invite a music industry friend of mine to come in and answer YOUR questions. We start off with a short interview full of insider information that will help you on your songwriting journey. Then we open it up to your questions.
WHEN?
November 29, 2018. 7:30pm to 8:30pm CENTRAL time zone
WHERE?
It's online, so you can join us from anywhere in the world! (details below)
WHO IS KENNA WEST?
Kenna West is an award-winning songwriter who has written over 30 #1 singles in the gospel music industry. That's right. Over 30. That's pretty much all you need to know. But in case you're curious for more...
Kenna's career in gospel music began in 1983 when, as a new believer, the eighteen year-old joined the nine-time Grammy Award-winning Blackwood Brothers.
In 2001, after years of primarily being a vocalist, Kenna began penning songs for The Spring Hill Music Group, owned in part by gospel music icon Bill Gaither. Her first single, We’re Not Gonna Bow, was recorded by Jeff and Sheri Easter and became a #1 hit, giving Kenna her first Dove Award nomination. Within four years, she was voted the SGM Songwriter of the Year.
In 2007, Kenna signed with Word Entertainment/Warner Brothers — broadening her catalog of songs that include praise and worship, gospel, inspirational, adult contemporary, country, and choral — and in 2009, garnered her second Dove Award nomination for the song, Big Mighty God. Soon after, the Liberty graduate and certified counselor released her first book, Finding the Good and Seeing His Glory, which explores the sufficiency of God’s grace in adversity.
The following year, Kenna won her first Diamond Award for Song of the Year, and in 2011 went on to receive honors at the AGM Awards for Songwriter of the Year. Kenna has also released a musical, distributed by LifeWay, entitled Love Won.
Currently, West writes for Word Publishing and keeps cranking out the cuts and hits. She found success with artists including Finding Favour ("Say Amen"), Jeff & Sheri Easter, The Talleys, Legacy 5, Micheal English, Karen Peck and New River, The Talley Trio, The Martins, Brian Free and Assurance, and many, many more.
So, yes, YOU want to hang out with Kenna West and get her advice on the music business.
HERE'S HOW TO JOIN THE EVENT.
After you reserve your spot by joining Frettie or purchasing a ticket, you'll receive an email with more details. But the basics are this: a day or two before the event, I'll email you a special invitation link. You will use that link to join the video-conference, which will be hosted on the Zoom platform. Zoom is simple to use, and it's free. You can find out more at Zoom.us. It's easy.
"KNOW THE ROW" IS FREE FOR FRETTIE MEMBERS!
If you subscribe to Frettie.com, you will automatically receive the invitation link a day or two before the event. If you miss it, you will still be able to watch the replay in the Frettie video archives.
If you are NOT a Frettie subscriber- join today! It's only $5/month to subscribe. I host "Know The Row" at least once per quarter. At $40 per quarter, that's $160 per year. A year's worth of Frettie membership is only $60. That's a $100 savings! PLUS, you gain access to all the Frettie video archives, which contain replays of each "Know The Row" event (past events include hit songwriters Byron Hill, Jimmy Yeary, artist/writer Aaron Goodvin, music publisher Scot Sherrod and more) along with a ton of other great, helpful videos. And that doesn't even cover all the great benefits of Frettie membership.
However, if you aren't ready to enjoy all the membership benefits of Frettie, I've made a few outside tickets available.
LEARN MORE AND JOIN FRETTIE TODAY WITH A CLICK HERE.
Don't want to subscribe to Frettie, but you STILL want to join this event? Click here.
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on October 31, 2018
At different times in my songwriting history (and I guess I’ve been doing this long enough to officially consider it “history”) I’ve had various “horizons.”
What is a songwriting horizon?
The horizon is the basic target your songwriting efforts try to hit. It’s where you focus your effort and where most of your effort ends. It’s the endpoint you don’t often look past.
When I first started out, my horizon was a finished song and a worktape. It felt great, and I had a sense of accomplishment and something to listen to. I dreamed of hearing one of those songs on the radio. But pretty much all I did about that was dream.
Years later, after I had moved to Nashville, my horizon was to impress a publisher so they’d start pitching my songs. Sure, I dreamed of getting songs on the radio, but on a day-to-day basis, I didn’t work at anything beyond landing a good publisher relationship.
Later still, I had a publishing deal and my horizon was often getting my publisher to demo songs so THEY could pitch them. I’d even had a hit on the radio by this time, but I couldn’t really see beyond the demo.
These days, my horizon is the furthest it’s ever been. The endpoint now is getting cuts and singles. For the most part, I’m writing with pro songwriters who are having success and swinging for hits. If I'm not writing with them, I'm writing with artists and the conversation and work centers on getting songs on their records and on the radio.
Sure, I’ve worked for years to get to the point where it’s realistic to talk about cuts and singles. But how much further would I be in my career if hits had ALWAYS been the horizon?
Instead of aiming at just writing songs, what if the horizon had been writing songs that an artist would want to sing? (And not just what I wanted to say?)
Instead of effectively washing my hands and walking away when a song got demoed, what if I kept going, getting my demos in the hands of decisionmakers myself?
Instead of playing that demo for an A&R rep and then letting off the gas, what if I kept working to get the song to the people who make the final decision?
Instead of being happy to just write a song with a baby artist, what if I had really focused on writing that special deal-getting song with that artist?
Most of the horizons I’ve had have not been set consciously. There were just set at the next song or the next step in my career.
And those steps (write, publish, demo, etc.) are each good steps. But they are each just steps on a staircase. If those steps are your focus, where your attention and energy is focused... you might just miss an elevator with its doors wide open.
I wonder how many I missed?
I encourage you to take a look at your goals for your writing- then take an honest assessment of where your attention and energy is focused. Have you set your horizon where only a milemarker should be? Milemarkers are great- they mark progress and keep you feeling motivated.
But a milemarker is NOT the horizon.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on October 24, 2018
Songwriters are storytellers. We love to tell our listeners about the world as we see it- what makes us laugh, what makes us cry, what we believe in, etc. But the most important story you will ever tell as a songwriter... is the story you tell YOURSELF.
The story we choose to tell ourselves will have a huge impact on our growth, creativity and success as songwriters. I know they have in my career.
I figured out early in my songwriting that I wasn't any good at writing melodies. I've never been a good singer, and melodies are frustrating. But the words? Words have always been my thing. I've always loved playing with them- and I have a knack for it. Along with this realization of my strengths and weaknesses came a choice.
What story will I tell myself- about myself?
Will I tell myself that I'm "only half a songwriter?" That I'm "not a real songwriter?" Will I tell myself it's not fair that life didn't hand me all the talents I'd like to have? Will I tell myself that no "real" songwriter would want to write with "just a lyricist?"
As you can probably guess, that's NOT the story I told myself. I told myself, "I'm a lyricist. I'm a specialist." I told myself myself that country music loves great lyrics - so I do something valuable. I told myself I don't have to be great at everything. I told myself that as long as I'm great at one thing, I'd have a seat at the table.
This self-story has made an incredible difference.
It has allowed me to act from a position of confidence instead of doubt. Instead of approaching potential cowriters almost apologetically like "I'm sorry, but will you please write with me? I'm only a lyricist," I could look them in the eye without shame and say, "I'm a lyricist, and I have some ideas I think you're gonna love."
What story do you tell yourself?
Do you tell yourself that it doesn't matter how good your songs are because "you gotta know somebody?" Or do you say "I'm GOING to make it- and the better my songs are, the easier it's going to be to get to know somebody?"
Do you tell yourself that publishers are stupid for not liking your songs? Or do you tell yourself that publishers NEED great songs and you just have to write better ones?
Is your story that you were born in the wrong PLACE to be a songwriter because you're hundreds of miles from New York, LA or Nashville? Or is your story that you were born at a great TIME to be a songwriter because you can use the internet to connect with the music business from anywhere in the world?
The story you CHOOSE to tell will either help or hurt your chances for success.
Is your story "you gotta be lucky to make it, so it doesn't matter how hard I work?" Or is your story "luck loves songwriters that are serious and work hard, so I'm gonna work harder?"
Your story matters.
It's time to do a check up from your neck up. Be honest with yourself about your story. Are your stories helping you or holding you back?
Does your story tell you why you CAN, or does it tell you why you CAN'T?
Listen, I'm not into fru-fru ya-ya mumbo jumbo. I don't believe success is attracted to me just because I tell myself I'll be successful. No, if I believe I'll be successful, I'm more willing to put in the work and take the chances that make success more likely. My story doesn't change the universe. My story changes me.
If your story is that music publishers don't know what good music is so they won't like your music, you know what will probably happen? You'll probably play songs for one or two publishers - just enough to prove yourself "right" - and then just quit calling publishers.
However, if your story after one or two rejections is that you just haven't found the right publisher yet, you'll keep trying. And that alone increases your odds of success. Or if your story is that you just need to write better songs, you'll stay in the game, writing, getting better, and building publisher relationships. And then you might just get that big hit.
And THAT will be a great story.
What about you? What stories have you been telling yourself? If your story needs to change, what story will you start telling yourself? I'd love to hear from you- please leave a comment!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on October 17, 2018
Album credits make one thing perfectly clear - it's smart to write with the artist. There's no denying that. However, not every artist is worth your time and creativity.
Here are 5 red flags that mean you should probably NOT write with the artist.
EXCEPTION: Okay, if the artist is already a star and cuts their own songs, you should definitely write with him or her if you get the chance. Do it, be thankful for the opportunity, and bring your best work.
However, most artists are NOT stars. They're unsigned artists who hope to become stars. And maybe they look great and even sing great. I know in those cases it can really be tempting to go "all in" with those artists in the hopes that they'll make it big - and take you with them.
But most artists never become stars, and here are five reasons many of them are doomed.
If your artist cowriter (or potential cowriter) is doing any of these things, consider it a major warning sign. These artists probably aren't going to make it. Sorry.
1. Doomed artists disregard their fans (or potential fans).
In the old music biz, maybe you could get away with being mysterious and aloof. But in the social media age, you can't be too cool for school. Look at Taylor Swift. She's one of the biggest stars on the planet, and she built her career by LOVING her fans. She surprises and delights them. She cares about them. In return, they care about her.
If your artist expects their music - and ONLY their music - to build a legion of raving fans... they're sadly mistaken.
2. Doomed artists are waiting for a hero.
Is your artist friend waiting around for someone else to make their dreams come true? Are they just killing time until they get discovered by a manager, booking agent or label who will do all the hard work and open all the right doors?
The artists who are likely to make it have an incredible work ethic. Their attitude isn't "who's going to let me?" it's "who's going to stop me?" They get off the couch or out of the studio, and they hustle. They book their own shows, they connect with fans. Those are artists who are likely to be discovered - because they're discoverable!
3. Doomed artists treat music like a hobby.
This is similar to the previous red flag. But while the last type of artist really wants to succeed but has given away their power, this artist either doesn't really want success or is just plain lazy. This artist is probably naturally very talented and hasn't had to work that hard to get some attention. As a result, maybe they've never learned how to grind. Or they just aren't willing.
Either way, their lack of work ethic means they'll probably never become a star. And that means the songs you write with them won't get the big spotlight with them as the artist.
4. Doomed artists act entitled.
I don't care who your artist friend is, the world does NOT owe them success, or even attention. Just because they care about their own music doesn't mean that anyone else has to. Why should anyone treat them like a star when they are NOT a star?
Also, entitled artists usually don't have as much hustle because they feel like success and attention should be handed to them by the mere fact that they want and expect attention and success. That kind of attitude will turn off folks in the music biz, and it'll eventually turn off fans, too.
5. Doomed artists radiate bitterness or negativity.
Believing that you won't succeed is a self-fulfilling prophecy. So if your artist friend believes he or she is being "held down" by gatekeepers, publishers or record labels and THAT is what's keeping them from success... run away.
This negative, bitter attitude gives away the artist's power and ownership over the situation. They've allowed themselves to become a victim. This attitude will also repel real music biz pros. And even worse... it's contagious.
You do NOT want to catch a negative attitude from the artist. Before you know it, you'll start seeing all the reasons you CAN'T succeed, and you'll stop seeing all the reasons you CAN succeed.
There you go. Five warning signs that you should not be writing with an artist. Now, if you write amazing songs with this person, it might be worth it to keep writing with them- IF you treat them like a non-artist cowriter. In other words, don't wait around for that artist to take those songs to #1. If they're great, pitch them to other artists.
If your cowriter doesn't want you to pitch them anywhere, use these cool songs to get new cowriters. Then move on.
I know this may be hard to hear. I know it may force you to confront an uncomfortable truth you've been ignoring. But I've personally wasted too many songs and days on artists like the ones on this list.
I want you to avoid my mistakes.
What about you? Have you run into any of these warning signs with an artist? Did you end the writing relationship or stick it out? How'd things turn out? Are there any other red flags you'd add to this list? I'd love to hear from you in the comments!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on October 10, 2018
About an hour into the cowrite, I knew I'd made a mistake. This song was gonna be good, but it probably wasn't going to be great. And it was my fault. I shouldn't have brought this idea to this guy on this day.
Guess I should give you some back story. "This guy" was not some 2nd rate hack songwriter who was destroying my wonderful song idea. Actually, this guy, (let's call him "Chris") had written multiple #1 hits and a ton of album cuts. In fact, he and I had already written several songs together.
So, since Chris is so good, why was it a mistake to bring this certain idea to him? Because Chris is not a "grinder," and I knew this idea still needed some grinding. The idea wasn't completely clear in my mind. It needed to be fleshed out and explored more. But Chris wasn't the guy for this. You see, Chris is a successful writer, a great writer, and a very FAST writer. I've never had a cowrite with him stretch over two sessions. Heck, I've rarely had them stretch past lunch!
I'm not as fast as Chris, at least not until I really have the idea clearly focused in my mind. You see, I'm not really ever "off to the races" until I have a good idea of what the racetrack looks like. Chris isn't one to really dig and explore to mine the very best stuff out of a concept or title. And, hey, it's worked out for him- he has a lot of gold and platinums on the wall.
But for ME to get my best work with Chris, I need to bring in a very clear idea, concept and direction. Maybe even a full scratch lyric. I call it "pre-writing," and it's kinda like getting a head start on the cowrite. Chris loves it since he can just focus on melody (his strength) and I don't slow him down too much. Since I know the idea clearly, I can make lyrical adjustments quickly and with confidence. When I do my prep, I have a better experience- and the song ends up being a lot tighter, too.
So that was my mistake on this particular day. I suggested an idea that wasn't ready- not for this particular cowriter, at least.
The lesson in this, for me anyway, is to account for your cowriter's strengths and writing style when bringing in song ideas.
For example, I have another cowriter, "Dave," who is much more of a grinder. I'm comfortable bringing in vague or uncertain ideas because I know Dave will work until the song sparkles. Dave even grinds on ideas that I feel are really fleshed out already - just to make sure we write it as well as we can. And I love that. Because I don't need good songs. I need great songs.
Writing average songs won't change my life. (And they probably won't change yours, either.)
Chris and Dave are both hit songwriters, and I have a ton of respect for each of them. Each of us just has our own way of working. And I can work well with either one of those guys- as long as I respect each of their writing styles.
I could really frustrate Chris by constantly hitting the brakes and making him grind out an idea. Likewise, I could really frustrate Dave by slamming the gas and flying through a song he isn't sure is the best it can be. But, instead, I want to respect each of their styles, and adjust accordingly. Sometimes this means I do more "pre-writing." Sometimes not. But either way, when I respect my cowriters' writing styles, I get better songs.
And maybe there's a lesson in there for you. If you're not getting the results you'd like with one of your cowriters, maybe you just need to adjust your songwriting process if possible. A few adjustments might just save your cowriting relationship- and save a lot of your song ideas!
What about you? I'd love to hear your thoughts on this. Do you have any stories about adjusting or NOT adjusting to your cowriter's writing style? How'd it work out? Please leave a comment!
By the way, I have a really cool event coming up. On October 16, I'm hosting a "Know The Row" event with multi-hit songwriter, Chris Lindsey. This is your chance to hang out online and ask YOUR questions to a real hit songwriter. Chris wrote "Amazed" for Lonestar, "Every Time I Hear That Song" for Blake Shelton, as well cuts for Carrie Underwood, Keith Urban and others.
This is YOUR chance to sit down face-to-face (online) with a real-deal hit songwriter, and I hope you won't let it slip away.
Here's the deal. Usually, these events are only for members of Frettie.com. However, this one is different. This one is free for everybody! You can join us online from anywhere in the world on Tuesday, October 16, 2018 from 7:30pm-8:30pm Central time.
CLICK HERE TO GET ALL THE DETAILS AND JOIN THE EVENT!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on October 03, 2018
Sometimes, it’s tempting and a whole lot of fun to get really clever with our songwriting. And I mean REALLY clever. We start getting good at spinning a phrase or using double meanings, and the next thing you know, our songs have them all over the place...
...and they suck.
Maybe it’s time to stop showing off how clever you are and just get back to what’s important.
Here’s a case in point. Back before my first publishing deal, I remember writing a song with a good friend of mine. It was really clever. Every line had some turn-of-a-phrase and clever lyric. I was really proud of lines like “I never duck when it all goes South” and “Like a clock with a nervous tick, when I’m with you time sure goes quick.” I remember saying, “Every line has a pun - EVERY LINE!” like I’d cured cancer or something.
Eventually, after I signed my publishing deal with Major Bob Music, I turned it with my Schedule A. I hoped they’d really like it. They didn’t. Not at all. But why not? Couldn’t they see how well I’d crafted that lyric? Didn’t they get my puns and humor and my genius?
They got the jokes. They just didn’t like the song. And looking back, I don’t like it, either.
Here’s the deal. I’d gotten way too clever, way too much in my own head. The song didn’t have any emotion. Clever lines are cool when they serve a bigger purpose, but they can’t be the whole point of your song. The lines in the song weren’t enough to make you laugh, so it wasn’t a “funny song.” It was a love song, but it just didn’t feel real. It just felt clever.
And, in the end, it didn’t FEEL much of anything.
A song should elicit some emotion in the listener. It should make them (basically) laugh, cry, dance or think. It needs to do more than just make the listener say, “Huh. That’s clever.” That was my mistake. I was all in my head, and I’d forgotten the heart.
And the same goes for chord progressions and melody. You might be really proud of your cool guitar tuning or intricate fingerpicking pattern. But if the listener isn’t moved by it, it doesn’t really matter. You’re writing to impress other guitar players. They’re probably the only ones who’ll even notice all the cool stuff you’re doing while the rest of us just wonder why your song isn’t very good.
Maybe you need to beware of being overly clever in your writing. Your song doesn’t have to be super clever. It doesn’t have to be really smart. That’s writing for yourself or for other songwriters. And that’s fine. But if you want to write for a large audience, you need to remember the heart. You need to engage the listener’s emotions.
A song with a heart... beats... a song without one. See what I did there?
Hey, I have a really cool event coming up. On October 16, I'm hosting a "Know The Row" event with multi-hit songwriter, Chris Lindsey. This is your chance to hang out online and ask YOUR questions to a real hit songwriter. Chris wrote "Amazed" for Lonestar, "Every Time I Hear That Song" for Blake Shelton, as well cuts for Carrie Underwood, Keith Urban and others.
This is YOUR chance to sit down face-to-face (online) with a real-deal hit songwriter, and I hope you won't let it slip away.
Here's the deal. Usually, these events are only for members of Frettie.com. However, this one is different. This one is free for everybody! You can join us online from anywhere in the world on Tuesday, October 16, 2018 from 7:30pm-8:30pm Central time.
CLICK HERE TO GET ALL THE DETAILS AND JOIN THE EVENT!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on September 26, 2018
So how do you know when your song is really done?
My usual joking answer is, "when it's shrink-wrapped at Wal-Mart." Of course, that's not true. And it's also a dated joke, so let's dive into the question.
First of all, it's really a subjective answer as to when your song is "done." There have been a bunch of songs that ended up on the radio in which the songwriter still sees flaws. Are those songs done? I guess so. At least, the songwriter probably isn't going to bother making any more changes. After all... why?
Sometimes songs are done because you're simply done with them. You've moved on. I could probably go back and improve many of my older songs. But most of them aren't worth it. Either the idea isn't that great, or I'm just not interested in the song anymore. You could call those done, too. Your best songs are in front of you.
But assuming you've just finished a draft or a re-write of your song. Is it done? Ultimately, it's a question only you, as the songwriter, can answer. But here are some questions to ask yourself when you're not sure if the song is really finished. Actually, these are questions you should ask yourself even if you ARE sure your song is really finished. (Please note that each of these are for songs written to be commercially successful. If you're only writing for yourself, some of these may not be relevant.)
1. Does the song move me? Does it make you feel something, or is it just an interesting thought? A song doesn't have to always move you to tears, but it should cause some sort of emotional response in you. A laugh, a tear, optimism, whatever. If your own song doesn't even move you, it's probably not going to move anyone else.
2. Do I have a very clear understanding of what I'm trying to communicate in this song? If you don't know what you're talking about, if your own thoughts are still muddy and uncertain, there is no chance - zero - that you're communicating clearly with your audience.
3. Is this song relevant for my target market / genre / artist? It doesn't matter if your song is a delicious hamburger if you're trying to sell it to a vegan. Your music, idea, lyric, etc. have to be appropriate for your target. If you're not sure what is appropriate for your market, you need to do your homework. Listen to the biggest artists in that market. Study, study, study.
4. Are there confusing lines in my song? This is where you have to beware of "the curse of knowledge." That's when you know what you're talking about, but your lyric doesn't reflect it. You overlook confusing lines because you automatically fill in the blanks from your mind. But the listener isn't in your mind and can't fill in those blanks. Try to focus only on what's actually on the page. Does it clearly communicate what you want to say?
5. Is the melody fun to sing? If you want someone else to sing your song, it should be enjoyable to sing. The words and phrasing should fit the melody comfortably. If your song doesn't sing well, it probably won't get sung.
6. Are there weak lines in my song? You want to avoid obvious, vague, and cliche' lines in your lyric. These just aren't interesting, and they don't feel real and sincere. Dig deeper. Find a more interesting way to say it. Add imagery. Paint the picture in more detail. Keep the listener's attention.
These are just a few questions to help you figure out of your song is as good as it could be. There are others, but this should get you started. Print this list and keep it in your writing space. Then add your own questions in the spaces below.
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I'd love to hear what YOU would add to this list! Please leave a comment here or where you see it on social media. Thanks!
If you found this blog post helpful, you'll love my FREE e-book, "Think Like A Pro Songwriter." It's a quick, easy read, and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on September 19, 2018
DO YOUR SONGS LET THE ARTIST PREACH?
No, I don’t mean you have to write spiritual songs. And I don’t mean that the artist is looking to tell his audience how to live. The artist wants to do what is known as “preaching to the choir.” And this isn’t preaching to the church choir. This means speaking to the group that is already on board with the message.
Artists want to serve their existing fans- to give them more of what they already love about that artist.
But artist’s don’t want to get too repetitive in their “sermons.” For example, Kenny Chesney has recorded a lot of beach songs. This doesn’t mean that you should never pitch Kenny a beach song. The beach is an important part of his brand, and he’s sure to revisit it again and again on future albums.
Your opportunity is in songs that fill the spaces the artist’s existing songs don’t already occupy.
Write and pitch songs that do something new melodically and/or lyrically. You can’t bring Chesney another “When The Sun Goes Down” that feels like “When The Sun Goes Down” AND covers the same ground lyrically.
Give the artist a different verse from the same chapter, or a different chapter from the same book.
A successful artist has a point of view. They revisit certain themes in their songs again and again. One artist may sing about how great small towns are and how the people are salt of the earth. The listeners who connect to that theme become “the choir” that those songs preach to. In that situation, the artist will probably want a few songs that preach to that choir. Maybe it won’t be exactly the same type of song, but it will connect with the same audience.
Let the artist offer up a song that allows them to say, “Hey, if you liked what that other song of mine had to say, you’ll also like this.”
Every Tuesday night in April 2019, I'm hosting The C4 Experience, or C4X. It's an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting. I want you to win, and I'm going to help you write songs that artists want to sing, radio wants to play and fans want to hear. But the deadline is coming up FAST, so don't miss out on this great opportunity.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on September 12, 2018
Songwriting is a journey. If you have big dreams for your songwriting, then it’s a long journey. It’s been my experience that a wise path is critical to a successful journey. Here are the elements of a wise P.A.T.H.
Purpose.
Why are you on this journey in the first place? Where do you want to go, and why do you want to go there? Without a clearly-defined purpose, without a desired destination at the end of the path, all you can do is wander. Wandering is fine if you’re just out for a nice walk. But if you want to get somewhere, you need to find or define your purpose.
Action.
The path will not travel under your feet. You have to get moving! Take action, but not just any random action. The point isn’t to walk in circles or to run in place. Take the action you believe will move you in the direction of your purpose. Keep your purpose in mind, and act.
Time.
Any purpose worth following will not be fulfilled overnight. You have to put in the time. You have to resolve yourself to sticking with it for the long haul. Success doesn’t come easily or quickly. Pack a lunch, and wear some comfortable walking shoes- this will take a while.
Habit.
Habit multiplies the effects of your efforts. When you have Purposeful Action Taken Habitually (hey, that spells P.A.T.H., too), that’s when all your positive momentum starts adding up like a snowball rolling downhill. But this isn’t auto-pilot, and you’re not taking the path of least resistance. You’re still keeping your purpose in mind and taking action again and again. This habit doesn’t replace thought. Thoughtful, purposeful action IS your habit.
The path to success is paved with the stones of Purpose, Action, Time and Habit.
Knowing how to stay on the P.A.T.H. is important for pro songwriters- or those who want to turn pro. And if YOU want to turn pro, I have a great opportunity for you.
Every Tuesday night in April 2019, I'm hosting The C4 Experience, or C4X. It's an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting. I want you to win, and I'm going to help you write songs that artists want to sing, radio wants to play and fans want to hear. But the deadline is coming up FAST, so don't miss out on this great opportunity.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on September 05, 2018
There is power in finding images that go deeper than the obvious or cliche'.
I had a publisher tell me once, ”write about the truck from the INSIDE THE CAB, not from the OUTSIDE”
"The truck," of course, is a metaphor for the situation of the song- the song's emotion and story. (Funny how I've always remembered that metaphor- it's probably because it's wrapped in an image. Hmmm...)
Too many writers (and I was obviously guilty of this) write about "the truck” - the situation in the song- from the outside. They describe it using imagery and details that anyone who isn’t IN that situation could use. It’s the obvious ones. And, usually, it’s the cliche’ ones.
Our job is to dig deeper.
We need to use our memory, our imagination, research, and whatever we have at our disposal (including our cowriters), to write from the inside of the truck.
That’s what I tried to do with my Alan Jackson cut, “Monday Morning Church,” and it made a big difference.
Once the situation was decided- the man had lost his wife, who was the more spiritual of the two and his anchor- the trick was to figure out “what does this look like from the inside?” The results were the opening lines:
You left your Bible on the dresser so I put it in the drawer
‘Cuz I can’t seem to talk to God without yelling anymore
Yes, the part about yelling at God is a bold, raw, and real way to start off a song. But the first line is really important, too. "You left your Bible on the dresser so I put it in the drawer," balances the big, bold statement yelling at God by giving the listener something small, real and believable. Plus, the Bible sets up “God” in the second line.
Use inside details, but be sure and use details that make sense to the listener. Be inside, but not too inside. In our truck analogy, write from inside the cab, which people can understand. Don’t write from so far inside the truck that you’re in the carburetor and only a mechanic knows what you’re talking about.
Also, keep the images relevant. They should add to our understanding of the characters or story, not just be filler. In our “Monday Morning Church” example, the fact that she left her Bible on the dresser is very telling. It’s HER Bible. She reads it often enough that she keeps it out where it’s handy. The next lines show the listener, in pictures, that the singer’s putting it out of his sight because he’s too angry at God. If I'd started off with something like...
"You left your makeup on the counter, so I put it in the drawer
And I can't seem to talk to God without yelling anymore"
...the first line wouldn't be nearly as useful. Yes, it tells us that she left her makeup, but it doesn't set up the spiritual aspect of her character or of the song. It's just a random image that doesn't "point to the point" of the song.
So next time you write, take your time. Close your eyes and imagine the situation. Then climb into the truck.
What are some songs (in your opinion) that do a good job of writing from inside the “truck?” Do you find that this comes naturally to you, or is it a struggle? Please leave a comment- I'd love to hear your thoughts!
Knowing how to use small details to leverage big emotion is important for pro songwriters- or those who want to turn pro. And if YOU want to turn pro, I have a great opportunity for you.
Every Tuesday night in April 2019, I'm hosting The C4 Experience, or C4X. It's an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting. I want you to win, and I'm going to help you write songs that artists want to sing, radio wants to play and fans want to hear. But the deadline is coming up FAST. So don't miss out on this great opportunity!
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Let me share some failures with you. But don’t worry. There’s a happy ending.
Elvis Presley was booed off stage in Batesville, Arkansas (my hometown). Garth Brooks got passed on by every record label in Nashville.”Bless The Broken Road” was a non-hit single for an artist named Melodie Crittenden in 1998. A songwriter named Brett James gave up on the music biz and moved back to Oklahoma. A young songwriter named Kenny Chesney was told by a cowriter they should hire a demo singer for their song because Kenny “can’t sing.” “Monday Morning Church,” written by two unknown writers, failed to make NSAI’s Pitch-To-Publisher Luncheon.
What a bunch of losers, right? What a bunch of nobodies who never made it and songs that failed miserably.
Of course, we all know that’s not how these stories end.
Garth, Elvis, and Kenny became hugely successful artists, selling millions of records. Brett James started getting cuts, moved back to Nashville, and has written a ton of hits. “Bless The Broken Road” became a multi-week #1 and career song for Rascal Flatts. “Monday Morning Church” went top 5 for Alan Jackson and got me into the music business.
That’s how life often works. Fail. Fail again. Then win.
Obviously, not every song and songwriter that gets rejected will eventually find major success. Honestly, most won’t. Some songwriters have countless “fails” before a win. Some don’t have very many at all.
So, if you have some failures on your ledger... so what? Dust yourself off and try again. Learn from your failures. Fail again. Fail better.
The truth is, we rarely know when we’re close to a success or a breakthrough. We just keep working hard, plugging away. Fail. Fail again...
I know, I know. It’s easy for me to say. I’ve been blessed with some wins to go along with my losses. And I can’t promise you that your next (or first) win is just around the corner. But I can promise you that failing is just part of the process. It’s a part of every success story.
Maybe it's time to try again.
On September 25, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, John Ozier of Ole Music in Nashville, TN. John has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher and have him hear YOUR song! And since it's an online event, it doesn't matter where in the world you live.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on August 22, 2018
If you CONFUSE the listener, you LOSE the listener. And the scary thing is... your songs might be confusing and losing your listeners without you even knowing it.
First off, does it really matter if the listener gets a little lost and confused by your song? If it's hooky and has some cool lines, isn't that enough?
NO.
If you're a successful signed artist or writing with that artist, you might have more wiggle room. Or if you're an artist in a different genre. But if - especially if - you're a country songwriter, you need to communicate CLEARLY in your songs. I've had an A&R rep turn off songs and "pass" because they "got a little confused in the 1st verse." Getting a song on an album is hugely competitive. And having your song be a "little confusing" may be just enough reason for the artist or label to turn down your song.
Don't give the artist or label a reason to turn down your song.
Also, if the song somehow makes it through the gatekeepers and hits the listeners' ears, it's not going to be as successful as it could've been. It won't connect with listeners' emotions as deeply as it should. If I have to decode what's going on in your song or ask myself what just happened or what you're singing about, I end up "in my head." But that's not where my emotions are. You want the listener to be "in the heart" NOT "in the head."
So why would you write, record and pitch a confusing song? Well, that's the scary thing. You might not even know your song is confusing. You might listen to it and it makes perfect sense- to you. You read the lyrics, and they make perfect sense- to you. But your listener may cock their head to the side and say, "huh?" If that's the case, your songs may suffer from...
The Curse Of Knowledge
This is when you know what happens in the story, or you know what the song is about, but that knowledge doesn't end up on the page. Since you know all the details, you can fill in any lyrical blanks in your own mind. But your listener can't.
The listener only knows what you actually write into the song.
The curse of knowledge is kind of like making your listener listen to one half of a phone call. You know the whole conversation but the listener doesn't. They're just confused and frustrated, waiting for you to hang up so you can tell them why you were so excited, sad or whatever.
Basically, you're leaving out vital pieces of information that your listener needs in order to connect with and understand your song.
So how do you overcome the curse of knowledge in your songwriting?
Sometimes it helps to put the song away for a while before coming back to it with fresh eyes and ears. Practice helps. Write more and more songs and keep asking yourself, "Is all the necessary information ON THE PAGE?"
But it can still be tricky to catch the curse of knowledge. Even playing it for friends and family may not be good enough. Maybe, since they know you, they'll know what you're talking about. Or they'll understand the basic point of your song without pointing out the "small confusions" which are "cut-killers" on a professional level.
Sometimes you need to play your songs for a professional.
And if you're ready to take a shot- to play your song for a pro, I have a cool opportunity coming up for you.
On September 25, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, John Ozier of Ole Music in Nashville, TN. John has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher and have him hear YOUR song! And since it's an online event, it doesn't matter where in the world you live.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on August 15, 2018
I’m nothing special.
There’s no big obvious reason for the moderate success I’ve had in the music business. I’m not a musical child prodigy. I wasn’t born into a music biz family. I don’t come from money or connections. I’m not even from Tennessee.
I’m just the son of two school teachers. I grew up in Batesville, Arkansas- by no means a musical hotbed. I don’t have natural musical talent. (I sing like a horse and haven’t picked up a guitar in years.)
I was never handed the songwriting golden ticket.
In spite of all that, I’ve been able to earn some success in the music business. I’ve had a top 5 hit in the US, a #1 Single Of The Year in Canada, 3 publishing deals, and cuts by artists including Alan Jackson, Lady Antebellum, Randy Travis, and Joe Nichols.
That’s not Hall of Fame success, but’s it more than a lot who try their hand at songwriting. But I’m nothing special. And that’s good news for you. Why?
Because you’re probably nothing special, too.
Odds are that, like me, you weren’t a child prodigy who is amazing at everything. You probably weren’t born with music industry connections, either.
So if I can have some success, why not you?
God gives each of us certain talents. Mine is a knack for words. I’ve always loved playing with language. I didn’t choose that gift- it was given to me.
But what I could control was how hard I worked, how I didn’t give up, and how I took bold action.
Those aren’t natural talents. Those are choices. Choices YOU can make, too.
Are you ready to make choices that give you a better chance at success? Are you ready to make a choice to get off the bench and get in the game?
If you're ready to take bold action, I have a great opportunity for you.
On September 25, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, John Ozier of Ole Music in Nashville, TN. John has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher and have him hear YOUR song! And since it's an online event, it doesn't matter where in the world you live.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on August 08, 2018
Most songwriters can't seem to get a music publisher's attention.
They're simply invisible, or at least it feels that way. And maybe your songs are good. Maybe they're really good. But that doesn't matter much if you're missing the other key things you need to get on a publisher's radar.
You see, publishers are surrounded by songs and songwriters. They find them at writers nights, they meet them at workshops, they often meet with new writers sent to them from PROs, other publishers, and friends. Basically, they listen to songs and meet with songwriters. All. Freaking. Day.
Publishers are drowning in songs and songwriters. And you're offering them a cup of water.
So, how do you get publishers to notice YOU and YOUR SONGS?
REACH & FREQUENCY.
Before a publisher can even form an opinion of you as a songwriter, he or she must know you exist. And they'll never know you exist if you don't reach them.
There are several ways to reach a publisher. You can ping them on social media with something kind or helpful. (Don't be a taker.) You might meet them at a workshop or event such as Songwriting Pro's Play For A Publisher event. Maybe they hear your name from another songwriter or see it on a lyric sheet as they listen to one of your songs. Maybe they'll see you at a writers night or shake your hand at an industry function.
You've reached the publisher and you've gotten their attention for a second, a minute, or even an hour. But it's not enough.
Even if they like you. Even if they like your songs. You walk out of that room, and "poof" - you're invisible again. They'll have another meeting, go to another writers round or hear another batch of good songs.
You need frequency. So get your frequency on.
You need your name, face and/or songs to reach that publisher again. And again. And again. You need to reach that publisher with enough frequency that they go from "I'm sorry... have we met?" to "What's your name again?" to "Yeah, you wrote that song about blah blah blah" to "Hey, Joe! Great to see you again! How ya been?"
You have to be patient. But don't be so patient that you only reach out to them every other year.
You have to be persistent. But don't be so persistent that you call them every other day.
So, what's the right frequency? I can't tell you that. It's going to be different for each songwriter and each publisher. But I do know this: If your songs are really great or really horrible, it won't take nearly as long for the publisher to remember and form an opinion of you. So if you're really, really bad, you should probably focus on your craft before worrying about finding a publisher.
But if you ARE ready to reach a publisher in a friendly setting- on a personal level- without your songs being judged- I have a great opportunity for you.
On September 25, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, John Ozier of Ole Music in Nashville, TN. John has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher and have him hear YOUR song! And since it's an online event, it doesn't matter where in the world you live.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on August 01, 2018
Is it necessary to go to a school (college or university) to learn how to write songs? Or is there a faster, better way?
Well, you'll be happy to hear that no, you don't HAVE to go to a college or university and get some sort of songwriting degree.
I don't have anything against schools or schooling (in fact, I stayed in college and got my MBA), and I know some very talented, successful musicians who went to well-known music schools. But those schools are very expensive. These days, a great music eduction doesn't have to be thousands and thousands of dollars per year.
I didn't go to music school. I went to business school. All my songwriting training was through self-study, books, cowriters, and workshops. It took time, but I eventually learned enough to get some cuts, hits, and publishing deals.
You can learn faster than I did - if you're willing to focus.
There are so many more ways these days to learn songwriting - from anywhere in the world - than there were when I was back in Arkansas. Heck, I'm putting out valuable FREE content every week here at this blog and through my podcast (www.theclimbshow.com).
There are also paid courses and coaching where you can learn from the pros. You get personalized attention for just a fraction of the cost (and time) of one semester of a college. Plus, you can focus on what you REALLY want to learn. (In other words, you don't have to take math classes if you don't want to.)
So if you have the ability to read this blog (and you obviously do), there is no excuse for you to put off your music education.
And believe me, if you want to get paid for your songwriting and music skills, you NEED to invest in yourself and your craft. After all, many of the people competing against you for a spot on a record, on a stage, or on a record label ARE investing in themselves.
A little time and/or money invested in your craft can save you years and thousands of dollars of costly mistakes down the road.
Music schools aren't a bad thing. But a lot of you out there can make big gains in your songwriting and music career in a lot less time while spending a lot less money. If you feel like you're ready to get some more personalized, focused attention, I have a great opportunity for you.
In August, I'm hosting not just one but two "Know The Row" events! The first, on August 14, is with Scot Sherrod of Rare Spark Media. This is your chance to hang out online and ask YOUR questions to a real hit music publisher. Scot has had his hand in several hit country songs and film/tv placements, and his current roster includes rising country star, Walker Hayes ("You Broke Up With Me" and "Craig"). Then, on August 16, our guest will be rising Canadian country star, Aaron Goodvin. And Aaron isn't just an artist- he's also a pro songwriter with cuts by Luke Bryan and more. This is your chance to ask an artist how they made it and what they look for in cowriters and songs (or whatever else you want to ask).
This is YOUR chance to sit down face-to-face (online) with a real-deal music publisher, a real-deal artist and songwriter and I hope you won't let it slip away.
Here's the deal. You can join us online from anywhere in the world on August 14 & 16. And "Know The Row" events are FREE to members of Frettie.com! (But don't worry- a small number of tickets have been made available in case you don't want to take advantage of all of Frettie's membership benefits.)
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on July 25, 2018
Success is not an overnight explosion- regardless of how an “overnight success” might be viewed by others. No, success is usually more like water wearing away a stone, drip by drip. It’s little things making a big difference over time.
So let’s look at the D.R.I.P. method of success:
D - Discipline
Discipline is doing the difficult things, things which require discipline in the first place. It’s getting up early to write. Or skipping your Netflix time to work on some new chord progressions. It’s making that uncertain phonecall.
R - Repetition
It’s the repetition of doing the right things consistently- not just once or sporadically. It’s doing the right things over and over again, day after day, month after month, and year after year. It's consistently sitting down to write, to make connections in the music business, to work on your craft.
I - Integrity
Being dishonest or dishonorable might win in the short term (sometimes). But the music business is a relationship business, and word will get around. If you don’t have integrity- if people don’t feel they can trust you, you will become isolated, and you won’t have those important strong relationships. And nobody becomes successful alone. We all need relationships. And a lack of integrity kills relationships.
P - Purpose
Purpose is two-fold. First, you need to know why you’re running this music-business-marathon. If you don’t have a strong sense of purpose, it’s very easy to quit. Secondly, you must act with purpose. Keeping your purpose (goals, etc.) in mind helps you figure out what the important tasks are- the tasks which require disciple, repetition, and integrity. Without purpose, you're like an octopus on roller skates- there's a ton of activity, but you're not going anywhere.
What about you? Are you consistently investing in your craft, in making relationships, and moving toward your musical goals? If you haven't been, or if you're ready for that next step, I have a great opportunity coming up.
On August 14, I'm hosting a "Know The Row" event with Scot Sherrod of Rare Spark Media. This is your chance to hang out online and ask YOUR questions to a real hit music publisher. Scot has had his hand in several hit country songs and film/tv placements, and his current roster includes rising country star, Walker Hayes ("You Broke Up With Me" and "Craig.")
This is YOUR chance to sit down face-to-face (online) with a real-deal music publisher, and I hope you won't let it slip away.
Here's the deal. You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time. And "Know The Row" events are FREE to members of Frettie.com! (But don't worry- a small number of tickets have been made available in case you don't want to take advantage of all of Frettie's membership benefits.)
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on July 18, 2018
"Show me your friends, and I'll show you your future."
Yes, I know that probably sounds like something your mother would say. But I think it’s true. And, if it IS true, it really matters who you let into your inner circle.
Consider these thoughts:
“You are the average of your 5 closest friends.”
“A person seldom outperforms his inner circle of friends.”
“People tend to earn within 10% of what their friends earn.”
“Birds of a feather flock together.”
Now consider YOUR inner circle- your closest friends, family, cowriters and music business connections. If the above statements are true, then it really matters what type of people these folks are.
If your friends are lazy songwriters, you’re more likely to be a lazy songwriter.
If your inner circle is full of negative complainers, you’ll end up being one, too.
If your close friends aren’t pitching songs or networking, you won’t do as much of it, either.
However, if your friends are serious about becoming better songwriters, you’ll become a better songwriter, too.
If your inner circle is full of positive, motivated people, you’ll stay more positive and motivated, too.
If your close friends are pitching songs and networking, you’ll likely do more of that, as well.
In light of this, are there changes you need to make? Obviously, you shouldn’t leave your family. Nor am I saying that you should never talk to your “happy-with-mediocrity” friends again. But I am encouraging you to seek out and start spending time with the go-getters, the achievers, the folks with positive, can-do attitudes. After all, the people closest to you are the ones who rub off on you the most.
Do you want to rub shoulders with people who have the "pro" mindset? Are you not even sure what the "pro" mindset is, but you want to hear directly from a real pro? If that's you, I have a great opportunity coming up.
On August 14, I'm hosting a "Know The Row" event with Scot Sherrod of Rare Spark Media. This is your chance to hang out online and ask YOUR questions to a real hit music publisher. Scot has had his hand in several hit country songs and film/tv placements, and his current roster includes rising country star, Walker Hayes ("You Broke Up With Me" and "Craig.")
This is YOUR chance to sit down face-to-face (online) with a real-deal music publisher, and I hope you won't let it slip away.
Here's the deal. You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time. And "Know The Row" events are FREE to members of Frettie.com! (But don't worry- a small number of tickets have been made available in case you don't want to take advantage of all of Frettie's membership benefits.)
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
If you feel trapped in your day job- if you feel like you’re locked in a prison, I recommend watching “The Shawshank Redemption.” There is an important lesson in there for folks trying to escape their day jobs for the freedom of their dream jobs.
After years behind bars, Tim Robbins’ character, Andy, was finally able to tunnel his way out. No, I’m not suggesting you sneak a breakroom spoon into your cubicle and dig when your boss isn’t looking. The lesson is not about the tunneling itself, but how Andy went about it.
He was extremely patient and radically persistent.
You see, Andy knew he couldn’t just make a break for the wall and try to climb over. He would’ve gotten shot. He also knew that he couldn’t tunnel out in one night. There was just an impossible amount of work to do.
Andy knew he could only dig and remove a little bit of dirt a day without getting caught. So that’s what he did. Day after day, month after month, year after year, he dug a little dirt and spread it around the prison yard.
I’m sure there were times he must’ve been so frustrated that he was tempted to scream and hammer at the tunnel wall, desperate to finally get out! But he knew that would only lead to him getting caught- and getting caught meant, at the very least, changing cells and having to start all over.
And maybe that’s how you feel at your day job. You’re frustrated because you feel trapped, yet you can only do a little at a time to escape. Some days you want to walk into your boss's office quit your day job right then... but you can’t. Maybe you don’t have any savings built up. Or maybe you have a family that is depending on you to bring home a steady paycheck, and you know you can’t let them down.
Or instead of quitting, you’re tempted to lock yourself in your writing room every night after work and polish your songwriting chops or stay out late at songwriter nights every night to network. But you have a spouse and children who need you, so you can’t.
So what do you do? You do what Andy did.
You plan your escape tunnel. Decide how much and how often you can dig without causing certain financial or family ruin. (Notice I said “certain” not “possible.” There will always be risk in chasing your dream, but you don’t have to be suicidal.) Then you start digging at that pace- day after day, month after month, year after year. Dig as long as it takes. Adjust your pace when you can.
Yes, it’s going to test your patience. Yes, it’ll feel like it’s taking too long. But be patient. Yes, it will take longer than the mad scramble up the prison wall, but it’s worth it to dig a tunnel big enough to bring your family and a little money with you on your escape.
If you want to get out of your day-job-prison faster, to tunnel faster, it sure helps to have some relationships in the music business- and to get some real advice from some real professionals. And if you're ready to start building relationships in the music biz, I have a great opportunity coming up for you.
On August 14, I'm hosting a Know The Row" event with Scot Sherrod of Rare Spark Media. This is your chance to hang out online and ask YOUR questions to a real hit music publisher. Scot has had his hand in several hit country songs and film/tv placements, and his current roster includes rising country star, Walker Hayes ("You Broke Up With Me" and "Craig.")
This is YOUR chance to sit down face-to-face (online) with a real-deal music biz professional, and I hope you won't let it slip away.
Here's the deal. You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time. And "Know The Row" events are FREE to members of Frettie.com! (But don't worry- a small number of tickets have been made available in case you don't want to take advantage of all of Frettie's membership benefits.)
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on July 04, 2018
If you have the dream of being a full-time songwriter, singer/songwriter, or other type of creative, I know it’s easy to think of your day job as a prison. You feel chained to your desk, or to the sales floor, or to the job site all day. You feel imprisoned by the 8-to-5 because you aren’t free to do what you love all day. This view of your day job as a prison understandably breeds resentment and despair.
But what if there’s another way to look at it? What if, instead of being your prison, your day job is your patron?
It’s never been easy making a living from art. Way back when, artists used to find a rich person to provide financial backing so they could work on their art. This person was known as a "patron." Of course, these days I wouldn’t expect to find someone to give you room and board just so you can write songs. (Of course, there are a few publishing deals out there, but they don’t usually pay enough to feed a family.)
So let your day job be your patron.
Let your day job pay for the roof over your writing room and the coffee in your mug. Let your job during the day fund your art on nights and weekends. Get paid while you build connections in the music business. Let your boss pay for your demos- he won’t even ask for your publishing!
I know, I know. It’s easy to resent that your day job doesn’t allow you time to write as much as you want. Believe me, I’ve been there, and it pretty much sucks.
But, in reality, your day job DOES buy you more time. It buys you time to learn and get better while there’s very little to lose by failing. It buys you time to work on your craft. It buys you time to gather your cowriting crew. It buys you time to connect with baby artists. It buys you time you need.
It usually takes years to hone your craft. It takes years to build a strong network. Those are years you won’t have if you quit your job with little or no savings and only a few songs in your catalog. You’ll probably starve. And I know from experience that relying completely on songwriting to feed your family is extremely difficult. And I’ve had hits and publishing deals!
I’m not trying to discourage you from ever making “the leap.” That’s ultimately between God, you and your family. But if you have to be in a day job for now, I want to open your eyes to a new way of thinking about it. I want to help you have a perspective on it that will help you persist and grind until you can make that leap to being a full-time creative.
I encourage you to use this time to improve your songwriting, build relationships, and start growing your business.
Turn your prison into your patron.
If you're ready to start building some relationships in the music business, I have a great opportunity coming up for you.
On August 14, I'm hosting a Know The Row" event with Scot Sherrod of Rare Spark Media. This is your chance to hang out online and ask YOUR questions to a real hit music publisher. Scot has had his hand in several hit country songs and film/tv placements, and his current roster includes rising country star, Walker Hayes ("You Broke Up With Me" and "Craig.")
This is YOUR chance to sit down face-to-face (online) with a real-deal music biz professional, and I hope you won't let it slip away.
Here's the deal. You can join us online from anywhere in the world on Tuesday, August 14, 2018 from 7pm-8pm Central time. And "Know The Row" events are FREE to members of Frettie.com! (But don't worry- a small number of tickets have been made available in case you don't want to take advantage of all of Frettie's membership benefits.)
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on June 27, 2018
It's easy to listen to current Top 40 country and pop and wonder, "Where have the great story songs gone?" And where are the songs that make you think? Are all the music fans REALLY this stupid and shallow these days?"
I love a good story song. I love those songs that grab you right away, then keep your attention for a killer payoff 3 (or 4) minutes later. "The Gambler," cut by Kenny Rogers. "The Devil Went Down To Georgia" and "The Legend Of Wooly Swamp," cut by Charlie Daniels. "Where Have You Been" by Kathy Mattea. "The Thunder Rolls" and "That Summer" by Garth Brooks. Killer, killer, killer.
Where are the NEW story songs on the radio?
It's not like writers aren't writing quality story songs. Heck, I have several available for cutting RIGHT NOW (hint, hint- if you're reading this, Garth). But artists aren't cutting many story songs these days. And why aren't listeners demanding more story songs? Are they too dumb to recognize great songs? Are they too dumb to follow stories?
Listeners aren't dumb. They're distracted.
Man, I remember getting a new album and cranking it up - either keeping my eyes closed or reading along with the liner lyrics. You might remember doing that, too. Heck, you might still do that. After all, we need music like most people need air and water. Music will get our full attention.
Music never gets the full attention of most people these days.
Think about it. How much can you connect with a story song while you're texting, driving, eating, doing homework, making out, on social media, gaming on your phone, or any of the other billion things we can be doing while listening to music?
Ever try to talk to someone while they're also checking their phone? Annoying, isn't it? You know they're not REALLY listening, even if they are technically hearing you.
If our own friends and family won't give us their full attention, how can we expect strangers to give our songs their full attention?
I think that's why a lot of songs these days don't require much from the listener - either in thought or attention span.
In country music, production is being asked to carry more and more of the weight of the song, and there's less reliance on ideas and lyrics. (Of course, that's a general statement, and there are examples to the contrary.)
Many lyrics are built where the listener can zone in and out and still get the point of the song.
They won't really be confused. After all, "Girl, get your cutoffs on my tailgate" doesn't really need an intricate story.
Does this mean you should only write shallow songs? No. My suggestion is that you present your deep idea in a way that is easy to "get" by the short-attention-span audience. My kids never have a problem eating their sweet gummy vitamins. Why? Because they taste good. They want candy. They need vitamins.
Solution: give them vitamins that look and taste like candy. One cowriter friend of mine calls it "putting cheese on the broccoli."
Give the listener what they NEED, wrapped in what they WANT.
Part of this can be done with tempo. If you have a "message song," try NOT to write it as a ballad. See if you can give it some tempo. If it's catchy, they listener might like it even if they NEVER hear the deeper message.
Another way is to wrap it in a simple story or in simple wording. Don't use "$5 words." Use simple words. Use simple phrases. It's hard to explain, but don't present your song as "this is really important, so you'd better listen closely because it will change your life."
Of course, some ideas may NEED a serious presentation, and that's fine. But it's usually a good idea to see if you can wrap your vitamins in sweet gummy goodness.
Try presenting a deep or positive message in a shallow way.
Still not sure what I mean? Here's an example of a recent song I wrote with Steve Leslie and Zarni de Vette. We take a positive message (praising a woman's inner qualities) and wrap it in fun. See what you think.
LOVE YOUR BODY (Baxter, Leslie, de Vette)
Knowing simple things like this is how you write market-smart songs that have a better chance of getting recorded by a major artist. If you want to learn more about how to write market-smart songs, I have a great opportunity coming up for you.
In July, I'm hosting Songwriting Pro's "Building A Hit: From Blank Page To Finished Lyric" online workshop series. This 4-week series will help you get your best song ideas ever, write them better than ever, and actually finish them! It's a game-changer. And since it's an online event, it doesn't matter where in the world you live. But space is limited, and the deadline to reserve your spot is Sunday, July 1.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on June 20, 2018
Sometimes we hit a roadblock with our song because we’re writing from the wrong (or less than best) point of view.
Let’s say you’re writing about domestic abuse. (I know, I know. It’s an uplifting topic, but bear with me.) Consider all the characters your singer could be:
The abusive husband.
The abused wife.
The child who is a witness / victim.
The neighbor who overhears them.
The police officer called to the scene.
And these are only some of the PEOPLE who could tell the story. If you get a little further out there, your singer could even be:
The wedding ring.
The family dog.
The hole he punched in the wall.
The bathroom mirror where she puts on makeup to cover the bruises.
The angel who comforts the child hiding under the bed.
God, watching the whole thing.
Or your singer could simply act as a reporter who says, “he did this, she did that,” and isn’t involved in the story as a character.
The options are pretty limitless. And each point of view will bring a different energy to your song. Feel free to experiment with the point of view in your song- you might just find something amazing.
What about you? What is the most interesting point of view you've used in one of your songs? I'd love to hear from you!
Knowing simple things like this is how you write market-smart songs that have a better chance of getting recorded by a major artist. If you want to learn more about how to write market-smart songs, I have a great opportunity coming up for you.
In July, I'm hosting Songwriting Pro's "Building A Hit: From Blank Page To Finished Lyric" online workshop series. This 4-week series will help you get your best song ideas ever, write them better than ever, and actually finish them! It's a game-changer. And since it's an online event, it doesn't matter where in the world you live. But space is limited, and the deadline to reserve your spot is Sunday, July 1.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on June 13, 2018
You should probably be writing more uptempo songs than you already are.
Why? Let me tell you. Tempo is the speed of your song in beats per minute, or bpm. As a general principle, uptempo songs are in higher demand than midtempo or ballads. Therefore, your best bet to get a cut is by writing great uptempo songs.
Knock knock. Who's there? Math.
Look at the albums by the top artists. Most of their songs are mid- and uptempo. There’s usually only one or two true ballads on most albums these days. Radio mostly plays uptempo and midtempo. They want the listeners to feel good and stick around through the commercials. And, finally, artists want their shows to be fun- they want the crowd on their feet, singing along and having a great time so they buy a T-shirt at the merch table.
An artist works hard to get everybody on their feet at a show. Then he plays a ballad, and what does everyone do? They sit back down. Now the artist has to work hard to get them on their feet again. Because of this, most artists don’t play many ballads in their shows.
Shows, radio, and records all rely on tempo.
Therefore, it’s wise give your song, if possible, a faster tempo.
Here’s another reason to lean toward writing tempo. A lot of people listen “beat first.” This means they don’t pay attention to the lyrics of the song at first. They listen for a good beat or a cool groove first. Then, if they like the beat or groove, they MIGHT get around to connecting with the lyric.
Your song might have a great idea and a powerful lyric, but “beat first” listeners will likely never know. Writing songs with a good beat and a good lyric helps your song connect faster to both beat-first and lyric-first listeners.
Knowing simple things like this is how you write market-smart songs that have a better chance of getting recorded by a major artist. If you want to learn more about how to write market-smart songs, I have a great opportunity coming up for you.
In July, I'm hosting Songwriting Pro's "Building A Hit: From Blank Page To Finished Lyric" online workshop series. This 4-week series will help you get your best song ideas ever, write them better than ever, and actually finish them! It's a game-changer. And since it's an online event, it doesn't matter where in the world you live. But space is limited, and the deadline to reserve your spot is Sunday, July 1.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on June 06, 2018
As songwriters, we sometimes to leave too much information IN our heads and OFF of the page.
This is a big mistake, and it can leave our listener either confused or emotionally disconnected from our song. So why do we do this? Maybe we know the story too well. Maybe we’ve lived the story, and our memories fill in the blanks that are in the lyric. Or we don't know the story well enough, and we end up with a vague, disjointed story. Either way, our lyrics can sometimes just tell about the story without actually giving us the story.
You might say, “Last night, you made me cry,” without telling us that he made you cry BECAUSE he “looked at me with cold blue eyes like I was some stranger he was telling goodbye.” It’s up in your head- you see the picture when you sing that line. But the listeners won’t see that. They can’t. They’re not in your head.
Don't just TELL the emotion. SHOW the cause of the emotions.
One way to help build the habit of showing-instead-of-telling is to “write the video.” This is not actual storyboarding, where you frame each shot and decide on all the edits and cuts. It’s just writing down what you see in your mind’s eye when you’re thinking about the story in your song. It can be stream-of-consciousness, or it can be more structured. Memories or make believe, it doesn’t matter. Just capture the sights, sounds, tastes, touch and smells of your story.
This process is good for a few reasons:
1. It gives you a stack of images to use in your lyrics.
Now you can pick out the coolest, most true images for your song. You're not stuck just using what you can think of in the moment. Instead of "well, that's the best I could think of at the time," you get to say "that's the best I could think of. Period."
2. It helps you really solidify your thoughts.
Instead of vague notions you’re trying to capture in your song, you’ve already sketched out your story. Now, instead of trying to come up with the next rhyme, you’re more likely to think about what the thought needs to be. And a cool thought is much more important than just a cool rhyme.
3. It helps you reach past cliche’ images.
It might be easy to just write about her “feet on the dashboard” because that’s what country songs say (and you’re just focused on finding a line that sings well). However, if you spend more time on the story without being constrained by “next line syndrome,” you’re more likely to say, “Well, no. Her feet weren’t on the dash. One leg was curled up under the other.” That’s way more original and more believable.
So, remember. Focus on giving the listener the cause of your emotions, not just your emotions. Write the video to your song, and you’re more likely to see the video OF your song someday. Oh, and if you do dream of getting your songs recorded by a major artist, getting cool videos made and all that, I have a great opportunity coming up for you.
In July, I'm hosting Songwriting Pro's "Building A Hit: From Blank Page To Finished Lyric" online workshop series. This 4-week series will help you get your best song ideas ever, write them better than ever, and actually finish them! It's a game-changer. And since it's an online event, it doesn't matter where in the world you live. But space is limited, and the deadline to reserve your spot is Sunday, July 1.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on May 30, 2018
Okay, you know the drill. You email a music publisher, and you wait for a reply. And you wait. And you wait. And then you say bad words and wait some more. Man, I've been there, too- and it just stinks.
You're left to wonder why Publisher X isn't getting back to you, and your imagination goes to work. And songwriters can have some pretty active imaginations!
"She hates me."
"He's a blankety-blank-blank jerk!"
"The world is against me."
"They stole my song and deleted my email!!!"
Honestly, the truth is probably nowhere near that nefarious. Let's take a look at some of the more likely culprits:
The publisher never opened your email.
Maybe the publisher has a "no unsolicited email" policy for legal and waste-of-time reasons, so they don't open any email from unknown writers. Or maybe they have an assistant who cleans out any emails that don't look legit. Or maybe he's just so busy that he just never has time to get to emails from unknown senders. That's why cold emails have such a low response rate.
You're unprofessional.
An unknown sender putting "HERE'S A #$%ING HIT FOR KEITH URBAN" or "Million Dollar Idea!" or "I have lots of hits for you!" just screams "unprofessional." Or maybe you tell your whole life story in the body of the email. Why would a busy pro want to waste his or her time reading so much from a complete stranger? Even if the song is good, why deal with an unprofessional when you can get plenty of great songs from trusted professionals?
You're creepy or scary.
If your email somehow gets opened, but you come across as crazy or a stalker, forget it. If you complain about how other folks have stolen your songs, you look like a lawsuit waiting to happen. Delete. If you ask him how his 3-year-old's birthday party went at Chuck E. Cheese- AND HE DOESN'T KNOW YOU- he's filing you in the "Read this in case I disappear" folder. If you tell her you're about to lose your house if you don't "sell a song" right now, she doesn't want to be the one to send you over the edge. Remember:
You want to be the solution to an industry pro's problems- you don't want to add to them.
Your song just wasn't that good.
Maybe your song is awful, but they don't want to tell you that. (Who likes to say that? Especially when you might show up in their parking lot with a van and a bottle of chloroform?) But they also don't want to give you false hope and invite more awful songs (which will make them want to use the chloroform on themselves.) Or maybe your song wasn't bad, but it just isn't great or great for the album/artist in question, and they're just busy.
The publisher simply forgot.
It happens. Maybe they wanted to take a second listen later and forgot. Or maybe they did listen and just forgot to respond. Or maybe they forwarded it for someone else's opinion, and it got lost in the inbox. Hey, humanity happens.
So what do you do about this? Well, stop being creepy and unprofessional, for one thing. Not being creepy is ALWAYS a good option. And here's another good option: be there when the publisher listens and get their feedback immediately. Easier said than done, right? Well... maybe not.
On June 19, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, Tim Hunze of Parallel Music in Nashville, TN. Tim has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher, have him hear YOUR song, and get immediate feedback! And since it's an online event, it doesn't matter where in the world you live. But the deadline to enter your song is May 31.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on May 23, 2018
“Shambition”
– noun. “When you talk like you have songwriting ambition, but you work like you couldn’t care less.”
It’s time to take a hard look in the mirror.
Statements of ambition are all over social media. Writers and artists talk about hustle. They talk about grind. They talk about chasing the dream. They share quotes over pictures of lions. But then they sit down and binge watch Netflix. That’s not ambition. That’s shambition.
It’s easier to CATCH the newest season of your favorite show than it is to CHASE your dreams. But it sure isn't as productive.
It’s time for your reality check. Are you writing checks with your mouth (or your Instagram) that your work ethic can’t cash? Is your hustle as big as your dreams? If it isn't, your dreams probably are NOT going to come true.
Are you happy just playing the part of struggling songwriter or a songwriter “on the rise?” Is the illusion more comfortable than the grind it takes to make real progress? Do you like it when people say you’re so brave for chasing your dreams… but you’re secretly too scared to pick up the phone and call a publisher?
Right now, there’s a certain amount of comfort in struggle. Some people will admire you for your big dreams and for not giving up.
Maybe you’re a little TOO comfortable with the struggle.
Struggle might just be your comfort zone. After all, right now you have a psychological escape hatch:
“If I never REALLY try, I never REALLY fail.”
But is that who you want to be? Fear and comfort are your enemies. Don’t let either one have too much space in your life.
So… are you guilty of “shambition?” Are you talking the talk but not walking the walk? When was the last time you finished a song? Or played a new song for somebody? Or contacted a publisher or a potential cowriter? When was the last time you took a step out of your comfort zone?
I’m not saying you’re a fraud if you don’t quit your job tomorrow, pack up the car and move to Nashville, New York or LA. I’m not saying it’s time to carpet bomb Music Row with your demo. But I bet it’s time for you to do something you’ve been putting off.
Replace #Hustle with REAL hustle.
Not sure what your next step is? Well, maybe it’s time to let a music industry pro hear your songs. Maybe your songs are ready. Or maybe you’re just ready to step out and take a chance. If that sounds like you, I have a cool opportunity coming up.
On June 19, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, Tim Hunze of Parallel Music in Nashville, TN. Tim has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher and have him hear YOUR song! And since it's an online event, it doesn't matter where in the world you live. But the deadline to enter your song is May 31.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on May 16, 2018
You might be writing great songs, but you won’t get them recorded if you don’t know who’s actually looking for songs to record. It’s hard enough just to write great, commercial songs. Finding out who’s looking for song like yours is a whole ‘nother ballgame.
Here’s how pro songwriters know who’s looking for songs.
1. Personal relationships.
If you personally know an artist, producer or label A&R, they can tell you if they’re actively listening for a project. And they MIGHT even know what they need and when they need it. But remember, any info is always subject to change at a moment’s notice.
2. Industry chatter.
If you can’t get the scoop directly from the horse’s mouth, publishers and other songwriters are always talking. Keep your ear to the ground, and don’t be afraid to ask questions.
3. Industry pitch sheets.
RowFax is a paid subscription service which lists projects, points of contact, etc. It might even say what they’re looking for (usually “hits” or “great songs” or “uptempo positive”. There are also a few inside-the-industry tip sheets, too. But you have to know somebody to get them. Now, these definitely carry some incorrect info- a buddy of mine was on there, and for a long time it listed the incorrect producer and music description. So take it all with a grain of salt. Oh, and tip sheets don’t provide contact information- you have to get that some other way.
4. Liner notes.
If an artist is doing well, you know they’re gonna make another album. And they’ll probably be looking real hard when they’re on the second or third single from their current album. Check the album’s liner notes for the name of their label and producer, then do some research for how to find them. Of course, the artist may be changing producers for the next album, so you never know for sure.
5. Music publishers.
If you’re signed to a publishing deal or are friends with a music publisher, they’ll know who’d looking for songs and how to get songs to them. Correction. If they’re a LEGIT music publisher, they’ll know who’s looking and how to get songs to them. If you have the right song, they’ll get it to the right ears.
I hope that helps. I know there’s no magic bullet, but that’s just the way it is. That’s one reason why writers that have success can keep it going more easily- they have more accurate information because of their connections. Good luck out there.
Oh, and I can help you meet a legit music publisher.
On June 19, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, Tim Hunze of Parallel Music in Nashville, TN. Tim has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher and have him hear YOUR song! And since it's an online event, it doesn't matter where in the world you live.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Songwriters are a sick bunch of folks.
And, no, I don’t mean we’re crazy for doing what we do. (Okay, maybe a little, but that’s not what I’m talking about today.) What I mean by sick is that we have a lot of aches and pains that really bother us. As a pro songwriter and teacher, I’ve had a lot of writers come to me over the years looking for a way to heal their pain.
Songwriter pains include:
*I’m not getting cuts.
*I can’t find good cowriters.
*Publishers won’t set me up with cowrites.
*My ASCAP/BMI rep won’t introduce me to publishers or cowriters.
*Publishers won’t give me a meeting.
Songwriters are often tempted to treat each of these conditions as a separate illness, but I think that’s usually a mistake.
These are just symptoms. The disease is having songs that aren’t good enough.
We can treat the symptoms all day long, but until we address the disease itself, your songwriting success will be limited. For example, we might be able to network our backsides off and finally talk our way into a cowrite with a pro writer - but so what? He or she will figure out pretty quickly that our songwriting isn’t up to snuff, and we probably won’t get a second cowrite.
But if we write strong songs, it’ll be a lot easier to get a pro to sit down to write. And when we prove our skill again- in the writing room- it’ll be easier to get a second cowrite.
It’s hard to think of a “songwriter symptom” that isn’t dramatically helped or fixed completely by writing better songs.
Want your ASCAP or BMI rep to start introducing you around? Write better songs.
Want better song evaluations? Write better songs.
Want better cowrites? Be a better cowriter yourself- by writing better songs.
Want cuts? Write incredible songs, which lead to more relationships in the biz which lead to more opportunities to write more incredible songs, which put you in a much better position to get cuts.
Treat the illness and the symptoms become a lot less severe or just go away on their own.
If you want to write better songs, one great way to do that is to get professional feedback. And here's a great opportunity for you to get that pro feedback.
On June 19, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, Tim Hunze of Parallel Music in Nashville, TN. Tim has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher and have him hear YOUR song! And since it's an online event, it doesn't matter where in the world you live.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on May 02, 2018
If your goals are like mine- getting cuts and hits, then your best bet is by writing well-crafted COMMERCIAL songs. Here are six simple (though not always easy) ways to make your songs more commercial.
1. Write uptempo.
Learn to write tempo! If you don’t believe how important this is, count the ballads on the radio for an hour. Or listen to a few of the current top albums and count the ballads. Knock, knock. Who’s there? Math. Math, who? Math says major artists record a lot more uptempo and midtempo than ballads.
2. Write positive.
If you’re like me, your natural inclination is to write sad/negative. When I come up with a hook, my first instinct is something sad. Maybe for some reason pain is just more interesting than happiness. But not for radio. Radio likes happy. Knock, knock...
3. Write from the me-to-you point of view.
“I love you” is just more emotionally powerful than “he loves her.” The artist wants to connect with the audience, and “I” to “you” is a good way to do that.
4. Write about love.
Love is a deep need. It’s often our greatest joy and our sharpest pain. Nothing is more universal. If you want to connect with a large audience, writing about love is a great way to do that.
5. Write in-the-moment.
The present tense- right now- has more power than the past or the future. “You ARE killing me in that sun-dress” usually beats “you WERE killing me in that sun-dress.” There’s power in the present.
6. Write with imagery.
Don’t tell me how you feel- show me. After all, there are only so many emotions. But there are endless ways to put those emotions into pictures. If you want your song to stand out, writing with interesting, fresh imagery is a great way to do that.
There are obviously many hits that weren’t written in the way I’ve described. But, from both my experience (my own cuts) and observations, writing songs with these six qualities as your default setting will increase the commercial appeal of your songs.
And if you want your songs to get recorded my major artists, here's a great opportunity for you.
On June 19, I'm hosting Songwriting Pro's quarterly "Play For A Publisher" event with hit music publisher, Tim Hunze of Parallel Music in Nashville, TN. Tim has worked with several #1 hit songwriters, and he's landed many, many songs with major artists. This is YOUR opportunity to connect face-to-face with a hit music publisher and have him hear YOUR song! And since it's an online event, it doesn't matter where in the world you live.
CLICK HERE TO GET ALL THE DETAILS AND ENTER YOUR SONG TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on April 25, 2018
Commercially-speaking, positive songs are in higher demand than negative songs. (That’s not a surprise if you listen to the radio.) But what if most of the titles and ideas you come up with are sad/negative? Well, then... I humbly suggest you turn a negative title into a positive idea.
I believe that most titles that sounds negative can be used for a positive song if you’re creative enough.
And if you want to be better songwriter, your job is definitely to be “creative enough.”
Here’s an example. “You Broke My Heart” could mean “You Broke My Heart out of it’s chains, You Broke My Heart of stone wide open so I could love again.” “I Hate You” could be a love song about how “I Hate You took so long to come into my life. I Hate You didn’t grow up next door so I could’ve loved you since I was a kid, etc.”
Same negative titles, new positive angles.
I had an old idea called, “Minutes From A Memory” about a guy that knew his girl was about to leave him and become a memory. Thankfully, my cowriter, Jason Cox, saw it as a guy knowing he and his girl are about to make a great memory.
That’s so much more commercial! As a matter of fact, my publisher at the time liked it enough to pay for a demo of it and pitch it around. That’s a positive result of a positive spin!
I confess to being a negative-first kind songwriter. Maybe pain just just more interesting. Who knows? But I’ve really worked on not settling for a negative idea just because it’s my first impression of the title. Not only are those negative-title-positive-songs more commercial because they’re positive, they’re also more interesting because you have to dig deeper into your idea and twist it more than most writers will. That’a win-win!
Dig deeper. Turn some of your negative titles into positive ideas. Try it. If you don’t like the results, you can always go back to your original angles. There’s nothing to lose, but a whole lot to gain!
Speaking of having a whole lot to gain, here's a great opportunity for you.
On May 24, I'm hosting Frettie's quarterly "Know The Row" event with multi-hit songwriter, Jimmy Yeary. Jimmy's a writer on the CMA and ACM Song of the Year, "I Drive Your Truck" as well as #1 hits for Kenny Chesney, Jake Owen, Rascal Flatts and more. This is YOUR opportunity to connect face-to-face with a hit songwriter and ask him YOUR questions! And since it's an online event, it doesn't matter where in the world you live. And the best news is...
"Know The Row" with Jimmy Yeary is FREE for Frettie subscribers!
If you're on Team Frettie, you get free access to each of Frettie's "Know The Row" events, as well as exclusive access to a ton of other great songwriting resources and events, including replays of previous "Know The Row" events.
CLICK HERE TO JOIN FRETTIE AND ATTEND "KNOW THE ROW" FOR FREE!
If you aren't ready to take advantage of all the great membership advantages of Frettie, you can still buy a ticket.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on April 18, 2018
It’s easy to start chasing rhymes. But it's a big mistake.
This is when you write a line with a setup rhyme and, instead of concentrating on what needs to be said, you just try to get the payoff rhyme to work.
For example, line 2 of your verse says, “You’re the one I love” setting up an “of”-sounding rhyme in line 4. It’s easy to spend lines 3 and 4 just getting to, “Girl, we fit like a glove,” without really stopping to consider what the thought behind the lines should be.
There is never a good time to chase rhymes, but it's especially bad when you do it in the line right before the chorus.
The line right before the chorus is one of the most important lines in your song- it sets up the chorus and helps determine the impact the top of the chorus has on the listener. (In basketball lingo, the last line of the verse or pre-chorus is the alley-oop so the chorus can slam-dunk it.)
But when you chase rhymes, the line before the chorus is trapped into serving the rhyme that comes before it. Instead, it should be following the thought of the line before it AND setting up the chorus. For example, a writer can get too focused on, “The line above ends in ‘blue’ so I have to write the next line so it ends with an ‘oo’ sound.” This can result in a line that’s weaker than it should be.
To avoid this trap, I’ll often figure out the IDEA of the set-up line, but intentionally leave it unrhymed before moving on to the last line of the chorus. I’d rather have the more important line dictate the rhyme of the less important line. This frees me up to focus on finding the strongest idea for the last line of the verse- on finding the best idea and figuring out how to say it. After I have that figured out, I can go back to the set-up line and figure that one out.
Remember: the thought behind the line is more important than the rhyme at the end of the line.
It requires intentionality, discipline and time to build the habit of putting the thought behind the line first. But it’s worth it. It helps your song to be more thoughtful (less surface) and more interesting (less cliche’). Figure out the THOUGHT first, then figure out the rhyme.
If you want to write powerful songs that connect with listeners, I have a great opportunity for you.
On May 24, I'm hosting Frettie's quarterly "Know The Row" event with multi-hit songwriter, Jimmy Yeary. Jimmy's a writer on the CMA and ACM Song of the Year, "I Drive Your Truck" as well as #1 hits for Kenny Chesney, Jake Owen, Rascal Flatts and more. This is YOUR opportunity to connect face-to-face with a hit songwriter. And since it's an online event, it doesn't matter where in the world you live. And the best news is...
"Know The Row" with Jimmy Yeary is FREE for Frettie subscribers!
If you're on Team Frettie, you get free access to each of Frettie's "Know The Row" events, as well as exclusive access to a ton of other great songwriting resources and events, including replays of previous "Know The Row" events.
CLICK HERE TO JOIN FRETTIE AND ATTEND "KNOW THE ROW" FOR FREE!
If you aren't ready to take advantage of all the great membership advantages of Frettie, you can still buy a ticket.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on April 11, 2018
When an artist is working on an album, there are two types of songs which will (or will not) be considered: inside songs and outside songs. So what are these, and why does it matter to you as a songwriter? Let's get into that.
Inside songs are songs which are written by or with the artist, the producer, or a close associate. These are songs written or controlled/owned by someone with a close connection to the project.
Outside songs are basically all other songs- those written or controlled by people who do NOT have a close connection to the artist’s project.
Okay, so that’s pretty simple- some songs come from inside the circle of influence and some songs come from outside the circle of influence. Buy why is this important? It’s very important because, in most cases, inside songs have a much better chance of being recorded. Some artists, like Taylor Swift, write or cowrite all their own songs. If you’re not writing with Taylor, forget about getting a cut. Other artists may be very low key about the fact that they’re even working on a project. If you’re not in the loop, you might not even know the artist is cutting at all, much less what kind of song they want.
That’s why it matters if your songs are inside or outside- it affects their odds of being cut.
Examples:
I had two songs cut on Ray Stevens’ “We The People” album. One song was a true inside song. “Caribou Barbie” was written at Ray’s request with two of his staff writers. The other song, “Fly Over Country” was an outside pitch. However, since Ray didn’t advertise that he was doing a record, I never would've known to pitch a song (much less that song in particular) without some inside information. I’ve also had two Lady Antebellum cuts. “A Woman Scorned” was written with Hillary Scott, and “Last Night Last” was written with all three members of Lady A. Almost every song on that first album was written or cowritten by the band, so it definitely put those songs in a better competitive position. And while they ended up being bonus tracks to that first album, they’re still out there, are legit cuts and have generated some royalties.
This is not to say that ONLY inside songs get cut. I’ve had some outside songs get recorded, too. “Monday Morning Church” was written before either my cowriter, Erin Enderlin, or I had ever had a cut, and only Erin was working with a publisher at the time. Erin’s publisher played the song for Alan Jackson’s producer, who played it for Alan. Same thing for my Joe Nichols cut- I sent “Crickets” to the head of Joe’s record label (even though we'd never met). He loved it and sent it to Joe. The song became an outside cut- and the title track to Nichols’ album.
So, yes, both inside and outside songs still get cut. But inside songs have a definite advantage- and the inside track (pun intended). How does this affect how I do business? I try to get songs on the inside, of course! It's worth thinking about how you can do the same. Yes, I know you might think you're years away from being able to get any songs on the inside. But simply knowing that there's a difference between inside and outside songs will help you make more effective choices, and you'll get there faster.
But, as I said, outside songs also get cut. Which brings me to hit songwriter, Jimmy Yeary. Jimmy has a good track record of getting songs recorded that he didn’t write with the artist or producer. His #1 single for Lee Brice, “I Drive Your Truck” became the CMA and ACM Song Of The Year, and it was an outside song. His Kenny Cheney #1, “Til It’s Gone” was also an outside song. As was his Jake Owen #1, “Anywhere With You.”
Each of these songs were written WITHOUT the artist or the producer in the room. And they not only got recorded, they went #1. Jimmy has repeatedly beaten the odds, and now you can ask Jimmy how he's done it.
On May 24, I'm hosting Frettie's quarterly "Know The Row" event with multi-hit songwriter, Jimmy Yeary. Jimmy's a writer on the CMA and ACM Song of the Year, "I Drive Your Truck" as well as #1 hits for Kenny Chesney, Jake Owen, Rascal Flatts and more. This is YOUR opportunity to connect face-to-face with a hit songwriter. And since it's an online event, it doesn't matter where in the world you live. And the best news is...
"Know The Row" with Jimmy Yeary is FREE for Frettie subscribers!
If you're on Team Frettie, you get free access to each of Frettie's "Know The Row" events, as well as exclusive access to a ton of other great songwriting resources and events, including replays of previous "Know The Row" events.
CLICK HERE TO JOIN FRETTIE AND ATTEND "KNOW THE ROW" FOR FREE!
If you aren't ready to take advantage of all the great membership advantages of Frettie, you can still buy a ticket.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on April 04, 2018
Imagery is a very important part of your lyric- especially in country music. The saying in Nashville is, ”Show me, don’t tell me.” There are a few reasons we’d rather you show us your song than tell us.
1. Images engage the heart, not just the brain.
You can tell me you’re sad. You can just say, “I’m sad now that you’re gone.” I will hear that and understand it. But I will only understand that with my head, not my heart. My head says, “Yes. The singer is sad. I understand what sadness is.” But that’s just information, and it stays in my head without moving to my heart.
However, when you show me what the sadness looks like- when I see the emptiness in your heart through the empty 2nd coffee cup you set out through habit and don’t have the heart to put back in the cupboard just yet- I FEEL your sadness. If I see you hugging his pillow at night because it smells like him, then I don’t just KNOW you’re sad, I FEEL your sadness.
Imagery is what gets your song through the head and into the heart.
2. Imagery makes it easy on your listener.
You can ask listeners to picture a lonely night AND be moved by whatever it is they imagine. Or you can SHOW your listeners a lonely night and ask them to be moved. Which one requires more from your listener? Exactly.
People are busy.
They’re probably listening to your song while doing something else- driving, eating, working, hanging out with friends, etc. If the listener doesn’t have enough mental bandwidth left to process your lyric, they may either just hear the melody only (which isn’t the worst thing in the world) or they ignore your song altogether (which IS the worst thing- love my song or hate my song, but don’t ignore it).
Painting the picture for your listeners is often an easier path to their hearts- which is directly connected to their wallets, by the way.
3. Imagery helps you be unique.
Let’s face it, there are only so many emotions that show up in songs. New love, old love, new heartache, old heartache, anger, hope, nostalgia, etc. Since we really just sing about a handful of emotions, our lyrics are going to be pretty bland and boring if we only write in emotional terms. After all, how many ways can you say, “I miss you” without imagery?
The use of fresh imagery allows you to talk about the same old emotions in a new way. So it’s really in your best interest (and you’ll be more likely to keep your listener’s interest) if you use fresh, believable images to tell your story.
4. People are visual.
Visuals impact us deeply. There’s a reason radio dramas were made obsolete by movies and television- people respond more strongly to visuals! If you can paint pictures with your lyrics, you can give the listener something to see in his or her mind.
So there you have it. Four reasons why imagery matters. If you’ve been a very emotional, non-imagery based writer, I encourage you to try incorporating images into your lyrics. I think it will serve you well.
But don't just take my word for it. You want to get advice directly from another hit songwriter? Well, then, you're in luck!
On May 24, I'm hosting Frettie's quarterly "Know The Row" event with multi-hit songwriter, Jimmy Yeary. Jimmy's a writer on the CMA and ACM Song of the Year, "I Drive Your Truck" as well as #1 hits for Kenny Chesney, Jake Owen, Rascal Flatts and more. This is YOUR opportunity to connect face to face with a hit songwriter. And since it's an online event, it doesn't matter where in the world you live. And the best news is...
"Know The Row" with Jimmy Yeary is FREE for Frettie subscribers!
If you're on Team Frettie, you get free access to each of Frettie's "Know The Row" events, as well as exclusive access to a ton of other great songwriting resources and events, including replays of previous "Know The Row" events.
CLICK HERE TO JOIN FRETTIE AND ATTEND "KNOW THE ROW" FOR FREE!
If you aren't ready to take advantage of all the great membership advantages of Frettie, you can still buy a ticket.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on March 28, 2018
Every time you use a cliche' in your song, you miss an opportunity to do something great.
Cliche's get used so much because the’re so easy. They are the first things that come to mind when we want to communicate certain things.
For example, it’s a lot easier to just say we’re “raising hell” or “painting the town” than it is to dig deeper and say “we’re filling Friday night full of empty cans” or “trying to make the Bar-hopper’s Hall of Fame.”
The cliche' gives the listener information, but it’s forgettable because the listener has heard it a thousand times. There’s no emotion left in it. (Unless you somehow set up the cliche' in a way that makes it fresh.)
When you go beyond the cliche', you have a chance to wow the listener with something they haven’t heard before.
A great example of this is "Summertime," recorded by Kenny Chesney and written by Craig Wiseman and Steve McEwen. It’s about being young in the summertime, and there’s a part in the chorus where they reference driving around.
Young + summertime + driving = radio up + window down. Right? Yes, and that’s why it’s a worn out cliche'. Sure, it’s true- we’ve all lived that line many times. But there’s nothing memorable or “wow” about it.
Instead, these hit writers reference a Yoohoo bottle on the floorboard. So much better!
It’s believable- I can totally picture young guys leaving a Yoohoo on the floorboard.
It’s fresh- I’ve never “seen” that image in a song before.
Bonus: It provides a fun melodic moment when Chesney sings, “Yoohoo!”
The writers took a cliche moment and made it a hit moment. It’s our job to do the same.
What do you think? What’s your take on this topic? I’d love to hear your comments. And if there are other examples where the songwriter make a cliche' moment into a hit moment, share those in the comments, too!
Knowing simple things like this is how you write stronger songs- and market-smart songs (songs that have a competitive advantage in the market). If you want to learn more about how to write like that, I have a killer opportunity for you.
Every Monday night in April, I'm hosting The C4 Experience, or C4X. It's an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting. I want you to win, and I'm going to help you write songs that artists want to sing, radio wants to play and fans want to hear. But you must hurry - THE DEADLINE TO JOIN C4X IS TOMORROW!
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on March 21, 2018
Stop calling your own songs "great."
YOU don't get to decide that. And neither do I, to be fair. Today, let's talk about who DOES get to decide if your song is great.
When I was writing my earliest songs back in Arkansas, my cowriter, Tim Meitzen, and I would feel great about some of our songs. But I remember Tim being reluctant to call those songs "great." Now, in the excitement of creation, we probably said things like, "Man, this is great!" (I'm willing to bet that I did on several occasions. I was wrong, but I didn't know that then.) But when speaking about those songs outside the writing room, it was a different story with Tim.
I remember him saying once, "I have a hard time calling one of my own songs 'great.' I'll say 'I love it,' but I don't think I can call it 'great.'" I took it as a healthy dose of humility and uncertainty on his part. After all, what qualified us to call our own songs "great?" What had we accomplished, other than recording some work tapes around a campfire? What gave us the right to proclaim greatness? Nothing did.
We don't get to decide if our own songs are great. Only the market gets to decide that.
If the market (the listeners) decide your music is great, then it IS great. If the market decides your music is forgettable, then guess what? It IS forgettable. If the market decides that your current album isn't worth their time, then the market is right. If that same album is "rediscovered" ten years from now and the market decides that it is brilliant... then the market is right.
Like it or not, the market is always right.
But how can that be?
Because the greatness of music is ultimately a qualitative decision. It's subjective- a matter of opinion and taste. Music isn't math. 2+2=4 no matter what the majority decides. Music isn't like that.
Yes, you may be able to point out objectively how your song has a more sophisticated structure, rhyme scheme or melody than "cliche' and stupid" hit songs on the radio. But at the end of the day, you haven't proven that your song is great. You've only proven that is is more sophisticated.
I personally don't really care if you call your own songs great. Sure, in certain settings, that will make you sound like an egotistical amateur. But whatever. That's not the biggest problem.
For many of you, your biggest problem is that you're too busy blaming the market for being stupid and wrong when you should be focused on writing better songs.
If people don't "get" your songs, it means one of two things:
Your music is in front of the wrong audience, and you need to find the audience that WILL love it.
Your music is in front of the right audience, but your music isn't good enough yet. You need to keep working on your craft.
Let's say you love country music, but you hate "today's country music." That's fine. I can respect that opinion. But if you want to write hits, what are you supposed to do? Calling the market stupid does you no good. Instead, study "today's country music." What is it that the market likes about this music? What makes it relevant to today's country audience?
Don't hate. Investigate.
Once you start to understand that, you can incorporate some of those elements into your own songs - making them more relevant, or market-smart. Or you can choose to stay inside your current musical box and hope that the market eventually changes its mind abut your music. Hey, that's fine. Some writers stick to their creative guns, and sometimes the market eventually decides to like it. Either choice you make is fine - as long as you understand the implications. Just...
Don't waste your valuable time blaming the market.
If you want some guidance on how to write "market-smart" songs that artists want to record and audiences want to hear, I have a wonderful opportunity for you.
Every Monday night in April, I'm hosting The C4 Experience, or C4X. It's an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting. I want you to win, and I'm going to help you write songs that artists want to sing, radio wants to play and fans want to hear.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on March 14, 2018
A few years back, I met the owner of a certain publishing company. It was the first time we’d ever met. Within ten minutes, he said he was interested in talking about a publishing deal with me. How did this happen?
I made a great first impression before we ever met.
Here’s the story:
I was at a lunch party at a cowriter’s publishing company. The owner, whom I’d never met before, was chatting in the kitchen with me and James Dupre’. He was telling James how much he loved a certain song that he had written with one of their writers. James smiled, motioned to me and said, “Thanks. Brent’s on that one, too.” The owner, let’s call him Mr. J, lit up, and the tone of the conversation changed. Within a few minutes, he asked each of us who we wrote for. When we said we’re independent, he nodded and said, “we should talk.”
We had a few meetings and got really close to closing a deal, but it wasn’t the right fit for us. But this isn’t about my particular fit (or not) with this publisher. It’s about the power of songs and connections to pave the way for you. Mr. J had never laid eyes on me. We had never communicated directly, either over the phone or via email. But he’d heard several of my songs. And his staff writer, a cowriter of mine, has mentioned me to him a number of times. He’d told him I’m a great songwriter who should have a deal. (Thanks, bud!)
My songs and my cowriter made my first impression for me.
So when I finally met Mr. J at that industry function, I didn’t have to manufacture some “wow” first impression, hoping to be memorable. I simply had to act in a way that confirmed his already-favorable idea of me.
There are a few lessons I think we can draw from this.
1. Your cowriters will be your PR team.
They’re the ones who will sing your praises to their circle of contacts. This is great if you’re in town, but it’s also great if you’re out of town. If you only make a few trips to Nashville (or New York or LA) per year, try to connect with local writers. Write together both in-the-room and over Skype or Google Hangouts. Before your next Nashville trip, ask them who you should meet with and if they can put in a good word for you. If your writing is worthy, they should be happy to.
2. Good songs solve a lot of problems.
If I want to get a meeting with Mr. J, I’m coming from a position of strength. I don’t have to say, “Mr. J, we met at a party the other day. I’m the tall guy...” That’s not a terrible starting place, but it’s not as good as, “Hi, Mr. J. I’m Brent Baxter, a writer on ‘Song X’ that you love. We met at the party the other day...” Even if he’s totally forgotten meeting me, he knows he likes that song. My odds of getting a meeting go way up.
3. It’s good to get out there and get social.
Even though he likes some of my songs and my cowriter told him about me, Mr. J hadn’t reached out yet. But we “happen” to bump into each other at a function, and he gets to put a face with my name. That’s worth another year of him just hearing ABOUT me. (Disclosure: I didn’t meet him by accident. I knew he’d be there, and that’s a big reason why I went.)
What about you? Have you had an experience where your music has made a great first impression for you that helped you get ahead? Or did it make a negative one that you had to overcome? I’d love to hear from you!
And if you're ready for your songs to make a good (or better) first impression, I have a cool opportunity for you.
Every Monday night in April, I'm hosting The C4 Experience, or C4X. It's an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting. I want you to win, and I'm going to help you write songs that artists want to sing, radio wants to play and fans want to hear.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on March 07, 2018
The 3 most important things in real estate are also very important in songwriting: location, location, location.
In probably any town, certain neighborhoods have certain personalities. One neighborhood is full of SUV-driving soccer moms. Another is mostly middle-class country folk. Another is college kids, another is hipsters, etc.
Musically-speaking, most artists put down roots in one neighborhood.
They spend most of their time there, only venturing out to the adjacent neighborhoods every now and then. This is another way of talking about branding. An artist’s brand says, “I live in THIS neighborhood. I’m like THESE people, and I sing about them and for them.”
For example, an artist’s music may be most “at home” with the good ‘ol party boys. Most of his music is for those good ‘ol boys- bonfires and tailgates. The “good ‘ol party boy” artist doesn’t usually venture into the soccer mom neighborhood, where the music is more about family, lifelong love, kids, etc.
Most songs are also “at home” in certain neighborhoods. Some songs are built for the rednecks, some for the high school girls, some for their moms, some for their blue collar dads, etc.
But remember, most ideas can be built to fit in any of several neighborhoods. It just depends how you frame the idea (pun intended). The choices you make will determine your song’s neighborhood.
When you think about where to build your song, it's wise to think about the property values in the different neighborhoods.
Are the houses in the "good 'ol party boys" neighborhood in high demand? Are the houses in the blue-collar-working-man neighborhood in low demand? What type of songs are artists recording?
The concept of musical neighborhoods is important if you want to write commercial songs. I go into more depth on this topic in Songwriting Pro’s upcoming C4 Experience.
Every Monday night in April, I'm hosting The C4 Experience, or C4X. It's an exclusive, live online event where I help 10 writers like YOU create explosive growth in your commercial songwriting. I want you to win, and I'm going to help you write songs that artists want to sing, radio wants to play and fans want to hear.
CLICK HERE TO GET ALL THE DETAILS AND RESERVE YOUR SPOT TODAY!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Last week, we discussed how difficult it is to get a music publisher’s attention. Basically, you and your awesome songs will remain invisible to publishers without two vital things. The first is reach, which we discussed last week. Now, let’s talk about the next ingredient in your “Now-A-Publisher-Knows-I-Exist” Soup.
You need FREQUENCY.
You need your name, face and/or songs to reach that publisher again. And again. And again. You need to reach that publisher with enough frequency that they go from "I'm sorry... have we met?" to "What's your name again?" to "Yeah, you wrote that song about blah blah blah" to "Hey, Joe! Great to see you again! How ya been?"
Maybe you both frequent the same lunch spot and "howdy" over tacos. Maybe you both "accidentally" end up in the audience at the same writers night (one of the publisher's writers, of course) and you can get a little face-time. The occasional follow-up meeting is super-valuable, of course. Or maybe your name keeps showing up on cowrites with the publisher's writers. Or you keep popping up at other industry functions.
This takes time. It doesn’t happen overnight. You have to be patient. But don't be so patient that you only reach out to them every other year. That’s simply too far in between contacts, and you’ll be starting over every time you reach them.
You also have to be persistent. But don't be so persistent that you call them every other day. That will wear the publisher out, and they’ll quickly begin to hate your face and avoid you at all costs. You do NOT want that to happen! There’s a thing I call “professionally persistent.” This means you are persistent, but you’re not pushy. You are aggressive without being aggravating.
Where is the line between persistent and pushy? When do you switch from being aggressive to being aggravating?
Honestly, I can't tell you that. It's going to be different for each songwriter and each publisher.
But I do know this: If your songs are really great or really horrible, it won't take nearly as long for the publisher to remember and form an opinion of you. So if you're really, really bad, you should probably focus on your craft before worrying about finding a publisher.
But if you ARE ready for you and your best song to reach (or have another “at-bat” with) a publisher in a friendly setting- I have a great opportunity for you- but TODAY IS THE DEADLINE!
Songwriting Pro's next Play For A Publisher event is coming right up! Our guest is Courtney Allen of BMG Nashville. Courtney works closely with hit songwriters Travis Meadows, Wynn Varble, Lucie Silvas, and more. If YOU have the song, SHE knows what to do with it! But the deadline to submit your song is TODAY- so don't delay!
CLICK HERE TO GET ALL THE DETAILS AND SEND IN YOUR SONG!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on February 21, 2018
If you're like most songwriters, it's really difficult to get a music publisher's attention. You're simply invisible, or at least it feels that way. And maybe your songs are good. Maybe they're REALLY good. But that doesn't matter much if you're missing the other key things you need to get on a publisher's radar.
You see, publishers are surrounded by songs and songwriters. They find them at writers nights, they meet them at workshops, they often meet with new writers sent to them from PROs, other publishers, and friends. Basically, they listen to songs and meet with songwriters. All. Freaking. Day.
Publishers are drowning in songs and songwriters. And you're offering them a cup of water.
So, how do you get publishers to notice YOU and YOUR SONGS?
First, you need REACH.
Before a publisher can even form an opinion of you as a songwriter, he or she must know you exist. And they'll never know you exist if you don't reach them.
There are several ways to reach a publisher.
1. You can ping them on social media with something kind or helpful. (Don't be a taker.)
2. You might meet them at a workshop or event such as Songwriting Pro's Play For A Publisher event (details below).
3. They hear your name from another songwriter or see it on a lyric sheet as they listen to one of your songs.
4. They see you at a writers night or shake your hand at an industry function.
Congratulations! You've reached the publisher and you've gotten their attention for a second, a minute, or even an hour.
But it's not enough. Even if they like you. Even if they like your songs.
You walk out of that room, and "poof" - you're invisible again. They'll have another meeting, go to another writers round or hear another batch of good songs.
You need something else, and we’ll talk about that next time.
But in the meantime, if you’re ready for YOU and your BEST song to reach a publisher in a friendly setting, I have a great opportunity for you. Songwriting Pro's next Play For A Publisher event is coming right up! Our guest is Courtney Allen of BMG Nashville. Courtney works closely with hit songwriters Travis Meadows, Wynn Varble, Lucie Silvas, and more. If YOU have the song, SHE knows what to do with it!
CLICK HERE TO GET ALL THE DETAILS AND SEND IN YOUR SONG!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on February 14, 2018
Getting a publisher to offer you a publishing deal is kinda like getting one to marry you. It's a big commitment, and it's one that isn't taken lightly by a publisher. It's a tough, tough business, and they need enough of their investments to pay off to keep the lights on. Just because you show up in their office one day with a cool guitar and one awesome song doesn't mean they'll drop a staff songwriting contract on your lap.
The publisher has to (musically) fall in love with you. Here are a few ways to help that along.
1. Have sexy songs.
No, I don't mean make-out songs. I mean there needs to be something sexy about your songwriting- something that captivates the publisher or something that pulls their attention back to your songs.
Maybe the whole song is great. Maybe it moves them to tears or laughter. Maybe there's that one line in the second verse that is so honest and real that it takes their breath away. Maybe it's a hook (melodic or lyrical) they can't get out of their head. A sexy song has something about it that sticks with the publisher after you leave the room.
2. Be yourself.
Publishers want to see the real you in your songs. They want some real heart, some real truth, some of what YOU have to say (happy or sad, funny or mad). You might get a publisher's attention by dressing your songs up like Craig Wiseman or Luke Laird, but it's YOUR true creative voice that, if it resonates with them, could make them fall for you.
3. Be a good hang.
Ever date someone who is good looking but just leaves you exhausted (in a bad way)? Someone who is overly needy, pessimistic, a lush, or is addicted to drama? Eventually, their good looks (or good songs) aren't worth the trouble. You don't have to be the publisher's best friend (although that sure doesn't hurt). But being a good hang is only going to improve your chances of getting to second base. After all, if you get "married," you'll be spending a lot of time together - both one-on-one in the office and out at industry events. You want those times to be enjoyable for BOTH of you!
4. Be committed.
I don't mean you have to prove you're committed to that particular publisher, like you'd never look for a deal anywhere else or play songs for another publisher. Show you're committed to songwriting and the music business. Show you're committed to getting better. Show you're in it for the long haul- you're not just testing the waters and will bail if the "music thing" doesn't work out. Publishers invest a lot into their writers. They're serious, and they want to know you are, too.
5. Have "good prospects."
Of course, it helps to woo a publisher by having three songs on the charts. But almost nobody is in that position. But the more things you have going on, the more attractive you are as a potential staff writer. Publishing is a business, and the publisher stays in business by making money. So even if you aren't coming into the deal just crushing it, you want to show (honestly) that you have "good prospects." It's like a girl thinking, "yeah, he's broke now... but he's in medical school..." But be real. Don't hype. Hype is NOT attractive, and a pro can see right through it.
6. Go on a few dates.
A publisher who is interested in you will probably bring you back for several meetings. This gives them a chance to see if you're consistently writing new songs- and writing them at a high level. They may also set you up to write with their writers as another way of checking you out. They'll want to hear the songs you write with their writers. They know what their writers bring to the room, so it's their chance to see how you play in the sandbox with someone on the team whom they respect. And they'll usually ask their writer, "So, how was he/she?"
There ya go. Six ways to romance a music publisher. I hope you go out, find that special someone who will change your life, and you make hundreds of beautiful song babies.
And maybe I can play matchmaker.
If YOU would like to play your song for a legit music publisher, Songwriting Pro's next Play For A Publisher event is coming right up! Our guest is Courtney Allen of BMG Nashville. Courtney works closely with hit songwriters Travis Meadows, Wynn Varble, Lucie Silvas, and more. If YOU have the song, SHE knows what to do with it!
CLICK HERE TO GET ALL THE DETAILS AND SEND IN YOUR SONG!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on February 07, 2018
Remember when you first picked up the guitar? It was a mystery. How do those great guitar players do it? Then you watch a YouTube video or pick up a Mel Bay book (showing my age) and it tells you how to form your left hand into G, C, & D. The first time you strum a clean G, it’s magic!
And that magic quickly becomes pretty dang painful.
Your soft, virgin fingertips haven’t built up their calluses yet, and it feels like they’re going to split open any minute. (And Heaven have mercy if your first guitar has high action.)
But if you play frequently enough and don’t quit, your fingers will toughen up. Making those chords won’t hurt. That high E string won’t be the razor blade it used to be. Now you’re not quite the beginner you were. Now you have a little “pro” about you. (I may focus on lyrics now, but there was a time I earned some calluses on an old acoustic.)
Learning guitar can teach you a valuable lesson about pitching your songs to publishers and labels. And that lesson is:
You need calluses.
If you’re like me, your first meeting with a publisher is full of excitement, hope and big possibilities. Well, that’s how it feels on your end, anyway. From the publisher’s perspective, you’re probably just the next person through their door- a stranger who may have potential but probably doesn’t have a hit to play that day.
The publisher is probably right. And it hurts.
Then you get another meeting, either with the same person or with someone else. Again, publishing deal offers don’t drop out of the sky like confetti at the end of your song. The disappointment stings.
But, over time, you build up your calluses and it doesn’t hurt like it did. Having someone pass on your song will never feel good, but you’re able to take passes in stride and move on to the next song.
Like playing guitar, if you stick with it and don’t give up, you’ll be rewarded for it.
If YOU would like to play your song for a legit music publisher, Songwriting Pro's next Play For A Publisher event is coming right up! Our guest is Courtney Allen of BMG Nashville. Courtney works closely with hit songwriters Travis Meadows, Wynn Varble, Lucie Silvas, and more. If YOU have the songs, SHE knows what to do with them!
CLICK HERE TO GET ALL THE DETAILS AND SEND IN YOUR SONG!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on January 31, 2018
I believe there are four cornerstones to professional songwriting success. You can remember them by the acronym, “W.R.A.P.” They are:
1. Write
This one’s pretty obvious. We’re songwriters, aren’t we? If you’re a writer... write. If you don’t write, there’s nothing to get recorded. And it’s not enough to just write every once in a while. Write hard, write consistently. Write your very best.
2. Record
It’s not enough to have scratchy worktapes if you want someone else to cut and release your song. You have to get a good recording of your song- one that presents it in a good light. This could be a guitar/vocal, a full demo, or something in between.
3. Access
A great demo does you no good if you can’t get it into the hands of someone who can do something with it. Accessing is building relationships and otherwise gaining access to singers, publishers, labels, producers, etc. This is the relationship part of the music business.
4. Pitch
You have to ask for the cut, as simple as that. You have to give publishers, artists, etc. the opportunity to say “yes” to your song.
Note that each of these are cornerstones - you won’t have a stable, well-functioning career if you neglect one or more of them for too long. I’m not saying you should spend equal hours on each of these areas, but you should give them the proper amount of time based on your particular situation. For example, early in your songwriting journey, you need to spend most of your time just writing and becoming a better songwriter. Pitching songs that aren’t ready (at this stage) is a waste of time at best and a horrible 1st impression at worst.
WRAP is also good for helping you focus on what’s important. If an opportunity comes up, compare it to WRAP. If that activity doesn’t fall into one of those categories, it might not be a wise use of your time.
If you want to get professional advice to help you with "Write" and make a connection that will help you with "Access," I have a great opportunity for you.
Each quarter, Frettie's "Know The Row" series brings in a music industry professional to reveal what YOU need to know about breaking into the music business. Ask YOUR questions- and get answers. It's online, so you can join this live video-conference from anywhere in the world. If you miss it, Frettie members will have unlimited access to the video replay in Frettie's Member Area.
Our next guest is hit songwriter, Byron Hill!
Since moving to Nashville and signing his first publishing deal in 1978, Byron Hill’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles. They have earned ten ASCAP awards, thirty-four U.S. and Canadian top-ten chart hits, and have become hits in many other worldwide markets.
So, yes, YOU want to hang out with Byron Hill and get his advice on the music business!
This exclusive event is February 8, 2018 from 7pm-8pm Central time.
Again, this event is FREE for subscribers of Frettie.com! However, if you don't feel like taking advantage of all of Frettie's membership benefits, you can still get all the details and purchase a ticket with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
When you write a song with a cowriter, it’s standard practice in Nashville to have even splits between all the cowriters, no matter how much they contribute. This means every writer on the song (or their publisher) owns an equal share of the copyright. For example, if you write the melody and half the lyric and the other writer writes the other half of the lyric, you each get 50% of the copyright. If there are 3 of you in the room, and each of you contribute different amounts, each of you own a third of the song.
I’ve heard stories of writers who “count lines” when determining their percentage of ownership of a song. I am REALLY not a fan of this, for a few reasons.
Generosity wins. This time, maybe your cowriter only contributed a few lines, if that. Well, next time, they might contribute more than you. It should all even out in the end, if you’re well-matched cowriters. If you're not well-matched, you'll eventually stop writing together, anyway.
Also, I want my cowriters focused on making the song the very best it can be. I don’t want it to become a competition over who gets the most lines and the most credit. Serve the song, not your percentage.
Plus, it’s sometimes impossible to tell who really wrote the line. Maybe you got the final wording right, but you only got there based on a line suggested by your cowriter. You wouldn’t have gotten to that line by yourself, so you BOTH created it. It’s a collaboration.
And, lastly, counting lines is a good way to alienate your cowriter and make them less likely to write with you again. Especially in a town like Nashville. Be generous and win!
If you want to know more about cowriting "do's" and "don't's," I have a great opportunity for you.
Each quarter, Frettie's "Know The Row" series brings in a music industry professional to reveal what YOU need to know about breaking into the music business. Ask YOUR questions- and get answers. It's online, so you can join this live video-conference from anywhere in the world. If you miss it, Frettie members will have unlimited access to the video replay in Frettie's Member Area.
Our next guest is hit songwriter, Byron Hill!
Since moving to Nashville and signing his first publishing deal in 1978, Byron Hill’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles. They have earned ten ASCAP awards, thirty-four U.S. and Canadian top-ten chart hits, and have become hits in many other worldwide markets.
So, yes, YOU want to hang out with Byron Hill and get his advice on the music business!
This exclusive event is February 8, 2018 from 7pm-8pm Central time.
Again, this event is FREE for subscribers of Frettie.com! However, if you don't feel like taking advantage of all of Frettie's membership benefits, you can still get all the details and purchase a ticket with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
In the music business, songs travel on relationships like boats on a river. Think of your song as a boat and your network of relationships as the water in the river.
You can have a big, deep river (a lot of good relationships), but if your boat (your song) isn't well-built, it's not going anywhere. Your song has to be built right to take advantage of your relationships. Just like your watercraft will sink if it has holes in it, your song-craft will end up at the bottom if it has holes in it. All those relationships just mean your song has further to sink.
But maybe your song is great. Maybe it's like a speedboat. Every square inch of it is built to "wow." That's awesome. But if the river is dry, you’re just sitting still. Your song has no relationships to support it. (Remember, songs travel on relationships like boats travel on water.) All that power is just stranded on the dry, rocky river bottom. Frustrating.
Amazing things happen, though, when you put a speedboat on a big river.
When your song is well-built AND you have a lot of good relationships in the music business, it can travel easily and quickly from you to publishers, potential cowriters, A&R, producers, and artists. It doesn't mean that hit singles come easy (they never do), but fast boats on big rivers have a lot of opportunities.
And speaking of opportunities, this brings me to a great one for you- one to improve both your boat and your river.
Each quarter, Frettie's "Know The Row" series brings in a music industry professional to reveal what YOU need to know about breaking into the music business. Ask YOUR questions- and get answers. It's online, so you can join this live video-conference from anywhere in the world. If you miss it, Frettie members will have unlimited access to the video replay in Frettie's Member Area.
Our next guest is hit songwriter, Byron Hill!
Since moving to Nashville and signing his first publishing deal in 1978, Byron Hill’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles. They have earned ten ASCAP awards, thirty-four U.S. and Canadian top-ten chart hits, and have become hits in many other worldwide markets.
So, yes, YOU want to hang out with Byron Hill and get his advice on the music business!
This exclusive event is February 8, 2018 from 7pm-8pm Central time.
Again, this event is FREE for subscribers of Frettie.com! However, if you don't feel like taking advantage of all of Frettie's membership benefits, you can still get all the details and purchase a ticket with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Imagine you walk into a room called “Country Music” and Mr. Music Row hands you darts. He says, “These darts are your songs. Hit a bullseye with a dart, and that song gets cut.” You look at the wall on the far side of the room, and you notice that there are bullseyes of all different sizes. Some are fairly large, and some are small. Some are so small, you’re not sure they’re really even there. It’s up to you to pick your darts and start throwing.
The room is also full of other songwriters. Some are just lobbing darts in the air. They don’t aim at anything, they just throw. They figure if they throw enough darts, something is bound to land eventually. Some songwriters throw dart after dart after the smallest bullseyes on the wall. Some throw darts at blank spots on the wall, where they would like a bullseye to be. Some are so busy aiming, that the dart never leaves their hand.
If your goal is to get a song recorded by major artist, your best bet is usually by throwing at “the big bullseye.”
Well, how do we do that?
We make choices as songwriters. And the better we are at our craft, the more options are available to us. For example, you can choose to write an idea as a slow ballad, or you can choose to write it as an uptempo (fast song). The uptempo song is the bigger bullseye, because more artists want to cut uptempo songs. You can choose an idea that makes your singer look good (big bullseye) or look bad (small bullseye). You can write the song from the point of view of an 85 year old woman (small bullseye) or as a 21 year old guy (big bullseye).
How do you know what the big bullseye is? Well, size of the bullseye is simply a measure of how much demand there is for a certain type of song. This changes over time, so you need to be aware of the market. Trends shift. What was a big bullseye in the 1990’s might not be a big bullseye anymore.
However, one type of song always seems to be a big bullseye. This is the “first-person uptempo positive love song.” That’s not exactly shocking news, if you pay much attention to the radio. This type of song is probably your best bet to get a cut. I’m not saying, however, to never write a small-bullseye song. Those can be hit from time to time- it’s just harder to do. What I’m saying is: be aware of the realities.
Be intentional. Be aware of the choices you make.
If you'd like to make better, smarter choices, it sure helps to get advice from someone who IS where you want to be. And this brings me to a great opportunity for you.
Each quarter, Frettie's "Know The Row" series brings in a music industry professional to reveal what YOU need to know about breaking into the music business. Ask YOUR questions- and get answers. It's online, so you can join this live video-conference from anywhere in the world. If you miss it, Frettie members will have unlimited access to the video replay in Frettie's Member Area.
Our next guest is hit songwriter, Byron Hill!
Since moving to Nashville and signing his first publishing deal in 1978, Byron Hill’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles. They have earned ten ASCAP awards, thirty-four U.S. and Canadian top-ten chart hits, and have become hits in many other worldwide markets.
So, yes, YOU want to hang out with Byron Hill and get his advice on the music business!
This exclusive event is February 8, 2018 from 7pm-8pm Central time.
Again, this event is FREE for subscribers of Frettie.com! However, if you don't feel like taking advantage of all of Frettie's membership benefits, you can still get all the details and purchase a ticket with a CLICK HERE.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Announcements by Brent Baxter, Pro Songwriter on January 04, 2018
I'm excited to announce a NEW benefit for Frettie subscribers!
It's called "KNOW THE ROW." Here's the scoop...
Each quarter, hit songwriter, Brent Baxter, brings in a special music industry professional to reveal what YOU need to know about breaking into the music business. Ask YOUR questions- and get answers. It's online, so you can join this live video-conference from anywhere in the world. If you miss it, Frettie members will have unlimited access to the video replay in Frettie's Member Area.
Our next guest is hit songwriter, Byron Hill!
Since moving to Nashville and signing his first publishing deal in 1978, Byron Hill’s songs have generated more than 700 recordings, and have been released on ninety-one industry certified Gold and Platinum albums and singles. They have earned ten ASCAP awards, thirty-four U.S. and Canadian top-ten chart hits, and have become hits in many other worldwide markets.
The songs “Fool Hearted Memory” (George Strait), “Pickin’ Up Strangers” (Johnny Lee), “Politics, Religion, And Her” (Sammy Kershaw), “Nothing On But The Radio” (Gary Allan), “Born Country” (Alabama), “High-Tech Redneck” (George Jones), “Alright Already” (Larry Stewart), “If I Was A Drinkin’ Man” (Neal McCoy), “Size Matters” (Joe Nichols), “Nights” (Ed Bruce), and “Lifestyles Of The Not So Rich And Famous” (Tracy Byrd), are just a few of the notable songs in his recorded catalog that spans four decades and includes songs recorded by a long list of other iconic and current artists of our time including Ray Charles, Kenny Rogers, Reba McEntire, Don Williams, John Michael Montgomery, Anne Murray, Juice Newton, Joe Nichols, Randy Travis, Keith Whitley, Jason Aldean, Trace Adkins, Conway Twitty, Jeff Bates, Highway 101, Barbara Mandrell, Mel McDaniel, Mark Chesnutt, Rhett Akins, The Oak Ridge Boys, The Whites, Ricky Van Shelton, The Seekers, Rhonda Vincent, Colt Ford, Mo Pitney, The Grascals, Blackhawk, Doc & Merle Watson, Asleep At The Wheel, Dionne Warwick, Toby Keith, Gene Watson, Margo Smith, Tom Wopat, Mark Wills, The Kendalls, Porter Wagoner, Sha Na Na, Moe Bandy, Clint Eastwood, Joe Diffie, Brooks & Dunn, Hank Thompson, Mila Mason, Doug Supernaw, The Road Hammers (Canada), Tyler England, Bill Medley, Clifford Curry, Doug Stone, Hey Romeo (Canada), Gil Grand (Canada), Gord Bamford (Canada), Rockie Lynne, Charles Esten & Connie Britton (from the Nashville TV series), Dailey & Vincent, and many others.
So, yes, YOU want to hang out with Byron Hill and get his advice on the music business!
This exclusive event is February 8, 2018 from 7pm-8pm Central time.
Again, this event is FREE for subscribers of Frettie.com! (However, if you don't feel like taking advantage of all of Frettie's membership benefits, you can still get all the details and purchase a ticket with a CLICK HERE.)
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Prioritize your goals like you’re setting up dominos.
Which of your goals, if you accomplish it, will make it easier to accomplish your OTHER goals? Like toppling dominos, which goal, when accomplished, will help to knock over your next goal, then the next, then the next?
Look at your goals and how they interrelate. Pick the goal which can really kickstart the others, and focus on that goal FIRST.
For example, let's say you have a few goals including "get more sleep," "write more songs," "eat less junk food." These are common goals- especially around New Year's. So, how do we line up these goals like dominos? The big domino to put first might be a new goal "go to bed at 9:30pm." If you go to bed at 9:30pm, you can sleep until 4:30am. That's 7 hours (which is probably more than you're getting now). That helps with the "get more sleep" goal. But what what about your other goals?
Here's where it gets fun.
"Write more songs." Getting up at 4:30am may give you more time to write- in the morning. Of course, it depends on your particular schedule, but let's say it gives you from 4:30am to 6am to write. That's 1 1/2 hours every workday. So over the course of a 5-day workweek, that's 7 1/2 hours of songwriting! That's like one whole workday just for songwriting!
"Eat less junk food." If you're like me, your junk food willpower goes away late at night. I'll do okay all day, then I'll say up too late and WHAMMO... a bag of chips or a bowl of ice cream right before bed. But you can short-circuit that routine with your lead domino- going to bed at 9:30pm. And since you're more likely to eat junk food during the day when you haven't had enough sleep (I can testify to that), getting more sleep also makes it less likely that you'll fall off the wagon during the day.
See how setting the right goal as your lead domino can make it easier for your other goals to fall into place? Take some time today to consider your goals and how you can line them up like dominos. When you do, everything is more likely to fall into place.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Announcements by Brent Baxter, Pro Songwriter on December 27, 2017
Frettie is taking it up another notch.
As you know, I want Frettie to be a great resource for songwriters like you. It's here to help you on your songwriting journey, and guess what? We've just added some great new stuff to help you even more!
Our top menu has changed. Now there's a button called, "Members Area." Login, and you'll see several new areas ONLY for Frettie subscribers, including:
PRIVATE FACEBOOK GROUP
Connect with your fellow Frettie members in our private Facebook group page. It's a great way to get inspiration, share your successes and learn from each other and the pros, and it's available exclusively to Frettie subscribers like you.
J.A.M. SESSIONS
Frettie's monthly J.A.M. (Just Ask Me) Sessions are a chance to hang out face to face (online). I start with a short lesson/topic, then we open it up to YOUR questions and topics. It's informative and a good way to get to know your fellow Frettie members (and it's free for Frettie subscribers). Here, you'll find recordings of our previous J.A.M.s as well as the link to our next session. Let's J.A.M.!
KNOW THE ROW
Each quarter, Frettie hosts a "Know The Row" online videoconference with a music industry pro. This is FREE for Frettie subscribers, and you can find recordings of our previous events and a link to our next "Know The Row" here.
QUICK TIPS
Looking for a songwriting tip, but don't have much time? Then this is the spot for you. All-killer-no-filler snack-sized songwriting tips!
And that's not all! So jump on over and check it out.
WHAT IF YOU AREN'T A FRETTIE SUBSCRIBER?
Well, if you don't have a login for Frettie, you should definitely join today!
CLICK HERE TO JOIN FRETTIE TODAY AND GAIN ACCESS TO ALL OF YOUR SUBSCRIBER BENEFITS!
Enjoy the new and improved Frettie!
God bless,
Brent
Tips & Resources by Brent Baxter, Pro Songwriter on December 20, 2017
I’m bad at a lot of things.
I don’t sing well. I don’t write melodies. I’d be an atrocious producer. I hardly play guitar (don’t even take it to cowrites).
Yet... I’ve written cuts and hits.
You don’t have to be great at everything. If you have ONE skill that is your superpower, it gives you value in the music biz. For example, my superpower is lyrics and song ideas. You won’t call me if you need a killer melody, but you might call me if you have a killer melody that needs a lyric.
It’s better to be great at one songwriting skill than to be “okay” at several. It gives you an identity. It allows you to clarify what problems you solve. (We’re all in the problem-solving business, by the way.)
What’s your songwriting superpower?
Is it production? Lyrics? Melody? Instrumentation? Business skills? Networking? Whatever your superpower is, there are people that need that thing. Find them, and you’ll be their hero.
So if you’ve been stressing out about trying to be great at everything, I’m giving you permission right now to stop worrying about it. Focus on your superpower. Focus on your area of “greatest contribution.” You don’t have to be great at everything. After all, that’s why God made cowriters.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
If songwriting were football, inspiration would be the quarterback and the songwriter would be the receiver. Like any good receiver, we all want to catch the deep ball- the great idea that’s like a 50-yard touchdown pass. But, also like receivers, we can’t MAKE the QB throw us the ball.
However, there are some things we can do to make it more likely that inspiration will throw us the deep ball.
Get on the field.
Show up to work with your pads and helmet on. Nobody ever caught a touchdown in the locker room. You have to get into the game. Pick up the guitar or the pen and get on the field!
Run reliable routes.
You know you’re not going to get the ball thrown to you on every play. But you still need to build the discipline to be where you’re supposed to be when you supposed to be there... just in case. This means you show up to your writing room on a consistent basis. That way, in case inspiration throws you a great idea, you’re in the right spot to catch it.
Work to get open.
If you run your route halfheartedly and let the defenders cover you, they’ll either keep inspiration from throwing you a great idea, or they’ll knock it down before you catch it. This means you don’t show up to your writing space and spend half your time on Twitter or thinking about what you need to get at the grocery store. These distractions are like the defense- they’ll keep you from being able to catch that great idea. You have to keep your mind “open” to catching it.
Catch the short passes just like the long bombs.
Not every pass (song idea) is supposed to be a touchdown. But just because all inspiration has been throwing lately are short passes, it’s still your job to catch them with good technique... then run like crazy. That way, when inspiration throws you a touchdown, all you have to do with it is what you’ve done time after time with EVERY idea. You don’t have to freak out (and maybe drop it). You’ve prepared for this moment with every song.
Play like a champion on every play. Write like a champion on every song.
God bless... and Go Team Frettie!
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on December 06, 2017
I keep a hook book. It’s where all of my song ideas go. It’s a literal notebook I keep in my desk or carry around with me. There’s also a running list in a file on my computer. I’ve had it for years, and many of my cuts started out as a line in that hook book. Some of them sat around for a few years before I wrote them.
You probably need to keep a hook book, too.
Don’t just HOPE to remember your best ideas. Some titles might not even make sense right now, but they could in a few years when a new artist comes along, trends change, or you have new life experiences to bring to that title.
That’s why ALL my titles and ideas go in my hook book- even the “bad” ones.
I don’t do quality control when determining what titles/ideas to put in my hook book. Everything goes in. I keep my quality control focused on what I decide to write OUT of that book. But no idea is too stupid, dated, uncommercial, or whatever to go into the book.
Remember, it’s YOUR hook book. Nobody else has to see it, so you don’t won’t be embarrassed by what’s in it. Be bold, be fearless, be silly, be... a writer!
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on November 29, 2017
Remember the days when people largely believed in paying for something BEFORE they walked out of the store with it? A lot of stores like Wal-Mart and Sears used to offer something called layaway.
Back when I was a kid, it worked like this: My mom would pick out a big item like a bike for Christmas or something and “put it on layaway.” The nice folks at Wal-Mart would put it in the back with Mom’s name on it. She would come in periodically and give them some money toward the bike. When she finally paid off the whole thing, she could take the bike home to me. Merry Christmas!
Funny as it sounds, success is a lot like buying something on layaway.
We pick out our “bike” - our desired success. But just choosing your success doesn’t mean you get to leave the store with it. You still have to pay for it BEFORE you can take that success home. Your success, whatever it might be, goes behind the counter. How soon you get to actually OWN that success largely depends on how often and how much you put down on it.
You can have an awesome goal in mind, but if you never come back to the store and put payment toward it, you’ll never get it.
Even little successes never happen if you forget about them.
You put your payments toward your success with your time, your energy, your effort, and you wise decisions.
There is no credit card for success. You have to pay for it before you get it.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on November 22, 2017
Be patient in your pursuit of songwriting success.
It takes years of hard work to become a professional-level songwriter. It can also take years to develop the relationships that will open doors in the music business. So endurance is a major component of songwriting success. Being able to stick it out through the ups and downs, the rejections rejections and more rejections and just the time it takes to acquire world-class skill is, in itself, a world-class skill. Most people will quit before they get good enough or build enough relationships. But that doesn't have to be YOU. Your story can be different. You can be the one who sticks it out- the one who doesn't quit on the edge of success.
The antidote to quitting too soon is simple, but it isn't easy.
Keep working hard. Don't give up.
God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Tips & Resources by Brent Baxter, Pro Songwriter on November 15, 2017
Are you telling TOO MUCH of your story in your song?
Is it really important that you and your love had a fight over whether to go for tacos or pizza for dinner (and you wanted tacos because it was Cinco de Mayo and they wanted pizza because it was a new restaurant out of Chicago with a lot of buzz)? And does it matter that you were already annoyed because your sweetie pie had been on the phone ALL DAY checking sports scores or sale prices instead of paying attention to you? And that it had been building up for days 'cuz your maybe-future-mother-in-law had been in town and kept quietly taking shots at you and your love handles and your honey bunch didn't stand up for you?
Yes, a certain amount of details (especially in country music) are important. But don't let the facts get in the way of the emotional truth. Don't let the little details distract the listener from the important stuff. Sometimes it doesn't matter WHY you got into a fight. Sometimes all the matters if that you got into a stupid fight, and now you want to make up. You can still paint the picture of the current state of your love life without having to paint all the events that led up to that.
Sometimes all that extra, unnecessary stuff shows up in the first verse, and it can all be cut out. This makes your 2nd verse a jump-right-into-the-heart-of-the-story awesome 1st verse. Try it out. See if some of your songs are telling too much. Then get ruthless with the eraser or delete key. You'll be glad you did.
Keep writing and God bless,
Brent
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable I-learned-it-the-hard-way-so-you-don't-have-to tips to help you succeed at the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Beware of debt- it’s a dream-killer.
Financial debt limits your options. Debt raises the amount you have to earn every month just to make ends meet. How free are you to transition from your day job to the roller coaster creative life if you have to pay on a ton of unnecessary debt every month? How supportive will your spouse be if you're already stretched to the max NOW? How much money can you put back for the transition if you’re in those kinds of chains? Not only does debt keep you in your day job, it puts pressure on you to work those overtime hours instead of using that time to write.
Is that REALLY the lifestyle you want? Really?
Say “no” to the 97" 3D virtual reality spray tanning TV. Say "no" to the 8-bedroom house with the Koi pond in the front yard. Say "no" to the "big boy toys."
Say “yes” to your dreams instead.
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable and learned-it-the-hard-way-so-you-don't-have-to tips about the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Happy Halloween!
There are more than a few monsters that haunt songwriters, so I thought I'd share a few of them with you today. Be on the lookout for these ghouls!
SCAMpires- These suckers are looking to bleed your wallet dry. They may look like real pro writers, but they are the UNpro. They walk among us, but only to feed upon us. The best way to defeat a SCAMpire is to expose his or her lies to the harsh light of day.
WHEREwolves- Where the heck is your cowriter? They were supposed to be here 30 minutes ago! And they won't answer their phone or return a text, either. It's as predictable as a full moon. The only silver bullet to defeat these WHEREwolf cowriters is to schedule them as part of a 3-way write. That way, when they no-show, you and your other cowriter can survive to write a song without them.
SONGbies- These slow, plodding songs drag themselves up and down Music Row. They overrun amateur writers nights. Their relentlessly sad songs try to bring a tear to your eye, but they only seem to eat your brain. The only way to escape them is with some fun uptempo songs. That will help you stand out from the SONGbie horde.
Fire-Breathing DRAG-ONS- These monstrous cowriters spew flaming negativity all over the writing room and on everyone they encounter. They make your cowrites DRAG ON and on. They will burn your positive attitude to the ground. They cannot be defeated- your only hope is to escape! If you're stuck in a cowrite with a Fire-Breathing DRAG-ON, try faking a stomach bug or simply go to the bathroom and climb out a window. It might be awkward, but it'll be worth it.
I hope you can avoid these songwriting monsters and have a very happy Halloween!
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable and learned-it-the-hard-way-so-you-don't-have-to tips about the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Remember, if you’re writing to get cuts, your songs aren’t about you. Your songs are about the artist and the listener. You might write a song inspired by a true story from your life, but don’t be so determined to keep ALL the facts true or accurate that it makes your song confusing, complicated, or boring to the outside listener. After all, real life is messy, and it doesn’t always fit neatly into a 3-minute song. Sometimes it does, and that’s great. But a lot of times, it just doesn’t.
What matters is the emotional truth- the feeling you want the listener to feel. The listener doesn’t care about you (heck, they probably think the artist wrote the song anyway). The listener cares about connecting to the song.
If you want to write the song (or an alternate version of the song) for yourself, that’s great. It’s a worthy thing to do. But if you want cuts, it’s to your advantage to give the truth a higher priority than the facts. It’s about communicating emotional truth, not facts.
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable and learned-it-the-hard-way-so-you-don't-have-to tips about the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
You win by adding value.
Opportunities come to those who add value. For example, I brought the idea of “Caribou Barbie” (a Ray Stevens cut) to Matt Cline and Max T. Barnes because they added value by being in Ray’s camp and because they write that kind of song very well. The value I brought was a title that Ray himself told me I should write.
Lisa Shaffer and Bill Whyte brought the title and idea of “Crickets” (a Joe Nichols cut) to me because they thought my lyrical sensibilities would make the song better.
Artists bring the value of having a record deal. Published writers bring the value of experience and a team of songpluggers. What’s your value? Great hooks? Do you do your own demos, saving costs to your cowriters? Do you have artist potential? Great melodies? What can you do to add value? If you identify it, you can sell yourself on it.
PS- Thanks for stopping by Frettie! I appreciate it. As a matter of fact, I want to give you a special little something just for your visit. It's my FREE ebook "Think Like A Pro Songwriter," and it reveals valuable and learned-it-the-hard-way-so-you-don't-have-to tips about the art, craft and business of songwriting. You can download it at www.GiftFromBrent.com.
Announcements by Brent Baxter on August 02, 2017
I'm pumped to announce that Frettie's newest song reviewer is... TWO song reviewers! Sam and Becca Mizell are hit songwriters who have had cuts in the country world by artists such as The Band Perry and Jana Kramer. However, it's in the Christian market where they have REALLY excelled.
Highlight cuts include:
“King Of The World”
Soft AC NO. 1 radio single, Grammy Nomination
"The Motions” recorded by Matthew West
ASCAP song of the year, Grammy Nomination, NO. 1 AC radio single 14
weeks(co-produced and wrote)
"You Are Everything” recorded by Matthew West
ASCAP song of the year, NO. 1 AC radio single 4 weeks (co-produced and
wrote)
"The Words I Would Say” recorded by Sidewalk Prophets
ASCAP Award, AC NO 1. radio single 3 weeks
"All That Matters”
ASCAP Award, CHR NO 1 radio single 4 weeks
"Hear My Worship" Inspo NO 1 radio single
"Give This Christmas Away"
duet with Matthew West/ Amy Grant AC NO.1 radio single
Some of their achievements include:
24 top 10 radio singles
2 Dove Awards
"Greater Than Grace"
Christian Country recorded song of the year
"Our Time" (written and produced)
Gospel Hip Hop record of year
2 ASCAP Song of The Year
11 ASCAP top 25 most played awards
2 BMI Awards
Crazy, right??? And this is just some of their highlights! They've had songs recorded by:
Matthew West, Amy Grant, Sidewalk Prophets, Mandisa, Jana Kramer, The Band
Perry, Billy Ray Cyrus, Avalon, Point Of Grace, Jamie Grace, Natalie Grant,
Jordin Sparks, Kutless, Francesca Battistelli, Mark Schultz, 33 Miles, Salvador,
Phillips Craig and Dean, Addison Road, PureNRG, Building 429, Michael
English, Rush Of Fools, Geoff Moore, Anthony Evans, The Martins, Jump 5,
Rachael Lampa, Helen Baylor, David Phelps, Wes Hampton, Kathy Troccoli,
Chris Rice, Jenny Berggen(Ace of Bass), Bob Carlisle, Vestel Goodman and MORE.
These good people (and they ARE good people) are awesome songwriters! And as a Frettie member, YOU can send your song to the Mizells and get their professional feedback within a week.
God bless,
Brent
I read this quote (of a quote) in the book “If You Want To Write” by Brenda Ueland. I think it’s worth considering, so I thought I’d share.
“Tolstoi, in a famous essay called, ‘What Is Art?’ said something like this: Art is infection. The artist has a feeling and he expresses it and at once this feeling infects other people and they have it, too. And the infection must be immediate or it isn’t art. If you have to puzzle timidly over a picture or book and try, try to like it and read many erudite critics on the subject so that you can say at last, ‘Yes, I think I really do begin to understand it and see that it is just splendid! Real art!’ then it is not art.”
Are your songs contagious? Do they infect the listener immediately with the feeling you put into the song? If not...
Keep writing.
PS- If you want to read more of my thoughts on the art, craft and business of songwriting, download my FREE ebook "Think Like A Pro Songwriter" at www.GiftFromBrent.com.
I'd like to welcome hit songwriter, Sandy Ramos, as our newest Pro Reviewer!
As a songwriter.... Sandy's songs have appeared on over 25 million CDs. Her first big cut came in 1989 when she had a Top 5 record "Don't Waste it On The Blues" by Gene Watson. Over her writing career Sandy has had major label cuts on Lee Greenwood, Faith Hill, Neal McCoy, Kenny Rogers, Anne Murray, The Whites among others. She's had Top 10 country hits, a #1 dance hit with Rhett Akins "I Brake For Brunettes" and her biggest album cut to date "Let 'er Rip" was on the Dixie Chicks "Wide Open Spaces" debut CD.
If you'd like for Sandy to give YOUR song her professional input and feedback, she is ready to listen! Just choose the Frettie song you want her to review, then click on "Purchase A Song Review" for more details. It's simple!
Right now, the statutory mechanical rate in the US (set by Congress) is $0.091 per unit sold. Meaning, each time someone buys an album at Wal-Mart or iTunes, each song generates $0.091 to be split among that song’s writers and publishers.
Just for the sake of easy math, let’s say you write a song by yourself and own the publishing. All that $0.091 goes into your pocket. If you get one song cut on an indie project which sells 1,000 units, that’s $91. Okay.
Now, say that same song is cut on a platinum-selling album (1,000,000 units) That’s $91,000 you just made- before taxes.
Indie cuts are great, and I’m thankful for every one I get. But I’m careful about how much time I spend on them (pitching, writing for, etc.). After all, it takes 1,000 indie cuts like that to equal just one platinum cut. That’s 91,000 reasons to spend a lot of time working on a song and cut with platinum potential.
Keep writing.
PS- If you want to read more of my thoughts on the art, craft and business of songwriting, download my free ebook "Think Like A Pro Songwriter" at www.GiftFromBrent.com.
