Reflections on Rally 2009

[mazz]

Thanks everyone who I met and hung with at the Rally for making your way there despite whatever "heaven and earths" had to be moved to do it. Some had more challenges than others, but it's a real testament to one's commitment to themselves and their careers to make it to the Rally.I posted this on my blog this morning, here's the link: http://mazzblog-mazz.blogspot.com/2009/ ... htmlThanks again, Michael, TAXI and each and every one of you who were there. I hope that anyone who wants to come can make that happen for next year. Make it a goal starting today and you will achieve it!!Cheers! MazzNow to the post:As I sit in my studio the day after coming home from the 2009 Taxi Road Rally, I'm reflecting on the weekend and feel compelled to share.First of all, I'm pretty blown away by the Community Leader award that was given to me Saturday morning. I love to share what I've spent my life studying, partly because I love to share and partly because I learn so much by doing it. To be recognized for sharing my life's work is quite humbling and gratifying. Thanks to everyone and particularly TAXI for allowing me the forum to share.Now to some things that have been rolling around in my head:If you've been to the Rally even once, you've probably sat in a panel and heard "get to the song", "keep the intro short", "get to the hook". Yet every year, folks put their artist CD into the bin as is, with their artistic long intros. The A/R folks, and most of the audience who want to hear a lot more material, need to sit through the often wonderful, but way too long, intros. I strongly advocate that you do a "radio edit" of your song, put it on a CD on it's own with your contact info everywhere and put that in the bin. If they like the song (at least they'll appreciate the short intro) and want to hear more, well, guess what, you can try to get to them after the panel, or if they took your CD, it has all of your contact info on it. If you can't do the editing yourself, then get a friend who is familiar with it to do it for you. It's not that difficult to get a nice, short, musical intro just by editing the stereo master. Your full version is still safely immortalized on your artist CD, but this "radio edit" version just might get you the listen you've been waiting for.Another observation from one who doesn't write that many songs: I honestly don't care that much about the verse the first time I hear the song, unless it's really quirky or catchy. If the chorus pays off BIG TIME, then I'm much more inclined to pay more attention to the verse the next time it comes up. That being said, I think two long verses before the chorus is one too many. This is pop music, not literature, I want a big hook I can sing right away and then I'll go back and listen to your story next time. Set me up with a great, easily understandable vocal and a hook that "hooks" me and I'm there. There are tons of formulas for writing pop songs and they are used because they work every time. Trying to break new artistic ground before one has mastered these formulas usually doesn't work because the results sound like someone who is trying too hard to be "original". This is pop music, not literature. Make it pop and you'll have a much better chance of getting heard.Creativity is inevitable, infinite and always available. Artistry is what we do naturally as writers and composers. After we do our artistic work, we need to learn to step back from it and the wonderful energy we channeled to create it, and see it as a product. In the marketplace of music, the folks looking for music to place and pitch see it as a product. They aren't personally attached to the music, it's simply either what they're looking for or it's not. If you're looking for a pair of sneakers, Nike isn't going to be bummed if you buy a pair of New Balance this time, it just means they'll have to work harder to get you as a customer next time. It's the same with our music. To some this may seem harsh and cold, but it's the reality of the business. It's always been this way, but we tend to romanticize it and forget that the industry buys what it thinks it can sell, which is probably on different terms that we would choose as artists. So, we need to get over ourselves and at least try to learn to get some emotional distance from our music so we can more effectively sell it.Directly related to the above paragraph is the issue of defining the genre of our music. Every artist has more or less trouble with this but it is a huge factor in determining one's success. This year at least one country song was pulled from the "pop" bin at the listening panel I attended. Now the style was pop country rather than straight country, but the steel guitars and vocal style were still dead center country, most definitely not pop. And if you put it in the "wrong" bin on purpose hoping it will get you heard, then you actually did yourself a disservice. The panelists were not happy with being told they were going to hear one style and then another came on. It was pretty blatant and won you no friends. As a writer sitting by yourself in your home studio, it's easy to get micro focused on your music and to lose perspective on where it fits. And that's OK because you have to do that kind of focus to get it done. But if you aren't writing to a specific style target or listing, then you need to find out what the industry is going to want to call it so they can more effectively sell it. Musicians hate this stuff but it's the common language of the industry, so bite the bullet and categorize yourself. Post the music on the TAXI forum and get some feedback, take it to songwriter groups, get a custom critique via TAXI or some other service. Do whatever you can to learn where you fit and then be open to that knowledge. If your ultimate goal is to sell your music, then this is non-negotiable.This is a long term business. Those of you in the 5 year plan class saw some royalty statements from Matt and I which hopefully illustrated not only some growth potential, but also how long it takes to get some traction in the business. You probably also heard Matt talk about how many hours a day he works (at least 10 hours a day, 6 days a week), and how the stuff he's working on today may not pay royalties for 1 to 3 years. If you love writing music so much that you'll do it no matter what, then you know that you'll do whatever it takes to write, produce and sell it. You will also learn patience or you'll take your ball and go home, the choice is yours. I suggest that by continually learning and improving and writing every day, you won't have time to think about giving up or where your first placement will be. When that day comes, the victory will be much sweeter. So get to work!!! Social networking is the business model of the now and future, for all musicians. Yes, it's still shaking out how anyone will actually make money from all of this, but it's starting to happen and the time is now to get involved. I had some a ha moments in Ariel Hyatt's class this year. I was a partial skeptic going into it, but now I'm convinced that generating buzz and creating value online will motivate people to want to buy what I have to offer eventually. It's marketing 101 but with a different delivery medium. It's still a bit Wild West out there but the beauty of it is that navigating through it and figuring out a personal slant on it can be as creative as writing a great song. For some, like me, it was a stretch to think outside the box of the old business models, but I saw through the keyhole and now I "get it". In a few years, this will be a bigger panel than the A/R panel, I predict.For all the buzz about social networking online, there's absolutely no replacement for face to face time, and there never will be. Yes, we can communicate with more people at one time than ever before, but we don't usually twitter or post to facebook as a group! We're usually in our studios, or at work or at the coffee shop by ourselves when we do it. So gatherings such as the Road Rally will always be relevant because of the human contact factor. It's such a relief to get to the Rally every year and hug and shake hands and eat and party with composers and writers that are all on the same path as I am. I don't know about you but I don't get that opportunity every day, and as much as I love seeing everyone on the TAXI forum and Facebook, etc., those are poor substitutes for the real thing.That's it for now. Love and blessings to all of you that I saw and met at the Rally and my prayer is that anyone who didn't make it this year can make it next year. You owe it to yourself and your music and your career to figure out a way to make it to the Rally. As corny as this may sound, it will probably change your life in some way. You'll go back home a little or a lot different than when you arrived, in a good way.

[robertjennis]

Mazz,Thanks for your post. It is chocked full of information I can use. It is stuff just like this that makes this forum such a useful tool in getting better at the craft of songwriting. The Rally was incredible and mindblowing. I will be going over notes for weeks. Everyone I was privileged to meet was kind and helpful. Jeffrey Steele was amazing as well as all the panels and classes.

[teleblaster]

It was great to meet and hang with you Mazz. Some great reflections on the rally in your blog. I loved the 5 year plan that you, Dave W. and Matto taught. The transparency was surprising and really appreciated. I never cease to be amazed at how willing TAXI members are to assist others careers. In a world that so many folks see as 'zero sum' there's a wide open horizon attitude reflected here that is sooo refreshing. It's like Woodstock; w/o the drugs, gratituous sex and overflowing porta poddies...Erich

[mazz]

Nov 10, 2009, 12:02pm, teleblaster wrote: It's like Woodstock; w/o the drugs, gratituous sex and overflowing porta poddies...Erich Well, two out of three's not bad!

[Pinkstar]

Mazz, thanks so much for the post. Great points! The Rally has become a huge part of my life and has helped my music career big time. Every year I learn more and also get the affirmation that I am doing a lot of the right things. Consistancy is the key, I get to know more and more people each Rally, which brings up the face to face connection, rather than just talking and connecting online. This is the one of the greatest opportunities to network and deepen existing relationships.I'm extremely grateful for Taxi and everyone who sat in the panel and all of you guys here on the board who are always super cool and supportive.I look forward to the next one! xoxoJVB

[kg]

Well said, Mazz. Very well said.

[michaelteak]

Very true and insightful, Mazz. Thanks. But you already won the award- you're still trying to help people?!?

[mazz]

Nov 10, 2009, 3:58pm, michaelteak wrote:Very true and insightful, Mazz. Thanks. But you already won the award- you're still trying to help people?!? Success is a journey, not a destination!

[feaker]

Congrats MazzOk Ok, I will go next year.( if i'm still kickin) Just for the fun and forum bonding.Here in Michigan to get "better traction" we put on chains:)Thanks for the postPaul

[Casey H]

Nov 10, 2009, 10:56am, mazz wrote:Another observation from one who doesn't write that many songs: I honestly don't care that much about the verse the first time I hear the song, unless it's really quirky or catchy. If the chorus pays off BIG TIME, then I'm much more inclined to pay more attention to the verse the next time it comes up. Great advice mazz. You rock and congrats on the much deserved award!! There are so many simple things we can all do to improve the chances of our music standing out. I also get frustrated (can only imagine how the panelists feel!) when a track is not in the labeled genre or has a long intro. The radio edit thing is so easy especially since most people have home studios today. I don't have production skills but I often edit my instrumental backing tracks (if I submit them as cues to themselves) to 'get to the meat' faster or just be more interesting. These edits are on the final master, not a re-mix-- I learned how to do fade-ins and outs and cut and paste in the right places without missing a beat.Just an example... I had a forward before the rally-- the backing track to a rock song. But because of the 4 bars of intro being pretty much the same music as the first verse, I edited out those 4 bars for this submission. With those intro bars in, the listener would be bored to tears before anything interesting happens.Regarding the verse and chorus thing. Yes, it's all about the hook in the chorus-- get there quick and knock their socks off. But I will add that it's important for the first verse to draw the listener in. Much of that is lyrical. Opening with an interesting phrase or a compelling introduction to the story goes a long way. If you open with a cliche phrase and/or use a lot of cliche rhymes, you've lost them from the get-go. Your opening lyric line is critical!If you read my song reviews here on the board, you'll almost always hear me say "de-cliche it". I can't tell you how many times I read a lyric here and the opening lines were not unique or interesting-- all in the "been done a million times before" category. Do a second pass... Draw the listener in! Best Casey