Why Country Songwriters Should join TAXI

[cameron]

I'll bet Keith Urban has a big place. Maybe we could ask him?Cam

[jchitty]

Jun 14, 2009, 6:05am, cameron wrote:I'll bet Keith Urban has a big place. Maybe we could ask him?CamSure, and Nichole can make dinner for us all.

[squids]

Good idea, Claire! ASCAP might do it if someone contacted them after we all agreed on when. I'd move there fo the weather. I could leave right now.

[adrienne]

Jun 14, 2009, 6:05am, cameron wrote:I'll bet Keith Urban has a big place. Maybe we could ask him?CamBest suggestion of the thread! Although then I would not be much use as a co-writer....I'd be too distracted

[squids]

No worries. I'm sho Nicole could keep us in line.

[adrienne]

Jun 14, 2009, 3:45pm, squids wrote:No worries. I'm sho Nicole could keep us in line. That's too bad! LOL

[heinsite]

now i'm on here late, but serious on this as a heart attack....why notask some big "star" to host us? maybe mikey already did that, but hell, there just MIGHT be a chance. does anybody know somebody who knows somebody????? really.all the best,warren ps: and claire, if Doak is the dude, then that may be the answer...but what do i know?

[claire]

I went to a one day seminar that Doak arranged years ago - can't remember the pro writer's name now - at the guy's big house out in Brentwood. Dave somebodyorother. Byron Hill spoke and there was this thing where everyone wrote down a song hook on a piece of paper, the hooks were read and the winning hook got cowritten by Dave SOO and Byron Hill. Right there. On the spot. It was amazing to watch the two of them put a song together in maybe 20 minutes. Very cool day and lunch was served.Doak's the dude.Claire

[matthoggard]

Ill see if I cant use some of my new contacts in Nash to get Doak involved. He is a great guy and he loves helping writers and artists out. I spent a couple of evenings with him and some friends and a writing day at his house. Hes a networking master.M~

[stansongman]

First off, I was really disappointed that I couldn't attend, but family business called me out of town, and I couldn't make it back in time. I was really looking forward to hanging with everyone. I hope that I'll make the next one. My cowriter, artist Georgia Thomas (and TAXI member) did attend though so she gave me her opinion of the event. I'd like to give some input on some things that Georgia said weren't really covered in the seminar.After 10 years of visiting Nashville using my vacation time in order to cowrite, demo and pitch, I was lucky enough to actually move to town to take a shot at being a songwriter full time. I also was lucky enough to get a meeting with Craig Wiseman (if you write country music, then you know who he is). He thought I was an out of town writer he was critiquing. He asked me how my trip was going. When I told him that I was celebrating my first month of being in town he said "congratulations. You are now one of the 20,000 writers who actually has a shot". Pretty wild. Anyways, since that time I've been lucky enough to get 5 major label holds, and one of the songs actually made it into the studio for a Sony artist but didn't get cut. I view each one of those holds as a huge milestone. No cuts yet, but I just keep trying to make the next song better than the one I wrote yesterday. That said, it's important to note the changes that have occurred in the business since I've been here. First of all, most songs are now being co-written with the artists, and usually those co-writers are established hit writers. That's an attempt on the part of the labels and their publishing companies to grab a bigger piece of a shrinking pie. So, don't expect to land an album cut on any of those projects. If you want to get a cut on one of those records, you've got to have a hit single that blows everything else out of the water. (Also, be ready to give up some of your publishing on it, but that's a whole other thread...). For us independent writers, that means our best shot is to create amazing uptempo, positive hits with REAL substance. No Badonkadonks, no wrist-slitter ballads. That's hard! By the way, most artists have their favorite ballad writers, they tend to just go to them for their ballads. So, as independent writers we are left to write uptempo hits, with a deep positive story or message. Plus, it has to totally appeal to the working mom who listens to the radio on her morning commute while dropping the kids off at day care, etc. Then, there's the demo itself. 4 bar intro max, get to the chorus ASAP, and make it sound like it's already on the radio. The publishing houses here don't mind spending $1500/song for demos. I've paid anywhere from $500 - $1200 depending on the production needs of the song. I don't think guitar or piano/vocals cut it, but that's my opinion. As an independent writer, I need to remove every barrier to entry. The song itself, how narrow/broad a pitch it will be, the production, everything.I'm not saying all this to discourage anyone. I know writers who are getting their first cuts. There are also new artists (a La Jane Dear Girls, Frankie Ballard, etc.) putting out their first projects and looking for the breakout hit. All this to say the opportunity is still there. But knowing the odds and where the bar is can only help. I don't get onto the forums as much as I should. But, if anyone ever needs Nashville information i.e. demo studios/singers, networking in town, things like that, please don't hesitate to send me a message. I'm also planning to hit the Road Rally this year again, so hopefully we can hang out and talk about this more.