Songplugger/The Cuts & The Bruises

[ottlukk]

I just finished reading this book, and am unsure of the propriety of posting the title on the Taxi site. So, Taxi people, if this is out of line, feel free to hit delete. Several things struck me about this book. First, was the emphasis on the quality of your songs. But the underlying attitude was that if you weren't in Nashville doing your stuff, well, there's no way you'd ever measure up. That twenty writers in Nashville get 75% of the cuts, and the rest of them . . . well, good luck . . . and if you're trying to get a song heard from out of town, wake up and smell the roses . . . or something else. Another major theme was the fact that all these songwriters/artists/producers/songpluggers in Nashville have had relationships that go back many years -- and all of them help each other out. Why consider an outsider, when there's so many insiders? The book had interviews with 27 industry insiders, and is worth it just for their views. But I got the impression from the vast majority of these interviews that you'd already better be connected before they'll listen to your stuff. It felt like "Catch-22": we'll listen to your stuff if you've already got a cut, but if you haven't got a cut, why listen to your stuff? (was that a lyric?) Bottom line question: This book was about songpluggers. Has anyone out there successfully used a Nashville songplugger? Could you pass on their name? No offense to Taxi, but this book gave me the impression that any A&R firm outside of Nashville would have a snowball's chance in h--- of getting a fair hearing in Nashville. Including Taxi. "I Loved Her First"? Has Taxi scored anything else? (whoa! another rhyme). Ott Lukk

[jeep]

Pm'd you

[claire]

"Buy Me A Rose" in 2000. Dat's it as far as I know.I've used pluggers, not successfully.A killer song is going to be heard here and quickly picked up. The catch is - it has to be KILLER and not just great. Better than anything they can find on the Row. That's tough when you're living out of town and don't know how to get a song to the right person. It can be done but it's one step away from being that proverbial snowball.Claire

[jwebbinspired]

I agree with Claire. I don't care if you live in the North Pole...if you wrote "Live Like You Were Dying" it's going to shine through. And as a writer who lives outside of Nashville I push myself to write better and better everyday...because the only way to shine through is to write BETTER than Craig Wiseman, Jeff Steele, Rivers Rutherford, etc. And inside this head I have the audacity to think I can. The other thing is if TAXI is anyone's only form of "pitching" then your chances are even slimmer than someone like me who travels to Nashville every month or Claire who moved there. TAXI is a great resource we should be taking advantage of (such as this Nashville workshop coming up, thanks Michael!), but getting cuts in country music has so much to do with relationships and "right place at the right time"I have never used a plugger before. I've heard good things about some of them. I just don't think I'm in a position to need one yet. When I have 20 KILLER songs I'll make that investment.Andy

[matthoggard]

Well none of us are going to waltz into Nashville and get that glorious cut. Ive had people listen to my songs. I have a couple people in Nashville who listen to lots of outsiders songs. They need songs. (period) So they DO listen. But as Claire and many others have said, our songs better be able to stand on their own and rise above the rest. The big thing is, "who have you written with?" Thats the question I get alot. Sure its an insider town but the key that many of us forget sometimes is getting to co-write with bigger name people which leads to co-writes with even bigger names. There are very few single writer songs cut these days. Writing sessions go on all day everyday in Nashville and for people like us our main goal should be getting in on those sessions.Another big thing: Finding new artists to develop with our songwriting and "building them". There are many great artists that cant write. We need to find that local phenom that has the look and the talent and write for them and promote them. Yes we have to be writer/musician/producer/promoter these days. The labels want people that are established with a fan base and an internet presence. The glory days of songwriting are gone. Its a whole new ball game so we have to find new ways to pitch not only our songs but ourselves.It starts with networking and meeting people. We have to get out of our home studios and our comfort zones and find places for our songs. The labels want us but they want us to do the work. I dont blame them for sticking to the inside track. I would do the same.

[ontariolightning]

one way to do it is to email or pm someone on youtube that does covers and ask them if they could cover your song.. some of those people get over 100,000 views per video, which is mega exposure

[ontariolightning]

If any of you know Soulja Boy he is a popular rap artist, he got noticed because he put his song on downloading programs like Limewire except when people thought they were downloading a popular 50 cent song they got his instead, ingenious, he's a millionaire now and 50 cent gave him props and now he's famous

[mojobone]

May 31, 2009, 7:07pm, ottlukk wrote: Several things struck me about this book. First, was the emphasis on the quality of your songs. But the underlying attitude was that if you weren't in Nashville doing your stuff, well, there's no way you'd ever measure up. That twenty writers in Nashville get 75% of the cuts, and the rest of them . . . well, good luck . . . and if you're trying to get a song heard from out of town, wake up and smell the roses . . . or something else. Another major theme was the fact that all these songwriters/artists/producers/songpluggers in Nashville have had relationships that go back many years -- and all of them help each other out. Why consider an outsider, when there's so many insiders? The book had interviews with 27 industry insiders, and is worth it just for their views. But I got the impression from the vast majority of these interviews that you'd already better be connected before they'll listen to your stuff. It felt like "Catch-22": we'll listen to your stuff if you've already got a cut, but if you haven't got a cut, why listen to your stuff? (was that a lyric?) That jibes perfectly with everything I've ever read or researched about Nashville. There's this song called, "Don't Call Us, We'll Call You" that comes to mind...but, according to the 80/20 rule, the majority of the competition is crap, either not really serious, not really good or flat-out delusional-I'd say 80/20 is being very generous, most days. Then there's a bunch that have what it takes except for the stamina, they'll give up soon enough, and , before long, your one-in-a-million shot starts to look more like one in two thousand, that's two and three zeroes. I'll take them odds.

[ontariolightning]

Jun 2, 2009, 11:21am, mojobone wrote:May 31, 2009, 7:07pm, ottlukk wrote: Several things struck me about this book. First, was the emphasis on the quality of your songs. But the underlying attitude was that if you weren't in Nashville doing your stuff, well, there's no way you'd ever measure up. That twenty writers in Nashville get 75% of the cuts, and the rest of them . . . well, good luck . . . and if you're trying to get a song heard from out of town, wake up and smell the roses . . . or something else. Another major theme was the fact that all these songwriters/artists/producers/songpluggers in Nashville have had relationships that go back many years -- and all of them help each other out. Why consider an outsider, when there's so many insiders? The book had interviews with 27 industry insiders, and is worth it just for their views. But I got the impression from the vast majority of these interviews that you'd already better be connected before they'll listen to your stuff. It felt like "Catch-22": we'll listen to your stuff if you've already got a cut, but if you haven't got a cut, why listen to your stuff? (was that a lyric?) That jibes perfectly with everything I've ever read or researched about Nashville. There's this song called, "Don't Call Us, We'll Call You" that comes to mind...but, according to the 80/20 rule, the majority of the competition is crap, either not really serious, not really good or flat-out delusional-I'd say 80/20 is being very generous, most days. Then there's a bunch that have what it takes except for the stamina, they'll give up soon enough, and , before long, your one-in-a-million shot starts to look more like one in two thousand, that's two and three zeroes. I'll take them odds. Smartest post I've seen in a while, you're so right man, right on!

[jiml]

So what about those of us massively talented killer songwriters who'd like to get a song to the 'big boys' but don't see it worth the trouble or cost (I'm broke)?It's a bit hard being broke (goes hand in hand with being a musician I suppose eh?) and disabled where it's too painful to complete the vox on a song without having to rest the ol' back and pop extra pain pills to make it through a few minutes of standing.Well, I'll tell ya what to do, keep writing songs because it's something you love to do (and have to do, like eating or yelling at the neighborhood kids...;>) and get better at it. Who cares if some bigshot in (insert name of city here) likes your song?I'll put my tunes up against any similar style tunes on the radio.The opinions will be 50/50 as with anything in life. So what?It doesn't matter what anyones opinion is except your own (and that's my opinion so listen closely, at least until I change my mind...;>)What disturbs me is the penchant to 'write for' a certain artist.A songwriter should have their own voice and not try to be a xerox machine!I'm not at all surprised that there's a 'core group' of closet songwriters as all the junk on the radio sounds similar.The net has the best tunes, I know, I've heard them!Peace!-Jim