Why Country Songwriters Should join TAXI

[jay10music]

Hi Stan,Sorry you couldn't make it, but I look forward to seeing you at the Rally. I just read your post and noticed that nearly every point you made WAS discussed at the seminar:20,000 writers in townMove there after TAXI cracks the door open for youCo-writes with artists (I'm pretty sure that one came up)Write uptempo, blow me out of the water smash singles, no balladsWrite for women who listen at 7 amGuitar/vocal and piano/vocal demos VS full production demosThe narrowness and nuances of pitching the right songsI read a TAXI listing outloud for the Jane Dear Girls and asked the panelists if it had more or less info/direction than what is standard in Nashville (they answered "more")Networking in NashvilleAre you sure Georgia was at the right seminar? Maybe she's just a bad note taker Anyway... not trying to be defensive here, but your post made it sound like we didn't cover a lot of important topics, which is ironic because the topics you pointed out are EXACTLY what we discussed, right down to women listening in the morning and the Jane Dear Girls. I had my friend Fett record it, and I'll be transcribing it to turn into an article for the newsletter soon. The recorder stopped at one hour and seventeen minutes, but much of the Q&A is still on there. Much of the last hour was listening to songs.Here are my notes that I used for the panel:Questions for Nashville SeminarCliff Audretch III, Sr. Director of A&R at Universal South. He's also been producing major label acts, and for many years was a publisher at Windswept Nashville.Steve Markland, President of Crossfire3 Music Publishing, and prior to starting that company was President of Windswept Nashville for many years, where he published Jeffrey Steele among others.Ralph Murphy, VP of ASCAP Nashville, a hit songwriter in his own right, and also he publishes Murphy's Law, some of the BEST common sense, eye opening advice for writers in the Country market.Sherrill Blackman, Has been voted Songplugger of the Year numerous times. Works with the VERY best writers in Nashville and gets tons of cuts for them. He handles a small list of writers, and it's amazing to know how many other top writers are on his waiting list.I promised to tell you how to get your song into the hands of top Country artists for less than $50, so here it is. A Publisher named Rex Benson told me this years ago, and it makes a lot of sense – buy the bus driver a steak dinner.Steve -- How many songwriters would you estimate are living here and working daily at getting cuts? How long does it usually take someone to get the hang of things here and eventually get a cut? A year, five years? Ten years? Never?Ralph -- How many songs would you estimate get cut per year?Sherrill – People call me and say, “I’ve got a great song for Faith, can you get it to her for me?” They seem to have no idea that she just released a new record and is now touring for a year to support it. Can’t they estimate when top artists are looking for new songs based on the release of their last record and their tour schedule?Open -- People like to theorize that getting a song cut in Nashville is very political, and “outsiders” stand very little chance. My response to that has always been that it’s only political in that the people who have boots on the ground here are more likely to get a cut because they work at it every day, they build and maintain their network, they stay on top of who is doing what – in other words, they are better connected because of proximity.Is that a fair and true statement or are politics more rampant than I’m aware of?Cliff -- I would guess that writers who have an amazing track record of writing RECENT hits are more likely to get their songs heard for current slots. Is that true, and is that really political, or is analogous to somebody hiring an attorney or a doctor who has a strong track record?All - If a producer, artist or A&R person has two songs on his or her desk that are both great, with one being slightly better, but it comes from somebody outside of Nashville, will they pass on it because it comes from an outsider?Cliff -- Our members don’t like it when we tell them a song is pretty darn good, but it still has some aspects that don’t work -- so we don’t forward it on to you guys. They often ask, “Why don’t you let THEM decide?” Should we?Ralph: What types of songs have the highest probability of getting cut or being hits? Do certain song forms do better than others?Let’s talk about the nuances involved in pitching:Our members get frustrated when we tell them they’ve got a great song, but it’s not right for a particular pitch. Again, their response is, “If it’s a great song, why don’t you let them hear it?”Sherrill -- What they might be overlooking is the nuance in pitching…. knowing the tiny little particulars of what types of songs a certain artist would like or not like. Can you elaborate on the nuance factor by giving us some examples?Open -- Do pro writers pretty much know what style of country they’ve got in their hands when they finish a song and who it might be good for?Ralph -- What sets a Country lyric apart from all other genres?Ralph -- Are there any topics that have a better chance of getting cut than others? Are there any topics to stay away from? Do some topics work better than other for certain artists? Tom --Do the pro writers who live and work here keep tabs on who’s going to start a new record soon, and look at their catalog, look at their catalog of starts or ideas, or start a new song with which they try to target that upcoming opportunity?Open -- How important is the vocal performance on a demo?Cliff -- Our members often feel that we, as a company or our screeners have some sort of inside information that we don’t give out in our listings. Here are two current examples from our current listings:COUNTRY POP/ROCK SONGS are wanted by a Major Nashville label for a female duo a la The JaneDear Girls. This duo plays the fiddle, mandolin, guitar, accordion, harmonica and have fantastic vocals! They are very talented and unique in their approach and sound, so they'll be looking for songs that will take them to the next level. Outstanding songs that have a mainstream, hooky chorus with excellent lyrics which invoke life experiences about love and loss, but that also can target a youthful audience are what is needed. Upbeat, fun, positive lyric approaches will be great as well... just make sure the chorus really shines! Instrumentation and vocal performances must be top-notch! Please submit one to three songs online or per CD, include lyrics. All submissions will be screened and critiqued by TAXI and must be received no later than Friday, June 26, 2009. TAXI # S090626CONEO-TRADITIONAL COUNTRY SONGS are wanted by the VP of A&R at a Major Nashville label for the former female lead singer of a chart-topping, platinum-selling Country band who has recently gone solo a la Heidi Newfield. They are just starting to look so all tempos will be considered. Solid songwriting is a must - clear, concise imagery in your lyrics is very important. This artist wants songs that are relevant in today's day and age but that also have an underlying soulful quality to them. Please submit one to three songs online or per CD, include lyrics. All submissions will be screened and critiqued by TAXI and must be received no later than Tuesday, June 2, 2009. TAXI # S090602COCliff -- Are these examples as informative as what the insiders here in town get?Is there anything you could suggest to improve them?Open – Piano/guitar/vocal or full prod?Audience Questions?Listen to panel songsListen to member songsFinal Questions?Anyway... just wanted people out here in the public to know that Georgia might have tuned me out for being boring at the seminar, but we DID actually cover a lot of important ground. Stan's post happily verified that!thanks Stan, and see you at the Rally!Michael

[tedsingingfox]

FWIWl, Stan, I took extensive notes on my laptop during the panel, and every single thing you brought up WAS covered that night. Every last one of them.Not sure what your friend Georgia was doing during the panel, but I can assure you these subjects were talked about, many of them in exhausting detail. Promise.I hope I don't sound like I'm pointing any fingers... I'm just saying...AND, by the way, for someone who wasn't AT the panel, your post sure READS like you were there. And your specifics of what's happening here in town right NOW are very accurate. Thanks for sharing those, as we ALL need to keep remembering the facts of life for songwriters-without-cuts in Nashville.Looking forward to meeting you at the Rally.Ted

[ontariolightning]

what's weird is, I was on Ralph Murphy's website and it said he grew up in Wallaceburg Ontario, which is where I grew up and still live, pretty coincidental lolhis website is great though

[stansongman]

My sincere apologies, I didn't mean to cause an uproar. I should never have mentioned my cowriter's name, because now you probably have the wrong impression of her. I was interpreting her 5 minute debrief with me over the phone about the seminar, the words in this posting are mine not hers so please don't hold it against her. By the way, we are both HUGE TAXI fans, and we submit via TAXI constantly. TAXI has been a huge supporter of both of us. I've also had some success as a result of TAXI. And, let me say, I personally have had ZERO major label Nashville cuts in my 2 1/2 years of living and doing it full time in Nashville. I would like nothing more than to see everyone out there (including me) get a cut. TAXI is an important channel for my music. That said, TAXI faces the same challenges in town that everyone does. Nashville today is shifting sands under our feet. The way things work today is so different then they did when I first visited her in '98. Again, I only meant to help, but I guess I deserve the flames. Sorry 'bout that!

[adrienne]

Jun 15, 2009, 1:40pm, ontariolightning wrote:what's weird is, I was on Ralph Murphy's website and it said he grew up in Wallaceburg Ontario, which is where I grew up and still live, pretty coincidental lolhis website is great thoughI knew he was a good ol' Ontario boy. He used to be involved with SAC and still does events with them. Ontario breeds great songwriters

[tedsingingfox]

Jun 15, 2009, 3:07pm, stansongman wrote:My sincere apologies, I didn't mean to cause an uproar. I should never have mentioned my cowriter's name, because now you probably have the wrong impression of her. I was interpreting her 5 minute debrief with me over the phone about the seminar, the words in this posting are mine not hers so please don't hold it against her. By the way, we are both HUGE TAXI fans, and we submit via TAXI constantly. TAXI has been a huge supporter of both of us. I've also had some success as a result of TAXI. And, let me say, I personally have had ZERO major label Nashville cuts in my 2 1/2 years of living and doing it full time in Nashville. I would like nothing more than to see everyone out there (including me) get a cut. TAXI is an important channel for my music. That said, TAXI faces the same challenges in town that everyone does. Nashville today is shifting sands under our feet. The way things work today is so different then they did when I first visited her in '98. Again, I only meant to help, but I guess I deserve the flames. Sorry 'bout that!No worries, Stan. I didn't think you caused an uproar at all, and ultimately I meant to tell you how smart what you wrote about the hurdles we (country writers) have to get over was.We ought to meet up, since we're both here. Heck, we simply need to plan another little local-TAXI-folk get together for July. I'll start working on that, and hopefully most of us in the neighborhood will be able to be there. Since Pizza seems to be a universal gathering point, maybe we should keep aiming for that.I'll be back on the boards when things are looking a little clearer.BTW, are you planning on being anywhere near Music Row this weekend for the Songwriter Festival? If so, PM me and we can try to plan a meet-up.Ted

[stansongman]

Hey Ted, thanks. Nashville is a big point of frustration with everyone (Nashville residents notwithstanding!). I'd love to get together. I'll be out of town until around the 14th of July. But I should be back in the saddle after that. Let's stay in touch and get together at that time. By the way, any TAXI folks out there who come to town, give me a heads-up. My e-mail is swin@upcellar.com . Would love to get together with you when you are in Nashville, or give you any info you need to make your visit the most productive it can be.

[jay10music]

Hi Stan,No worries at ALL. I wasn't ticked off, so much as amazed that the topics lined up exactly with what we'd already covered. Ralph Murphy just called me a little while ago for something else, and told me he's gotten a lot of calls and emails telling him how wonderful the panel was. One of the calls was from Georgia. I've called off the hit. Hopefully Louie checks his voicemail BEFORE the deed is done I'm KIDDING!!!! There were really no hard feelings.... just amazement. We still love ya baby ))Warm regards, and thanks for the kind words,Michael

[arthur]

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.

[stansongman]

Whew! Thanks, Michael. I'm glad the seminar was a hit, I only wish I could have made it. As I said, I'm a huge TAXI fan and have had my successes thanks to TAXI. Ralph Murphy is my ASCAP rep in town, and I can't say enough about how much his mentorship has helped my career. Even though I don't get on the boards too much, I hope everyone will consider me a resource when they have Nashville-related questions.