Taxi Country Cuts ?

[hummingbird]

Jun 16, 2009, 5:09am, bucyboy wrote:I know if I quit I'll never get a cut. good post

[hummingbird]

Jun 16, 2009, 6:59am, perrysmith wrote:Why didn't anyone email me and tell me this stuff was going on without me??? Uhhhh...wow. Just finished re-reading. Something really strange has transpired, here. Cam has actually finally posted the post that Michael claimed I posted before the Nashville thing. So, even though it happened out of order, Michael, you finally got your post saying that TAXI should forward more country stuff Here's my unsolicited take: What's the big deal? A TAXI member believes more stuff should be forwarded and he wants to chat about it with forum members. So what? Chat away, I say. TAXI should forward what it wants to forward. People should join TAXI if they want to join TAXI. People should complain about not getting forwarded if they want to complain about it. Michael should jump in the mix and say what he wants. Then everyone should go have a beer/diet coke together and sing Cam's "Same Shirt Different Day" with the sounds of glasses clinking together in the background. I do not think I run the risk of being perceived as one of the oh-so-predictable butt-kissers around here when I say this:I have to give Michael a lot of credit. He has spent significant time and money PROVING THAT TAXI JUST MAY BE A COMPLETE WASTE OF YOUR TIME AND MONEY. Hear me out before any of you respond with a knee-jerk butt-kissing inarticulate rant. Michael could have spent time trying to demonstrate that it is possible to get a major label country cut just by a TAXI submission from Southern California (where I am) or anywhere else outside of Nashville. He could have posited questions to the panel that led to this conclusion and his posts here could suggest this, but he didn't and they don't. Rather, he has made it perfectly clear that unless you are willing to move to Nashville and spend years networking and writing with others in Nashville, you not only will not get the cut--YOU DO NOT DESERVE THE CUT! Just take a look at what he has written:Quote:To give some perspective to the people reading this, would you mind if I asked you how many years you’ve been writing Country music?How many years have you lived and pitched in Nashville?How many major or top Indie cuts have you had so far?How many Number Ones have you had so far?I’m not trying to be snarky, but I too am sincerely curious? Maybe if you tell your story, it will show our members how long it takes, how much effort it takes, and how many links are in the chain AFTER you’ve had a hold or a cut before something goes to Number One.and....Quote:Claire's been boots on the ground and doing all the right stuff for 8 years, and she realizes it takes time. How long have you been a member? How many songs do you write a year? How often do you co-write? How many days a week are you on the Row dropping off a song or networking?Claire is doing everything RIGHT, and she hasn't had a cut yet?Let's assume that you're as good as Claire. Wouldn't it make sense that if she's been there working it for 8 years, and you're equal writers, but you're NOT there, that you could use her experience as some sort of yard stick?See, he is making it perfectly clear--Do not join TAXI if you are thinking that TAXI will be your representative in Nashville--YOU have to be YOUR OWN representative in Nashville for years.I think many people join TAXI thinking that TAXI can be their sort of "agent" in Nashville and that it is a resource that eliminates the need to live in Nashville and network--in essence, the networking has been done for you and you pay for those relationships through your fees. But this is not the case. So, again, because I think Michael has gone to great effort to prove what will ultimately potentially cause people NOT to join TAXI, he has done a service at what could possibly be a very significant personal expense. For his willingness to put candor over his own interests, he has my respect.I was one of those with the pipe dream that TAXI might actually, when I got good enough, be able to get a cut for me while I run my law practice out here. The panel and these threads have demonstrated for me that this will not happen. I will not be moving to Nashville and, therefore, I, apparently, will not be getting a cut (even assuming I got my talent to the level that could get a cut if I lived in Nashville). But I will write anyway. I will just try to stay realisitic. I have some independent cuts coming and if I keep getting those, I can at least pay for some of my hobby. The panel and these threads have simply confirmed what I think I knew but was in a bit of denial about. Thanks, Michael. ....I have a brief to write (and the brief will actually make me some money ). Peace,PerryGood post. Fact is, those people who claim TAXI aims to rip-off songwriters don't understand: "(ML's) willingness to put candor over his own interests" ... this integrity is precisely why I scraped up my pennies to renew my membership this month. Plus the the great relationships my association with TAXI brings me, and the educational value of screener feedback (let's call it "reality check"), and, of course, the Road Rally.

[matthoggard]

OT:Has everyone noticed the "free beer" thread in this forum?Im down for dat!M~

[hummingbird]

Jun 16, 2009, 10:08am, matthoggard wrote:OT:Has everyone noticed the "free beer" thread in this forum?Im down for dat!M~make it double chocolate porter & I'm in http://www.ratebeer.com/beer/phillips-l ... 2093/1786/

[donho]

Hey all,I don't know any of you guys, I was a TAXI member for a few years,never big on posting here, never been to road rally and I haven't been a member for about a year. I just signed a staff deal with a major publisher in Nashville. I'm from WAY out of town. I don't know Michael Laskow, met him a couple of times, seems like a nice enough guy. I get the impression that he really cares about his members and about songwriters in particular.Jay asks a great question, and i think you guys got the answer wrong. I wouldn't say that TAXI got Elliot Parks the Lone Star cut, as in it was a submission that got forwarded. I understand ML was instrumental in getting Elliot signed, but the song 'I loved her first' is a co-write with an A-list veteran Nashville writer who knew just how to craft a great idea into a remarkable song. I personally was more impressed with some of the songs I heard of Elliots when he was just getting signed, but that's just my opinion.Point being that, by my count, TAXI has one country cut to its credit,a HUGE career making song, but just one. I know from personal experience that the publisher involved in that works his ass off for his writers. So a lot of things had to come together to make that happen, a GREAT song, a ass busting, well connected publisher willing to put his neck on the line with a couple of unknown writers, a world class, established artist who is also, as I understand it, a really good song guy, the right time in what was going on in country radio in general, its like the perfect storm of opportunity. But if your thinking that TAXI is going to get your song cut, you should know the score. The stars aligned once out of, i don't know, but maybe THOUSANDS of pitches? Is that TAXI's or ML's fault? I sure don't see how it could be when the biggest writers in the biz say that "every cut is a miracle"Anyway, I think the answer to the question is likely "1"That said, here's the point that I really want to make. TAXI was a HUGE part of my development as a writer. I can say without any hesitation that if I had not joined TAXI a few years back, I would not be a newly signed writer today, with really, unbelievable doors starting to open. As a TAXI member I got some forwards, a lot of "close but not quites" a lot of encouragement and invaluable feedback from folks who really wanted to help me succeed . Writing, and re-writing with that feedback in mind made me a better writer. That's still what I'm doing. Write, get feedback from publisher, re-write, get a little miffed because what he says today contradicts what he said last week,re-write again, obsess over little friggin detail, but in the end, we've got a contender.And now I get to find out if I've really got what it takes to make a living doing this. Thanks in big part to TAXIOne final thought, I was drinking beer last summer with a veteran Nashville writer, lots of cuts, #1's, great writer and great guy. He and his wife were kinda bitching about the state of affairs in the music business, and wondering how anyone was going to make a living in all the chaos. I said "sounds like I might be swimming as hard as I can to get on a sinking ship". He said, "that sounds about right".

[jchitty]

Jun 15, 2009, 10:41pm, TAXI wrote:Cam,With all due respect, I would hope that the seminar in Nashville had answered this question. And didn't I read somewhere in a previous post on another thread (before we went to Nashville) that you recognized that your songs weren't quite there (your words), and you knew they needed some tweaking in the lyrics?As for George Strait having a bunch of 2nd rate songs on his album... don't you think he picked them, and is maybe it's not a great strategy for success to shoot for, "I'm as good as his bad stuff."Remember, we learned in Nashville from ALL the panelists that good isn't good enough. It's not TAXI. It's that they've got no shortage of GOOD. They want and need great. I'm guessing George Strait thought the songs you don't like WERE great Cam, seriously.... why keep beating this dead horse and trying to bend the situation to your will? You know you're close. I know you're close. Your friends on this forum know your close. And the panelists who heard your music know you're close.Wouldn't it be a much more productive use of your time to go the extra distance and get GREAT? Why waste your time trying to change what is? Just accept that it IS, and that's what you've got to work with. You are capable of doing it, but the negative approach of what appears to be blaming everybody else feels really negative. Negativity rarely engenders success. Claire's been boots on the ground and doing all the right stuff for 8 years, and she realizes it takes time. How long have you been a member? How many songs do you write a year? How often do you co-write? How many days a week are you on the Row dropping off a song or networking?Claire is doing everything RIGHT, and she hasn't had a cut yet?Let's assume that you're as good as Claire. Wouldn't it make sense that if she's been there working it for 8 years, and you're equal writers, but you're NOT there, that you could use her experience as some sort of yard stick?Would SOMEBODY else who was at the seminar jump in here and back me up on all this? I really can't believe that you're bringing this up AGAIN Cam. Please read the posts below. I copied them from the other Nashville thread. One is from Chits after she was at the same seminar you and I were at. The other is from a new forum member named Arthur. They really say it all.Also, I think you saw how close I am with the guys on the Nashville panel -- they are my friends. And my friends look at this forum. One of the questions I think I forgot to put on my list for Nashville was, "If you've got two equally great songs in front of you, and one is from a high maintenance writer, and the other from a guy who never rocks the boat, which one would you work with?"We all know the answer. Maybe I DID ask that question...I'm asking you once again to keep this well worn debate off my forum. I'm cool if you want to be the guy to start the revolution that will lower the bar in Nashville. You won't be the first un-cut and frustrated songwriter to do so. Just please don't start it here where it publicly drags you and all your fellow TAXI members down to a level that I don't want my friends in Nashville to see.If you've got issues, why don't you write letters and take your case DIRECTLY to all the artists, producers, A&R people and publishers in Nashville who make the rules? Why do it here? Here's Arthur's post, followed by Chits.**************Let me play devil's advocate:1) If you have a song for Nashville you think is a hit, play it for others, especially friends and musicians that know a hit when they hear it and who will give you a truthful unbiased review. You start hearing that it has "hit" potential, you're on your way. The doors WILL open. The problem is, writing a hit song is usually done by the pros. They have the talent.Can anyone show me something they think is a "hit" from the writers in here?2) Your timing window is very short. I know really GOOD writers....make that GREAT writers who's songs become dated and faded very very fast. You have to have the next big thing ready to go. Really good songs I hear at the time seem very dated even months later, very dated one year later and horribly dated two years later. And if you don't get that song cut, it'll end up in the " good but no cigar" bin. Those songs will be never moved. Look at successful writers and their ratio of songs written to songs cut is probably 100-1. The really good ones, it's probably less. What do you think? 3) Let's say I'm a successful country artist. I've gotten there because of my talent, my production team, and hard work for the previous ten years. In that time frame I know the who's who in Nashville. I will not use outside writers unless they have a "hit" and that almost never happens. If I want filler for my record, I know plenty of writers from my circle that I can choose from. Why should I use an unknown writer? I won't. Unless it's really a hit.4) Good thing about TAXI is that it gives an opportunity for unknown writers to try for the brass ring. Where else are these writers going to get feedback? Especially if they're far removed from the industry? It brings the industry right into your home. Pretty cool, if you have semi-marketable songs or a diamond in the rough. *****************From Chits...Hi, folks....I just got back from the panel meeting in Nashville. I plan to renew my membership come July 3rd. This Nashville panel meeting was a TRUE eye opener, and a great educational experience for me. I'm not really a complainer when it comes to fowards. I learned a long time ago that it's difficult to get a cut in Nashville, although not impossible if you write a great song that grabs people's attention. But I did learn a few more things that I didn't know by attending this meeting.Later on, I will tell you why I think country songwriters should stay with TAXI, but first I'd like to say what I learned at this meeting. I'm going strictly by memory as I didn't take notes, so feel free to correct me if I'm wrong. 1. I learned there are over 20,000 country songwriters in Nashville. That was a conservative estimate by the panel, I believe. There are probably more, so the competition is very fierce. After the panel meeting, I sat with one person (some of the songwriters went for dinner afterwards) and they said there may be as many 45,000 songwriters in Nashville.2. Michael and the panel played hit songs so that we could hear the difference between the hit songs and ours. And there was a BIG difference. These songs grabbed you immediately, tugged at your emotions, were very well crafted, and used a lot of clever conversational lyrics. THEY STOOD OUT from the pack. One of them was a Rascal Flatts song, the other a Pat Green song....but they were definitely A plus songs. So a B plus song just isn't good enough. Not that our songs aren't really good, they are....we just might have to go a little further. 3. I learned that women listeners (according to Ralph Murphy) are the ones you have to please at 7 AM in the morning, and you have to grab their attention for the first 45 seconds, or you haven't done your job as a songwriter.4. For me personally, I learned that I need to get away from those poetic lyrics I tend to write and lean more toward the conversational. (when writing country) I think Michael put his arse on the line to play my song for the panel. It was my best one, but I knew it wasn't what they were looking for, but I'm still honored it got critiqued...that meant a lot to me. 5. And here's the BIGGEST THING I learned....that TAXI really is trying to help country songwriters. But they can't perform miracles. They (and the screeners) have to give Nashville what it wants. So by us regularly writing and submitting to TAXI's listings, we become more skilled at knowing what Nashville wants too....we're not flying blind. Think about this, if you DIDN'T have TAXI's screeners helping you to become a better writer, what would you have? NOTHING. You'd be pitching to listings without any concept of what Nashville really needs. I also noticed that the panel said the VERY SAME things about my song, "Silence Is the Best Thing I've Ever Heard" as the screeners did. So when people get upset at the screeners, don't see them as gatekeepers. See them as people who are trying to help YOU, but also as people who ultimately have to deliver the goods that Nashville is requesting of them. They can't send just a b-plus song....it's gotta be beyond the best, and it has to be exactly what the artist is looking for. The reason I think country songwriters should join TAXI is that like me, most of you don't have a direct pulse on Nashville. It would be ideal if we could all live there, but of course, we don't. When Michael put together this panel, that gave the country songwriters even more of a feel for what's going on. Now we know why it's so hard to get a foward or a cut, but as a TAXI member, I feel I can at least keep up with trends in Nashville, get a feel for what a country artist wants and keep improving my craft in the process.I'd like to thank Michael for allowing this panel meeting to happen....I think it went extremely well, and I really enjoyed it. Michael let us in on the world of country songwriting, and in the process, it's helped us all greatly. And finally, even though I don't name y'all, I really loved meeting all my fellow TAXI members.....I had the best time! BTW, I'm very tired from traveling, so I'll e-mail and PM folks later. *****************Thanks Arthur and Chits. you have no idea how much I appreciate that you GET it. Respectfully to all,MichaelHey, you're welcome, Michael....I really learned a lot from your Nashville panel meeting, and I'm so appreciative that you held it for us. You did something wonderful for the country songwriters. I agree with Casey that a lot of time and expense was put into this panel meeting by you, and that all of our concerns were addressed. I know Cam to be a very good guy...I don't think he meant to be negative. That's one reason I prefer to call customer service if I'm having some thoughts about TAXI and its workings....it's just so hard for me to convey what I really mean in print for some reason....but each to his own....others prefer print.

[jchitty]

Jun 15, 2009, 9:42pm, squids wrote:Jun 15, 2009, 3:46pm, jjktunes wrote:When I say this I am including myself too. I have heard country songs on here that could be on a major, but I have not heard a number one yet. I will say this, there are a few songs I have heard that if the right artist and producer got their hands on them they could chart. When we learn what touches, inspires and grabs the masses and we learn how to do that in a 3 min song we have as good of a chance as anybody. I also want to thank Mojo for reminding us what its all about in the first place. It's art at it's best, its a blessing and a gift to be able to tell a story in song that makes somebody feel something, and thats awesome. I'll shut up now. Here, here. Nicely said.And I'd like to add my thoughts......I really love and am fiercely loyal to the country writers here, mostly after watchin chits struggle through on her own. There're strength in numbers and all y'all have shown how determined and dedicated you areWould ya'll consider pooling your resources (financial and time wise) in order to form sort of an 'interested party' that has members from all over, then hire a songplugger or whoever to walk the streets when you can't? Maybe you can form a committee to oversee what's the best songs to shop that week or the month or whateva. Of course, there'll always be contracts with each other, etcI've told chits over and over again, the odds of getting a country hit are astrominally low and that isn't helped by the massive highway that is Nashville......like bein born in the projects and found on the baketball court. Anyway, jes a thought. As fo the rest, Taxi has some connections and they really do film/tv well. He's responsive as a businessman (not all of them are) and is searching fo ways to help all y'all out. I oughta know, I hear about 'em (except with me he gets ta grump......he's a busy guy and extra service take somet time to happen. You have some really great points, Nita. I am still gonna pitch to country listings, but I'm branching out more. There is no reason that as country writers, we can't try other things while still being focused on our original goal. Getting a country cut is probably harder than winning a lottery, so I think it's wise to be focused on more attainable goals while you're still working toward your original one. I like your idea about the committee too....good stuff. And yep, while it's cool to earn money from what you love, we should always remember the joy that we get from our music, whether we make money or not....it's that old "do what you love, and the money will follow' type thingy....or maybe we won't earn anything, but we're still blessed to be doing something that provides us with a passion in life.

[sgs4u]

Jun 16, 2009, 10:48am, donho wrote: I said "sounds like I might be swimming as hard as I can to get on a sinking ship". He said, "that sounds about right".Write that song! Swimming choppy waters to board a sinking ship. What a concept!And I concur that the education Taxi provides is mind-boggling and fabulous. But the opportunities for cuts, are as rare as hen's teeth now.

[claire]

I don't know any of you guys, I was a TAXI member for a few years,never big on posting here, never been to road rally and I haven't been a member for about a year. I just signed a staff deal with a major publisher in Nashville. I'm from WAY out of town. I don't know Michael Laskow, met him a couple of times, seems like a nice enough guy. I get the impression that he really cares about his members and about songwriters in particular.----------------------------------------------------------------------------------------------Hi - it would be really inspirational to all of us to know the particulars (without mentioning names, of course) of how you got a staff deal with a major publisher in Nashville without living here. I think it would really lift some spirits to know that it can be done. How long did it take? How many times a year did you come to Nashville? Are you also an artist or strictly a songwriter? Inquiring minds want to know "I Loved Her First" was Heartland, wasn't it? I know Lonestar didn't record it.Claire

[lsp]

Donho, I think sharing your experience would be a great moral booster as well as an interesting story.Let us know....