Been in Biz for 30 years. Dissapointed in Taxi.

[Nivek]

Kevin,
I have resisted posting because many of my composer colleagues here and indeed Michael Laskow, have pretty much covered my views on the issue.
I am a successful TAXI member too, with no preferential treatment from the company at all. If after all you have read on this forum you still feel the same way, then no one can convince you otherwise. TAXI offers the same service to all of us-what we accomplish with it, is up to us...
Good luck with all your endeavors!
Adonis

Thanks Adonis.............................Look folks I really do appreciate what you've all said and I absolutely understand the work ethic involved which you all preach. There's real talent in the tracks I've heard over the last two years and congrats to you all.
My stuff is different. I look for original ideas in music and have no wish to sound like any one else. I dont want to copy other artists or even be influenced by successful artists.
The trouble is it seems, that if you dont agree with the hierarchy of the music business then you stand no chance of being heard in a positive way. This thread started thru someones dissapointment in the screeners not being open minded enough. Then as you read on his point of view was lost by those who truly believe in Taxi and who always came back with the work ethic thats been suggested we all follow. Write and throw away. Move on. etc
How much great stuff is being lost out there because someones shown their feelings and mood in a piece of music or the lyrics of a song and the screener hasn't liked it.
My first reply from a screener criticised the sentiments of my lyrics because I had basically just retired and was determined to have some peace in my life. It came out with the sentiment "Dont mind me I'm passing by."
In fact it wasn't a criticism it was a bollocking, because the world was heading for yet another financial disaster.
I wonder how many folks would have shared the sentiments now. I know it was appreciated when I performed the song and when I was asked for a copy. So that was a good introduction to Taxi.
But to finish I'm moving on, hell having just sold off all my stage equipment and instruments to fund an update in the studio I've finaly realised that my best days in the world of music passed me by years ago. I dont know if I can be arsed to pick up an instrument again. I do believe in asking a few questions now and again that may not be politically correct, and I'm sorry to Mike for the Eye and TV comment, even tho he's reaction was funny. It was taken out of context. Wait till his bladder starts packing up, and he's joints wont bend, with endless trips to the bathroom during the night. We'll see if he can pick a good tune or song when he's hearings gone. He wont be such a comedian then.

[sedge]

* was nothing negative here, just dipping out of conversations like this from now on / doesn't appear to help / bit of a waste of time

[shoodBworkin]

Good karma for you, Sedge! Fascinating topic. I have a different perspective than does Kevin, I'd consider renewing if TAXI offered a 'second tier' service for members who feel they've learned all they can from the critiques. Say, 99 dollars/year for Y/N ONLY. Excercising such an option would free reviewers to concentrate on those who truly value the critiques while the others would have a bunch more 5 dollars's for submissions. Everybody wins!

[kitchensinkmusic]

not to beat a dead horse but perhaps Neal's original post might contain a valid approach for screening that possibly Michael is in the process of addressing:

I'd like to introduce the concept of a "wild card" - a submission that is great, emotionally charged, well crafted, well recorded, well performed, etc. that for some reason doesn't quite meet all of the criteria completely but that the screener might find compelling and feels might possibly interest the advertiser and fill the need in a possibly unconventional way. Maybe like Andy Gowan's example about using a happy tune for a depressed charactor's underscore or some other non-intuitive approach.

Screeners could be encouraged to look for one or two of these for non-label/artist type listings.

Just my .02 from a guy with $600 worth of returns.

[sedge]

* was nothing negative here, just dipping out of conversations like this from now on / doesn't appear to help / bit of a waste of time

[Nivek]

Hey guys ........................nice to see a few positive vibes coming thru. There's always room for change, all the stuff written in stone gets busted or chipped. Keep your ideas coming and aim them at Taxi.
Everyone benifits from discussion and new ideas. The truth of the matter is that some guys can deliver and cudos to them. Others deliver but its just too different for the management to risk any time on. I understand that and I also understand the financial aspects etc. However there must be a way to accomodate the out of vogue stuff so as the hard working guys and gals who dont get a forward, aren't left floundering.
I like the idea of a reduced membership rate for just Y/N. That would free up some cash to have a custom critique when you feel you've written something towards the top rail. Plus I wouldn't have ranted at all if I had just recieved a no, instead of a couple of words that made us think my last submissions weren't even listened to. I cant help being a synical bastard. It comes with living on this planet.
Casey calm down. " I'll fetch me coat "

[DesireInspires]

I was one of the partners in a very successful music production company. We did hundreds of spots including, CBS Evening News with Dan Rather, Coke, Disney, NBC, VH-1, etc.

One thing I've seen is that in at least 50% of the cases, the client doesn't know what they want, or buys something very different than what they were asking for. One classic example was doing demos for the show, Extra. They said they DO NOT WANT the words "extra" sung and NO sax. They ended up with exactly what they said they didn't want and we lost the job. What I learned over the years is that the most important thing is doing a great piece of music FIRST. We usually would send a demo exactly the way they asked for it, and another one or two with what we thought they should have. As I said, 50% of the time they took what we thought they should have.

Yeah, that is weird.

I know from experience that music libraries change their minds at the last minute. When I was with Taxi, I submitted three songs hip-hop instrumentals and got them forwarded. I never heard back from the library. I then submitted the same songs to the library directly and was told that they did not license hip-hop instrumental music. Craziness!

It was no one's fault. Libraries do not know what they want or need until they get a request for that type of music. Then they want 100 of those songs by yesterday!

[BruceBrown]

In defense of what Neal is saying. A lot of times I submit my Taxi returns directly to libraries and they get excepted.
I continue to write for listings and submit to listings with the hopes of getting my foot in the door with new libraries.
Plus it's a great learning tool and I feel like it makes me a better, more versatile writer.
I can see both sides to this thread. I have had returns that I know are good pieces of music, maybe they weren't quite right for the listing, maybe the screeners miss it sometimes. I shake it off, sign the tunes with a library(that aTaxi listing got me hooked up with) and get up every morning and write.
I'll say it again, It was joining Taxi that got me in the game.
There's no inspiration like an assignment.
Taxi listings give me more work than I can get done.
Later
Bruce

[NealF]

Very true.

It's great to get an assignment. Even if it doesn't go through, you end up with something you might not have had. I just wish they would loosen up a wee bit.

[DesireInspires]

Very true.

It's great to get an assignment. Even if it doesn't go through, you end up with something you might not have had. I just wish they would loosen up a wee bit.

Fair enough.