Can TAXI still Work for Me ?

[VanderBoegh]

But what about those opportunities in search of genuine, authentic singer-songwriters, who possess a distinctive style.

Hey Jared, just thought I'd chime in on your comment above. There are indeed some Taxi members finding singer/songwriter success doing just what you mentioned: writing genuine, authentic songs with a distinctive style. Paul Otten springs to mind as a guy you might want to check out, if you haven't heard his stuff yet.

What you want CAN happen if you're diligent. But, like Michael said, why not do both while you're at it? You could chop up a 3 minute song into a rhythm bed, and then cut up :60, :30, and :15 second versions, and now your ONE great singer/songwriter tune has transformed into 4 cuts that can be played on TV. You're already doing the work anyway, now make all of that work work for you!

~~Matt

[jaredlutes]

Thanks everyone - and to Michael for keeping close tabs on my concerns.

If my business were to write production music, while writing for myself on the side, I could certainly do lots of that! But my career model simply doesn't afford me the time to compose in that way - especially writing tracks that have a small chance of being heard or approved by anyone. My time is too valuable; I think it is next to impossible for a full-time artist (see below) to also muster the time, equipment, and skills necessary to crank out hundreds of production cues "on the side". I am an artist first. At least I strive to be. Simply having a couple CDs of "original music" on my shelf is not my idea of being an artist. It needs to be cultivated and maintained constantly.

I am single-handedly operating a small business - where my image, story, and brand are just as important as my music. My routine consists of website updates, poster creation, library submission, festival application, venue research, forum posts, event consultation, record-keeping, impromptu phone calls, email proposals, band organization, musician commissions, recording, mixing, mastering, music video production, PA setup and maintenance, lighting design, technical riders, vehicle rentals, music conferences, press release write-ups, post office trips, media interviews, songwriting contests, accounting, YouTube courses, rehearsals, social media upkeep, photography, merchandising, grant applications, client meetings, studio and software upgrades, graphic design, songwriting collaboration, vocal coaching, project consultation, string-changing, and bathroom breaks! I also perform out-of-town several times per week, and I am the host of my own songwriter circle series. I have a family with two small children who want to spend every moment with their "papa", and nothing takes priority over my Daddy Days once or twice a week. I also help with baths, story time (why I can't watch taxiTV live), late-night feedings, and most of the household chores while my wife is at work. I try to get out of the house occasionally to play basketball with my friends to preserve my sanity. And to top it all off, I can only afford to work from home - which can be frustrating (children, snacking, and dozing off come to mind). With all respect, does Paul Otten do all of this, while composing his 400 tracks per year? Maybe he does! If so he should be inducted into the Rock and Roll Hall of Fame immediately!

I'm not complaining! I love my life and family, and my small business is steady and fulfilling. But I barely have time to write my own songs - although I still produce an album every year (take that, U2 !) - let alone write tracks-to-order in unfamiliar genres for long-shot opportunities. If a co-writer, artist, music super, film director, publisher, or library owner approaches me personally and says, "I could really use another song like that last one you wrote..." - I am all over it, and can have something prepared in a week. But unless my precious resources are destined for something guaranteed, I will simply keep writing my songs for my audience. At least my album cuts earn me quick cash in the forms of CD sales and performance royalties.

Even though I am a slow composer, and unapologetically genre-specific, I really want to remain with TAXI. The staff and other members feel like family; I love the process and the transparency. Michael is down-to-Earth, wise, and genuinely concerned about all facets of members' lives. But I think I was more content when I wasn't getting forwards! Now, as one of my songs tops 22 forwards alone, I am scratching my head and reassessing my spending portfolio. But if all I have to do is be patient, I will be patient; please don't ask me to change my style, or my methods, or my perspective. I am doing what I can. The road might be rocky, but that's what inspires good songs!

By the way, here is my new video for that song I mentioned above. This is the same tune that Michael so generously praised on taxiTV - inspiring me to produce and release it. I'm not bragging, but everything you see and hear was done entirely on my own. I'm as busy as I can be with this stuff!

http://www.youtube.com/watch?v=sgnSgIybr7U

[eeoo]

Good for you Jared, stay true to yourself, not everyone knows their own path so well. Even though it presents many hurdles and what could be considered obstacles, to me it's an advantage, it cuts out distractions and endless options and sharpens your focus. Stay the course, no regrets.

eo

[jaredlutes]

Thanks Eo. You just made my day!

[ChipD]

Jared,
I'm going to play devil's advocate for a minute because I struggle with the same issues.

If you love what you do as an artist and MAKE money at it, and find that the funnel of submissions-forwards-deals-placements-royalties COSTS you money and frustrates you, then I think that being a performing and recording singer-songwriter is more up your alley, career-wise.

Yes, you could do both as Michael said.

But, would the time and money spent on trying to get production music placements be better invested in making music for your fans to buy and consume? Would dividing your focus prevent you from writing the song that would put you on the map as an artist under your own name? What is the most profitable use of your time - making music to sell directly to fans or making music to be placed in film/TV? Would 10% more hours put into what you're already making money at result in the making of 10% more money? And what is the most fulfilling use of your time?

What is the psychological impact of getting returns, or even forwards that don't turn into deals, or deals that don't turn into placements?

For some, it might be the motivation to get better at the craft. For others, it may drain the very spirit that inspires new music.

I think that the advice in this thread tells us what we have to do to be successful in the production music industry. The question is do we WANT to do those things, if only for a portion of our music-working time? Or would we prefer to do things our way 100% of the time?

Now, all of that being said...I think that perhaps that there is a distinction between listings for (a) production music, (b) songs for artists, and (c) artists. You may have your best luck focusing on (c) and not so much (a) and (b). So, if you are reassessing your spending and think it's time to cut, maybe respond only to listings by labels who are seeking artists. That way, you could stay engaged with Taxi (which I agree has a wonderful community feeling and no shortage of real-world education), focus on what type of writer you really are, and spend less.

What do you think?

[jaredlutes]

Thanks Chip. Yes, I've come to the same conclusion that there are three types of writers here:

1) Production cue composers who write on demand, across genres, and who are concerned with current trends and musical esthetics.
2) Songwriters who target artists with their full songs - considering the singer's style and story.
3) Artists themselves who write for their audience, from personal experience and taste - while both performing and maintaining a singular brand.

Big surprise, I'm in category 3 - which I believe is hard to mix with the previous two. I fell in love with making music because I was a kid who wanted to be like Elvis, McCartney, Seger, or Waits. It's a pipe dream to be THAT famous, but it keeps me going. I doubt any of those guys wrote many jingles, production cues, or alternative endings to their songs in hopes of getting them placed on TV. I'm not knocking that lucrative industry filled with talented composers, but I don't operate that way - and neither do my heroes. They wouldn't make very good TAXI hopefuls either.

The ONLY consistent success I've received through TAXI is for the authentic, acoustic, sincere song listings. That's who I am, that's what I do - honest and stubborn to the max. I've actually had some huge leads in other avenues, but I won't get into that. If I can't find success being myself through my music, I can fall back on my schoolin'. Grandma would be ecstatic!

[jaredlutes]

Bob Mersereau from CBC just summed up what I do:

http://www.cbc.ca/nb/mt/east-coast-musi ... -when.html

[Robtoons]

Nice review Jared, good for you!
You've got a vision and you're sticking to it, I applaud that.
I hope you can continue chasing your dream, it's very inspiring hearing your music grow and mature- I'm a big fan!
As far as taxi goes, where else can you find this kind of community?
Hope you stick around so we can witness your success.
Cheers -Rob

[jaredlutes]

I'm glad we could help, Joe. I don't mean to dissuade you from staying with TAXI, but with 10,000 members, we can't all be winners. I know where you're coming from; take your one forward+disappointment and multiply it by 61. That's where I'm at. Maybe you and I should just have fun playing and singing - like we used to at family gatherings, in our bedrooms, and with friends - and stop worrying about having our music placed on Grey's Anatomy. It's a massively competitive market, and the average basement enthusiast can't compete with the professional production houses, cutting edge artists, and the prolific musical chameleons who get those deals.

Here is a list of things that prevent me from having much success through TAXI. If any of these apply to you too, your placement chances will also be slim:

1) If you're not a high-yield composer, writing across several genres, or not on top of this month's styles and sounds - that's a strike against you.
2) If you are a slow-paced singer-songwriter, writing alone and less willing (or able) to change your style - that's a strike against you.
3) If you are unable to EXPERTLY perform, record, mix, and produce your own tracks (or know someone who can) extremely quickly - that's a strike against you.

That being said, there's no reason why you can't cross ALL these off your list and eventually start making money producing music. But you have to be willing to change your style, your preconceptions, your methods, and your outlook. You will have to immerse yourself in contemporary music and learn the forms and styles by heart. You will have to educate yourself in the ways of performing, engineering, and business. You will need to reconfigure your schedule so that you produce usable tracks every day. You will have to allow many months or years until you get the hang of it. And most of all, you will have to give up the notion that playing music is strictly for fun, because it will indeed become your business. It's the same thing with basketball, dancing, cooking, model airplanes, or music: It takes TOTAL commitment of all time and resources to become a pro, and sometimes a hobby should just stay a hobby.