Taxi Country Cuts ?

[hiredgun]

Hey Buc ..I've heard your stuff .....keep on keepin' on U R good.Hiredgun

[michael11]

Jun 16, 2009, 3:22am, hurowitz wrote:I am surprised that the subjects of (1) taxi forwarding more country songs or (2) room for album cuts as opposed to hits even came up again-- at least among the same group of people here. My take was the Nashville seminar put that all to rest. (If you are reading this and don't know, I was there).Certainly, the issue about album tracks from outsiders was clearly put to bed by the panel. Most experienced writers know that, with established writers working on hits for the big artists, the ones THEY write that aren't quite good enough become the album tracks. With tons of good but not great songs available from the inner circle, why would outside material have a chance that way? No one should ever even think that their B+ songs will get cut unless they have some very, very special and unusual inside connection.Taxi is not going to forward what they don't think is undeniably great. Period. There is no point. Now, are there times where we will disagree as to what is in that "great" category? Yes. I don't agree with all returns I see posted here. But, the bottom line is there will always be a gatekeeper who decides if your song is high bar enough. Get used to it. Deal with it. Write more. Write better. Cam, my friend... I know you meant nothing bad with your post about forwarding album track material. Sometimes we don't realize the impact of what we say (or type). But ML put tons of time, energy, and dollars into this Nashville seminar, to address this very thing. So when you raise that subject again, it has to be exasperating for him. I am no different than everyone else, even though I don't write country. I throw tantrums when my film/TV submissions get returned and I disagree. But there are two places that energy is best served: (1) Make better music and (2) Market through every possible channel I can, in addition to taxi.Everyone (myself included):What will you do today to become a better writer/composer?What will you do today to become more proactive in marketing your work?Best, CaseyQuote: But ML put tons of time, energy, and dollars into this Nashville seminar, to address this very thing. So when you raise that subject again, it has to be exasperating for him. I must admit I was a bit surprised when Michael jumped in with a tiny bit of vitriol but when I thought about it for a second,I realised he had put a lot of time,money and effort into it and all he got was a kick in the balls for his trouble.

[perrysmith]

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,Perry

[claire]

I love watching where threads go when nerves get pinched. The original question, simple and benign, was:"I would like to now how many country forwards by Taxi have been cut by Top country artist in the past five years, does anybody know ?"From that question people have gone off in all directions, I've been held up as a good writer who still can't catch a break, people are leaving Taxi, whatever. The question was answered by Michael way back on page 1. That should have been the end of it.Claire

[jay10music]

Hi Perry,The first paragraphs of our brochure and web site:<<The Best Way To Get SignedIf you're trying to land a record deal, nothing works better than hitting the road, playing hundreds of gigs, and selling thousands of CDs from the trunk of your car.If you're a songwriter, moving to Los Angeles, New York, or Nashville and "paying your dues" is often the best way to go.But, can you just walk away from your life, your job, your family, and your mortgage payment? Okay, that might be tempting, but let's get real! You need a vehicle to help you get your music to the right people.TAXI will help you do that no matter where you live.>>I'm in kind of a damned if I do, damned if I don't position. But I'm not selling the dream. I'm telling the truth. You also heard me say (at the seminar), "use TAXI to open doors in Nashville, and then once you get some nibbles, consider moving there." Doing what Claire is doing is the best way to go about getting a Country cut. Having TAXI or a plugger in Nashville and doing it remotely will certainly increase your odds, but using ALL the arrows in your quiver is the most complete way and probably the fastest. My point to Cam was that Claire is doing it that way, so far it has taken her 8 years, and that Cam could use that as a yardstick which might lessen his angst from being close but not having a cut yet.Steve, my reference to negativity was to make the point that dwelling on what is out of one's control isn't as productive as working on what IS in one's control. Change what is changeable. Sorry if I didn't communicate that clearly enough.I worked 13.5 hours on Saturday, 12 hours on Sunday, and 15 hours yesterday -- ALL on TAXI 2.0 stuff. It's pretty frustrating to spend several thousand dollars on a seminar, all those hours working on something unbelievably cool for our members, only to come home and see the same subjects that were covered so well at the seminar being dragged out and kicked around again. Read Chitty's post and Casey's post once more please.thanks,Michael

[cameron]

Ok, I see I need to quote myself. I WAS NOT being negative:==="I'm not saying that it's necessarily so (that Taxi is too strict) but I think it's worthy of debate. I realize that Taxi treads a fine line. Let too much crap through and their credibility within the industry is shot, but be too strict and we possibly have a song blocked that might have actually gone somewhere. And of course, if we're not happy, we don't renew either. With that in mind, all I'm asking is whether or not screeners should forward more songs than they do? I'd like to hear what everyone thinks."===So to those who thought I was Taxi bashing, please re-read it a few more times until it sinks in. With all due respect Michael, I think you're being a bit too sensitive. My Taxi membership expires next month, and I WILL be renewing it. I WOULD NOT BE DOING SO UNLESS I THOUGHT TAXI WAS WORTHWHILE so please don't take my post as an attack on Taxi.I am not asking Taxi to lower its standards to suit me, I was asking the forum members whether OR NOT they thought Taxi was too strict (I assume this would be done within the context of last week's panel) and whether they should be forwarding songs that are good enough for album cuts given that Taxi has to maintain it's credibility within the industry. Please reread my original post if you're still unclear on this..I thought the purpose of forums was to engage in lively discussion. However, this is your forum Michael, and if you think my post is disrespectful to Taxi I'll be happy to delete it. Frankly though, I don't think it is. These discussions are going to happen whether you sanction them or not, whether it's me or somebody else, whether it's public or private, and people are eventually going to decide for themselves whether or not Taxi is a good deal for them. There is a similar discussion ongoing on another forum right now, not about Taxi, per se, but about whether you "must be present to win" in Nashville. I think it's fair to say that the consensus of most people who live there is that you do. Here is a quote from a local mentor who has had a few major cuts:==="A hard thing to explain to people is the camradarie [sic] effect of writers. The average guy or girl starts out coming to town,making trips, getting to know people. People on the inside, are very slow to meet new people, becauase number one they are trying to make their own reputation and after you've been here a couple of years, you start making your own contacts. New people at that point are just someone new trying to make their own. And while we are a pretty cool, open community, there is still a bit of self interest in everything. If it is the difference between writing with someone who has a publishing deal and a new guy, who hasn't even moved yet, who will get the call? You guessed it.Writers flock to the writer's nights. That is where we all meet and hang out. And it is very interesting to watch how the relationships grow. Within a few weeks of doing it, say three or four times in a month, you have met around 20 writers, get to know them by seeing them over and over again, hearing their music and them hearing yours. Then you start to get known a bit. If you are a good performer, you are invited into rounds. If you are not, it is harder but I am telling you, buying someone a beer or coffee and having a 20 minute conversation in the back of a writer's night goes a long way.Within a few weeks, now the co-writing starts. And all of these people are doing the same. So before you know it, you are in a dozen circles that intersect, say 75 or 80 people. You go to the networking parties, a showcase here and there. Somebody has a new artist show. You are invited to some parties, those lead to other things. We are social animals. That is where you write your way into the back door of publishers.One night you play in a round before a feature act. The guy, someone with a hit or industry connections, either hears you him (or Her self) or has someone in his entourage, comes over, and asks about you and get's your card. and maybe sometimes a CD. Or he might give you his. This is a GREAT sign. A couple of days later you are sitting, having coffee and starting to write with that person or meet with his publisher. the publisher, while not hearing anything "right now" wants you to come back and sets you up with someone else, maybe a little closer to your style or someone they have a personal interest in. Then say, they are an artist. BOOM! the next thing you know you have written four songs with this person and they are being reviewed for a record company showcase. You are in on the ground floor. Of course this works great until the label shelves your stuff for the stuff the artist wrote with Jefferey Steele, the money maker. But you are in the door. and as their career rises, you can say "I've written with so and so." One thing leads to another"===This is mostly how it's done in Nashville, and I think similar sentiments were made by the panel pros. That's why I started going to Nashville every month. I do think it's expecting a lot of Taxi to be able to short-cut a process that has been in place for years. Nevertheless, as a writer with a lot of determination, I feel I need to seize every opportunity, and Taxi is one of them that I will continue to use.Cam

[perrysmith]

Like I said, Michael, I think you are absolutely straight forward when it comes to what TAXI can or can't do for its members. I, for one, applaud and appreciate that. -Perry

[claire]

I know (and know of) writers in town who have spent ten years cowriting until they finally got their first major cut - and I know of writers who have come to town and two years later have a number one single. Networking is a huge part of the deal here. The pro writers that people always point out as not living in Nashville - Steve Seskin and Hugh Prestwood - spent large chunks of time here, to the point where people really did think they lived here. Coming into town a few times a year doesn't cut it. It probably wouldn't cut it for LA or NY also. I wish I'd been the writer who got the number one cut after barely unpacking her bags but for me it looks like ten years is more likely...Claire

[aubreyz]

So I'm sitting here reading this thread going, ML must be thinking, "why do I bother with these idiots"....Instead of taking responsibility for your own success, and using the tools available through Taxi and many other sources to improve, it seems that so many "close to the bar" would rather sit and whine in their own little pity party --- blaming the very hand that's trying to help them. I would only hope that some of you could take a step back and read this from the perspective of someone without a horse in this particular race. You look like a bunch of bickering, immature ingrates that don't have a clue about not only the business, but also don't have the common sense not to shoot yourselves in the foot in a very public way.Good show. You really proved your point. And that point is this... I'm not successful because I blame others and love to wallow in my own negativity. Just as greatness begets greatness, mediocrity breeds mediocrity.I have some good friends on this thread, but I'm done buddying up with mediocrity making excuses for itself. The minute you say you can't do something, or choose to give someone else the power of your own destiny, it becomes a self fulfilling process.Though I don't play the country game, my actual goal is just as improbable - maybe more. I'm 43 and just want to be a rock star. ML has told me to my face, over sushi (on his dime), how improbable that is. I respect that. I know how high the bar is, even for someone half my age. But ML is not in charge of my destiny. I am. And I believe. I believe in the song. I believe I can do this, and I've spent months since the last rally in the woodshed working on my skills to make that belief a reality. When I get to the place I need to be, great songs will open doors. I already have many doors opening with just good songs. But greatness is all up to me. How bad do I want this? How hard am I willing to work to get there? Those are the pertinent questions, and I'm the only one who can answer them.Maybe this is too metaphysical for this discussion, but I've been around enough to see proof that you get what you believe. If you believe "the man" is keeping you down, "he" will. If you believe screeners are keeping you from getting a cut, they are. But if you look at what everyone says is impossible, and believe in yourself enough to know you can do the impossible, you can.In the words of one of those songs that most of us on this forum wish we had written --- Quote:You can chase a dream that seems so out of reach and you know it might not ever come your wayDream it anywayAub

[jdhogg]

RE 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 writtenI would argue that it is the song that deserves the cut not the writer.What is the point in forwarding album tracks?Quoting how long you have to live in nashville to get a Hit song cut is a fools statistic.If someone walked into nashville with 10 songs of the quality of eg "ticks" they would be signed up in weeks because the quality is undeniable.You could be there for 1000 years with 10 average songs and never get a cut.How good are the songs?Do they stand up like ticks!My point is no screener would not forward this AND if this went via taxi ANY a&r guy would KNOW it is a winner.Therefore taxi can get you a cut!Stop whining. Its not taxi it is our songs! This is what they are after, how close are our songs to this.p.s. also guitar vox demo!!!!!!!!!





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