Marc-Alan  Barnette
Justin,

Actually in around the past 50 years of ALL commercial music. rock, pop, country, etc. there are THREE choruses. The first chorus is to ESTABLISH THE PREMISE.
The second is to REINFORCE THE PREMISE.
The third is to DRIVE THE PREMISE HOME. 
It is why you can start singing along with the chorus by the third time.

It is part of the "MAB rule of THREE'S".

Three minutes per song.
Three songs per pitch or writers night.
Target is THREE THIRTY in your overall song.

RiDawn and I even  have a joke that almost every song I write times out around THREE THIRTY THREE. 
I have gone back in my own history and I use those numbers in all kinds of things. I've used the words "Thirty three or THREE THIRTY THREE in almost every thing I do that has a number in it. Don't know why, just have done that. 

Commercial songs will more or less have threes in everything. 
And there is also the "tail out" which is where the singer repeats the TITLE three times in the fade of a song.

"It's a love without end, amen....it's a love without end amen....it's a love without end amen..."
I've got some  OCEAN FRONT PROPERTY IN ARIZONA, 
"If you buy that, I'll throw the Golden Gate in Free,  if you buy that I'll throw the golden gate in free, if you buy that..."
"TAKE IT EASY......TAKE IT EASY....DON'T LET THE SOUND OF YOUR OWN....TAKE IT EASY!!!!!"

Thought I'd throw some Texas people in there (Don Henley's from Texas) so you'd get it. LOL!

The idea is that you repeat it three times and it is the last things people here. So they are more likely to REMEMBER IT.

Study that and you will see it happens more often than not.

MAB
Marc-Alan  Barnette
                                                          TIN PAN SOUTH CONFIRMATION

Just to let everyone know that if you are planning on making the TIN PAN SOUTH festival (April 5-9), my show will be FRIDAY NIGHT APRIL 8TH AT 9:00 PM. They have not given me the venue yet, but I will let you know. The late slotson  the weekends are actually the most prestigious ones and reserved for the heavy hitters. So I guess my last years numbers were good. 

Our round this year:

SCARED HITLESS (PLUS ONE)
MAB
JIMBEAU HINSON
SCOTT SOUTHWORTH  (WSM's THE MUSIC ROW SHOW)
HEINO MOELLOR          (WSM'S THE MUSIC ROW SHOW)
JEFF HUDSON (special two song guest)

MAB
Marc-Alan  Barnette
Good luck Eddie. If you want some advice, START SMALL. Have it somewhere in a small room or where you don't have a lot of competition. Having thirty or forty people in a place that only holds 60 is a WHOLE lot better than trying to have thirty or forty people in a place that holds 200. It will be far worse if you shoot for something too big because if you miss, (and they always do at first) you will not get a second or third chance. You also have to look at YOURSELF and your friends and family being the ONLY one's who support you at first. 

So I'd keep expectations realistic. Try to hook into those Cartersville writers and go to some of the open mics and writers nights around (AND THEY ARE ALL OVER YOUR AREA, I'VE PLAYED ABOUT TEN OF THEM) go there first to build up awareness. Plan your event 2-3 months out and promote the crap out of it before you do it.

That is my advice. Let us know how it goes. Get a lot of action happening and some money going and I'll come over the to play for you.

MAB
Marc-Alan  Barnette

MAB, speaking of being "tuned out", (which I originally read as "tuRned out"), I can't tell by your response to my question about joining a PRO if you were being sarcastic, or if you were angry. If you were being sarcastic, I get it. If I made you angry, then I owe you an apology. Was not my intent.


But I still have the question. So let me ask it a different way. When; Why; should a writer join a PRO? Is it ONLY about the money? Or are there other reasons to join? Like maybe being able to put "BMI" or "ASCAP" on your business card that you will be handing out to other writers.


phil g.






Phil, I'm sorry, I completely missed this. But don't know how you could have MISSED what I said. The first, was yes, being sarcastic. The second was very detailed about my feelings on ASCAP, BMI and SESAC.

They are COLLECTION AGENCIES. They don't set up writing appointments, don't teach songwriting, don't supply publishers, don't make record deals. They collect money that is being played on terrestrial radio, major television and motion pictures (and with that you STILL HAVE TO EMPLOY THE HARRY FOX AGENCY TO GET PAID) and someone getting a couple million streams, they are good to be a part of.

They all host writers events. They have number one parties. BMI has Jason Blume seminars. They will usually have seminars and classes at things like FRANK BROWN (for extra cost of course), and they have big, cool buildings that people go into and come out of. 

But as far as "making you credible" or giving you an edge, I don't see it. People don't sit down and ask "Who are you affiliated with" until a little further into the conversation, but it really doesn't matter that much. These days, trying to have songs and be a writer is like "having buckets of salt water in the middle of the Atlantic ocean in a hurricaine." WE ALL HAVE BUCKETS OF SALT WATER, AND WE ARE ALL TRYING TO GET RID OF THEM. NO ONE CARES!!!

BMI and ASCAP (and SESAC) are good little organizations at one point or another. usually if you have written with a lot of in town writers, have a lot of activity around you and getting close to getting cuts, they are helpful. If you start getting cuts, you HAVE to affiliate with one or the other, so you visit all three and see who you like as a representative. 

Aside from that, I cannot tell you of more than four or five times in 38 years that I have really gotten anything out of them. And while I am an ASCAP writer, the only showcase ever put on for me was BMI. So I can't make all the claims about how good one is over another. I've had meetings at all three places, like Bradly Collins, and David Preston at BMI, like Tim Feek at SESAC, and Mike Sistak at ASCAP. But ALL the people I knew who signed me to ASCAP, Tom Long and John Briggs, my main mentor, Ralph Murphy, my friends Herky Williams, and most everyone else I knew over the years are ALL GONE. There are a lot of new people that I don't know, and I rarely go there. 

The last time I was there was writing with JOHN BERRY, and that was only because he wanted to use the writers room, which are really nice there. But NSAI has better writers rooms to be honest. I usually just write out of the house because of the traffic and stuff going on downtown. 

They are all good organizations but also very limited. If you have a lot going on, they can be your best ally. If you don't have a lot going on, they are not going to be able to do much for you. 

That is about all I can tell you. The rest you have to find out what works for you. 

I am neither angry nor frustrated. I just know the only one you can depend on is YOU,. and all these organizations have well intentioned people but are in an age of FREE MUSIC. So collection agencies have limited ability to do anything. And in some cases, like suing live music venues, they are doing more damage than good. I'm not pro or con. I just state what they are. And what they are not.

Write songs with a  lot of people. 
Write with artists. 
Write a lot of songs.
Help other people get their music out there.
Network continually.

Repeat the process.

Let the rest work itself out. Or don't.

Don't worry about it.
MAB
Justin  Parker
MAB
Not wanting to delve too far into all this royalty talk, but you mentioned "you still have to employ Harry Fox agency" Didn't sesac purchase them a couple months back? Regardless how did/does that affect collecting my .72 cents? Maybe I'm asking what is their purpose? I've always just thought their little niche was producing various documents? What else do they do? Always wondered since we're talking about it....
Marc-Alan  Barnette
     MAB PRO RANT

Or “WHY IT JUST DOESN’T MATTER!”



Okay guys, since you wondered if you had gotten the “real MAB” thoughts on the BMI/ASCAP/SESAC/Harry Fox/NSAI, etc. conundrum, you really haven’t yet. But you are about to. I try to come here to give you as much real no nonsense information and as much encouragement as I can. Sometimes it might seem I am depressing but I am really not. I am 100% positive about some things, and 100% negative about other things. But I always tell the truth and tell you WHY I come to the conclusions I have. You can read further at your own risk, but you asked for it.

(And NO, I’M NOT MAD. I’m just a REALIST! THIS IS HOW IT IS.)



In every aspect of anything I deal with, workshops, Internet web sites, songwriters, artists, songs, etc. all making their journey’s all trying to find out what they can, all trying to make some sense of all this, the single biggest thing people seem to want to talk about is MONEY. How do you make money? What web sites are going to deliver the money? Where do I place my songs to get PAID? What PRO is going to get me the best return? How do I get into the all-knowing all seeing TELEVISION/MOVIE MONEY?

Cause they ALL have heard about someone who knew someone, who heard about someone else, who provided a link to another link that provided a different link to tell someone who told someone else about the MAGIC MONEY MACHINE!!! Where is THAT? They ask!



To answer them all I say: NO WHERE!!!! THE MONEY IS GONE!!!!

Imagine a giant TITANIC out there. There is this enormous gang plank with millions of millions of people waiting in line to board. On the other side, where no one can see, is the giant hole in the side and the boat completely sinking. And all the people who saw that, have taken all the lifeboats. They are gone. But people keep climbing on board. And they are all trying to rearrange the deck chairs and furniture. But the boat is still sinking. It is done.



That is what this is like. For the past 20 plus years I have been in the Halls of Congress, sat with Senators, met with representative after representative, have heard record labels, publishers, ASCAP, BMI, SESAC artists writers, all meeting about what to do to stop the sinking. The truth is THEY CAN’T. Do you want to know why?



People. We are in not the first, not the second, but the THIRD generation that have had FREE MUSIC their entire lives. The people that were in High school and college in the late 90’s developed ways to get free music. Their kids, born in the 2000’s got better at it. Now their GRANDKIDS are all coming into it. Music HAS NO INTRENSIC VALUE TO THEM. It is something that has always been there. On the radio, on their computers, on their CD players. They have never purchased music at all. Ever. They’ve never had to.



Think about when you grew up . You went to a RECORD STORE. You listened to the new latest bands on the radio and spent hours in a record store looking at those big vinyl things. You spent your allowance on a couple of 45’s and the latest record. You took it home. You sat in your room, read every liner note, you saw the pictures, you memorized every line. You put the needle down, you heard the scratching noise and then got blown away through your little speakers or headphones as MAGIC came out. As a musician you learned every lick. Girls had their record parties and dance all night long in their pajamas. They watched Dick Clark’s American Bandstand on the weekends. They had their favorite DJs.



That ended in the 90’s. People got computers. Cd’s replaced the albums that were replaced by the cassette and then electronic downloads replaced the CD’s. There were no more big albums to pour over. Music was everywhere. Along with VIDEO and then computer games, the Internet brought YOU TUBE and a million web sites. Streaming services started then ate each other alive, each trying to offer more for free, and finding out you can’t eat free. Justin, you were in the second group.



Those artists that tried to stand up were pilloried and called the “1%.” “Free everything” started working it’s way into the dialogue. Here is where I’m REALLY GONNA RANT.



Right now we have a huge political race going on for president. I’m not ABOUT to get into all that. It all drives me crazy and that is not why we are here. But I will say this ONE THING.



In one party, there is a candidate getting everyone fired up. He is promising EVERYTHING FOR FREE. Free housing, free rent, free food, free health care, free jobs forever. Everyone loves him because he is ALL ABOUT FREE. And they are ALL ABOUT FREE!!! They believe LIFE SHOULD BE FREE. These are the same people I have been watching for 25 years who have DESTROYED THE MUSIC INDUSTRY!!! Ask anyone in the music business HOW THAT FEE STUFF IS WORKING OUT”?!!! Well great. Because if you like that, wait till the Doctors have to work for free, the software designers, the business owners. And wait till they start replacing EVERYONE with a kiosk or a machine that does everything and doesn’t complain about things. We’ll see how FREE works out.



And the OTHER CANDIDATE FOR THAT PARTY IS TRYING TO OUT “FREE HIM!!!!”

And these are the same people that have demanded that all people who are talent creators do everything for free!!!! I’ve seen it my whole life and anyone who vaguely supports ANY OF THESE PEOPLE are totally insane.



That is all I am going to say on this and we are NOT GETTING POLITICAL HERE.



But how it goes into the reality of this situation is that the PRO’S, ASCAP, BMI, SESAC, SOCAN, and every law, every registration, every kind of firewall you can put up, DOES NOT MATTER ONE BIT.



Let me go Hillary on you here:”

“AT THIS POINT, WHAT DIFFERENCE DOES IT MAKE?”



That is why I have so little patience about copyrights. About PRO’s, about publishers, about record labels., Harry Fox Agency. Because IT JUST DOESN’T MATTER!!!!! BECAUSE THAT STUFF IS GOING TO BE FREE!!!!



What does matter?

Finding your NICHE!

FINDING YOUR FAN BASE.

FINDING YOUR TEAMS.

BUILDING YOUR NETWORK

WRITING SONGS.

EXPRESSING YOURSELF.

DOING THE BEST YOU CAN.

Giving people service for what you do. Building DEMAND FOR WHAT YOU DO!!!



You want to see who IS DOING THIS? WHO IS MAKING MONEY? WHO IS RULING THE GAME?

TAYLOR SWIFT

She has done EVERYTHING RIGHT. She built FAN BASE BEFORE SHE GOT HER DEAL.

She presented PRODUCT WHICH SPOKE TO HER GENERATION.

The same way SINATRA SPOKE TO HIS GENERATION IN THE 40’S

The way ELVIS spoke to his generation in the 50’s

The BEATLES SPOKE TO THEIR GENERATION IN THE 60’S

MICHEAL JACKSON SPOKE TO HIS GENERATION IN THE 80’S

GARTH BROOKS SPOKE TO HIS GENERATION IN THE 90’S

And she has SPOKEN TO HER GENERATION IN THE 2000’S.



She has won every award. Expanded her base. Just won her SECOND GRAMMY FOR BEST ARTIST, the only woman ever to do that. Take that KANYE FREAKING WEST!!!!!



Now I am not saying you have to write to kids. I’m saying YOU HAVE TO FIND YOUR TRIBE, YOUR PEOPLE, YOUR FAN BASE. You have to build your teams.



QUIT LOOKING FOR THE BIG PAYOFF. You are probably never going to get it. But you CAN BUILD YOUR WORLD AROUND YOU. YOU CAN TOUCH PEOPLE’S LIVES.

Work on that. When you do that a lot, PEOPLE COME TO YOU.



I am going to tell you that probably NOT ONE OF YOU is ever going to make a lot of money at this. Because NOBODY is making tons of money at this. I have a friend who has one of the BIGGEST ROCK SONGS IN HISTORY that is played ALL THE TIME, and every time I go on Facebook he is having another yard sale selling his platinum albums and studio equipment to PAY HIS BILLS.



I drive down Music Row and see more and more offices and big buildings CLOSED. And many of those are VERY SUCCESSFUL COMPANIES. The cost of doing business is driving those people into the ground.



So I am NOT trying to depress you. But I am doing what you are going to run into at some point. At some point you are going to be around hit writers and artists. You are going to think they are IN THE MONEY, and they are going to hit you up to pay their check. You’re going to develop an affection for some artist or writer and found out that they are FLAT BROKE. You are going to love some song and think it has to be a career song and it is going to turn out to make NOTHING. Your dreams are going to get shot down. They always do.



Does that mean we quit? Of course not. But it means we get REALISTIC about all this. Quit looking for the gold at the end of the rainbow. Quit worrying about your royalties. If you get a MAJOR CUT with a MAJOR ARTIST, you are going to have to have MAJOR PUBLISHING, LABEL AND PRODUCER PEOPLE INVOLVED. Trust me, you will find out about your royalties then.



Till then don’t quit your day job. And by the way, the really smart, really successful people in this town NEVER QUIT THEIR DAY JOB. They just make their DAY JOB part of their empire.



Okay. That is my Rant.

Quit worrying about. Just write something that doesn’t suck. Start there. Let the rest take care of itself.



MAB  

Ott Lukk
Marc: I can't quote  who said it,  but a couple of months ago, I read "The Song Machine - Inside the Hit Factory". I believe the topic was why terrestrial radio was so important. The premise I recall: "You have to hear a song three times before you realize you like it". This happens on  terrestrial radio. So, there's another  "rule of three" you can add to your list. I think the same section had a exchange on Katy Perry's soon to be "next big hit". One music tastemaker was offered a sneak preview of the song in the producer's studio (the writer was one of the recipients of a Grammy Monday night)(not for this song) He listened, and basically said, "you've got to be kidding THIS is her next big hit? The song: "Eye of the Tiger".
I guess people were exposed to more than three listens.
I also recall that a professional football team (the Bengals?) made news when they played it over the PA during halftime. The  reason? They  got thousands of tweets asking why that POS tune was being played!
And lastly (I'm like a bad penny popping up whenever this topic appears). I have never found found that any of the honorable mentions I've received over the years in contests "hollow". I've had a very nicely printed 8X10 "award" graphic from the Billboard World Songwriting Contest on my wall for several years. It's the first award I ever won, and to me it's quite gratifying, as have been subsequent awards. No "hollow' feeling here.
Now all I have to do is figure out how to get my tunes played on terrestrial radio three times or more . . .
Ott
Marc-Alan  Barnette
Ott,

Everything is relative. I am aware that you have gotten honorable mentions and are very proud of those as you should be. They are victories. If they have made you happy, that is fine for you. I have won a few contests myself one Nationwide and very influential. It was hollow for me but taught me a lot of things that I deal with today. I have many people I have worked with that are finalists on the Voice and American Idol. There are good things and bad things about it. But more than not, it is HOLLOW to them. It is all in what you make of it. 

Most people are looking for more. And terrestrial radio is the mark that most people shoot for and nearly the most impossible goal there is. There is just very little space on Terrestrial radio. So you have to do what you can to make yourself happy. And people in this day and age who are looking for those "Big payoffs" are simply going to find most of this VERY HOLLOW. 

The "Three's" on Terrestrial radio are correct. But it has to be played many more times than that and in many more markets than just one or two. Everyone shoots for those same goals. Most are going to end up short. 

I can't do anything about that. People I work with find their own victories. Whether it is hearing a song of theirs on a local station. winning a contest, that gives them something, or just rising in the eyes and ears of their peers. All are victories. Most people who are coming into this business, are more often than not very dissapointed in  the results. 

My entire thrust of this post is to take your victories. Find your own niche. Enjoy the journey. 
That is everything I am talking about. If you have found your own that is great. If it is not hollow for you, that is your experience. Good for you.

MAB
Marc-Alan  Barnette
THE TEN YEAR CONUNDRUM

(WHAT YOU DOING FOR THE NEXT DECADE?)

By MARC-ALAN BARNETTE



There is a very famous saying that “you must put in ten thousand hours to really be proficient at something. That is as a profession, electrician, plumber, builder, office person, mechanic, computer programmer, teacher, athlete, etc. About anything that you are going to be professional at, either as an occupation to make a living or a hobby that you take seriously, music, painting, sculpting, etc. They all take one thing above anything else.

TIME

When it comes to songwriting, performing, networking, etc. and particularly being in a town like Nashville, where EVERYONE is doing the same thing, I have noted it takes around TEN YEARS. Every time one of these young 16-25 year olds, all full of themselves, wide eyed and bushytailed, come to town on a writer’s night or open mic, or at a music business function, and someone says “How do you think they’ll do?” I would ask them, HOW ARE YOU PLANNING ON SPENDING THE NEXT DECADE?”



It takes about TEN YEARS of development INSIDE THE TOWN to really position one ‘self either skill-wise or politically, to achieve significant success. And while this is somewhat of an arbitrary number, some seem to move a little faster, most are MUCH slower and for vast majority it NEVER HAPPENS AT ALL, the numbers tend to hold up more than not. That is why Nashville is called a “TEN YEAR TOWN.”



Most of development with the Nashville music industry happens in THREE YEAR increments. The first three are simply getting a handle on the mechanics. By learning what NOT to do, finding out that your songs and abilities are pretty much the same as everyone else is here, that the subject matter, the approach, the chords, the melodies, all are just about the same. That most songs are neither good nor bad,

just very, very, very, VERY AVERAGE.



The fact is that most people WEED OUT between six months and two years. This is another huge part of this equation. People fall into the MINUTIA of being here. So many people doing the same thing. Of the 600 some odd people that move or visit each week for music, that is offset by around 1200 a week that move home, having lasted less than two years. For most people, life gets in the way. Having to have a JOB, or MULTIPLE JOBS will kill a career. Being a transient town, even the low paying jobs are heavily taken. People are faced with having to drop out of writer’s nights, paying for recordings, musicians, paying for food, drinks, parking, all the other things that make up the cost of admission in this business.



Many get married, into relationships, demands of family, responsibilities. Girls often will get pregnant, fall in love and simply quit. Guys, often get frustrated and quit, moving home or to another area they can “do what they love.” And of course, many develop the unfortunate drug, alcohol or just plain BAD ATTITUDE PROBLEMS. Egos, poorly voiced words and opinions and of course, nowadays, destructive behavior on social media. Twitter and Facebook will kill more careers than alcohol and drugs ever did. And you have to establish that you are DEPENDABLE. Most people are not. And no one wants to waste time on someone they cannot depend on.



The next three years are spent actually refining skills, making more contacts, “pledging the fraternity” by waiting in line, till the end of the nights on the open mics, moving to the invited writer’s rounds, co-writing a TON with people you meet. Most people they moved with are gone. And then they don’t play as many writers’ nights, except with friends and their tight writer’s circles. The circles continually expand and contract.



By year 6, a lot of things have changed. 95% have dropped out completely, found different lines of interest, or have reduced their activity to a barely noticeable level. About 2% will have advanced and actually be involved with publishers on a random basis. Less than one percent will have some form of tangible success. Writing with artists or becoming relevant artists themselves. Some will get some form of rudimentary deals. Development or very basic deals. All will have things on YOU TUBE, FACEBOOK or whatever the site of the second is.

Some will come under the “wing” of mentors, producers, hit or established writers, and see themselves walked up the ladder. But even at this level, it is still another THREE years before the actual “REAL DEALS” start coming.



A “caveat” of this is that some people live double lives. Some artists, out on the road, make trips into Nashville, write, record, network and THEN are out APPLYING what they learn to perform, build fan base actually have two bases of operation. For artists, this is essential, because the number one element of success is FAN BASE, and that is built OUTSIDE a music center. The Midwest, upper Northeast or West, all are places that are ripe for great artists to forge their own pathways. It is where the “RUBBER MEETS THE ROAD.”



By years 9 and 10, those select few are in a position to really do something, be on the radar screen, or in far too many cases, decide it is just not going to happen and quit. But along the way they have met great people, friends for life, traveled to places they would have never gone, experienced things that most people can only dream about. Most of the goals have long changed and they have decided that they have at least given it a great run. Some settle into more quiet existences, still keeping the hand in, but enjoying their achievements, families, lives. Some will go on and possibly achieve success at a later time. Most just realize it is what it is and are fine with that.



It is a great ride. Challenging and exhilarating. At times devastating. But there is nothing like it.

So if you are wanting to enter this or know someone, significant other, child, parent, other family member, interested person, ask yourself:

“WHAT ARE YOU DOING FOR THE NEXT DECADE?” 

Justin  Parker
Great post MAB!!! I suppose while I'm not "in town" some of these rules are still very applicable... I've made it through the first three as of January, now on to 3-6... LOL
Marc-Alan  Barnette
Justin,

While I am speaking metaphorically of the people who are making inroads into Nashville (this is a new blog post I am doing)  it could apply to you. Although I don't really consider Nashville your market. I think you are more in the Texas market and are going to rise and fall based upon Texas rules, there are things that do apply to you. Your first three years have mostly been finding out that even though you thought you had a handle on writing you were actually far behind where you thought, even behind many people younger than you and more ingrained in the market place. You avoided buying LOT of worthless equipment, which is usually one of the biggest mistakes people make in doing this. They are often led to think that a computer, software, mixing boards, effects, microphones, nice guitars and instruments, all will do all the work for them and they really don't have to worry about "talent." Most find that with each successive piece of equipment they get it never gets any better. 

One of the reasons all that stuff ends up at yard sales and pawn shops is that people never get past the learning curve and find out they are even farther behind the "TALENT CURVE. " So the equipment soon gets discarded and then all but given away, after serving time as a clothes rack. You also have put less time and faith into the contest route. While Ott and others find that as part of their pathway and that is fine for them, most people desire more and want to actually "hear" their songs "out there." And that is what leads to the "hollow" elements I spoke of that Ott takes issue with. He still wants to hear his songs "out there", and contests, for all their bells and whistles, never really can do that.

So you have been able to avoid most of the pitfalls that get most people. And that is partially what is responsible for such a high attrition rate. One thing that you realize very soon at this is that everything you want to do costs money. If you are trying to learn an instrument, it costs to get that instrument. It costs for lessons or being able to meet and interact with people to learn from. It takes money for conferences or workshops. Once you start getting a feel for what is involved in recording (usually after all that equipment has been purchased and discarded) you find out the different levels of recording. Most people will pay for pretty inexpensive recording, only to find that the higher level they try to get it, the higher the requirements for the recording level. 

People start finding out about "pitch services" only to find out that things have to be "radio ready" and they realize, usually far too late that what they have doesn't measure up. They make trips to a music center, thinking what they have is going to blow people away only to find dispassionate people who listen are unimpressed and then only tell them that THEY could make it all sound RIGHT, only if you use THEIR STUDIO. Many people will then go that route, only finding out that even at a higher recording level, the songs they had to begin with are substandard. WE call that "freelance defication dusting. "Polishing a turd." Still a turd.

It usually takes three plus years to get close enough to people who will be friends and tell them their songs are substandard. And that those friends also have THEIR OWN music they are more interested in. For the first few years, people are not going to invest a lot of time in someone until they get to know them. Non-performers are behind the curve because they don't perform and therefore, don't do the same things the performers have to do. 

So it takes those first few years just to get "accepted." But being accepted is not being "embraced." So that next three years are about "earning your stripes." And you are hoping that friends of yours work their way up the ladders so that they might be in a position to help you. 

That is the THIRD three year period. Artist you have known for a while start inching their way into the ladder. Most of them have "artist amnesia" and forget you very quickly. The songs you wrote with them are jettisend for the newest things they have or in the publishing/record company they are working with. There is the unending "holds" that come around. And then songs that are recorded but then dropped off the record. There are the getting cuts but because they don't have a major deal, they get very minimum radio exposure. There is the unavoidable "artist having a deal and everything laid out in front of them, suddenly being dropped because they said something stupid online or in an interview and the label drops them. Or the label closes or runs out of money. That incredible "investment group" ends up going to jail and you actually find out you were part of a money laundering or drug ring. Or the rich guy who funded the label got bored of getting nothing after five years and bails out on funding.

The higher the level you go, the more disappointments are usually there because there are so many people involved. The bar gets higher. And your own acceptance of what you do gets higher. The circles you run with get tighter. And EVERYTHING is at the whim of someone else's ego.

This is again, what weeds most people out. Most people run out of patience and money long before that. It is rarely the "creative stuff" as it is the "behind the scenes" elements. The rampant egos, behavioral problems, dealing with one train wreck after another, will mostly take a toll on everyone at one place or another. There is a reason they have a term called "THE STARVING ARTIST." And why you find the really successful people, pretty humble, and sometimes shell shocked that they are even still involved. Most will tell you that if they had to do it over they probably wouldn't have done it that way.

So yeah Justin, you are a "Third Year Freshman." Only about nine more years to go till you get up to the top of the class. This is the easy part.

MAB 
Marc-Alan  Barnette
Justin, in all my ranting recently I forgot to answer one of your questions:

"MAB

Not wanting to delve too far into all this royalty talk, but you mentioned "you still have to employ Harry Fox agency" Didn't sesac purchase them a couple months back? Regardless how did/does that affect collecting my .72 cents? Maybe I'm asking what is their purpose? I've always just thought their little niche was producing various documents? What else do they do? Always wondered since we're talking about it...."

To be 100% honest, I have NO IDEA if SESAC bought Harry Fox. For all I know, the way things are going these days, someone will probably buy SESAC next week. Which is kind of the point. It is nearly impossible to keep up with all these changes, buy outs, tech companies, business closings, openings, etc. I can't do it. I only deal with things I have personal relationships with. We had to work with Harry Fox years ago when we had that song in a Television movie, but that was all done through the publisher, SONY, and the television company, CBS, so I couldn't tell you what has happened.

If I get close to another television or movie cut, or placement, I'll let you know what I know, or if you get one, you let us know what you find out.

I do a few very simple things. I am concerned with writers and artists, finding who THEY are, where their strengths and weaknesses lie, how to analyze their material and abilities, how to understand the craft of writing, being succient and effective in what they are saying, understanding their audiences, making sure that what they do represents them well either in the writing, recording or performing. That they make connections and network effectively and understand the motivations of the people they come into contact with, being part of something larger than themselves, being aware of the ups and downs of the industry, and helping them move forward wherever and however they are.

I rarely get caught up in the minutia of the industry ups and downs, ins and out's, because I don't have to. If someone comes in contact with those elements, usually there will be someone to help them along through the next steps. For instance, if someone gets a song cut on a major artist, there is going to be major entities involved with that. Major artists are represented by publishers and labels, managers, etc. that will call the shots. There is nothing a new writeris going to be able to demand until they earn their stripes and prove themselves. They are not going to be able to write their own contracts or name their own details. They are not going to be able to demand money up front, big percentages, etc. They would be laughed out of a room trying to do that.

So I don't have to focus on things involving that with people. I show them elements, introduce them to people, and help them as long as they need my guidance, then step out of the way, and let them see where they end up. I will always be a friend and advise when they ask, but for the most part, once they are gone, they are on their own. 

So asking me questions about the latest aquisition, latest social networking tool, the latest "technological achievement that is going to save the day for all music creators, and bring order to the universe", is really not going to get much of an answer. I don't know any of that, anymore than I can tell you what is happening with the charts in Texas. I just don't know and to be brutally honest, I just DON'T CARE. 

I will always give you my opinion, sometimes probably more than you ask for, but I will also give the REASONS for my opinion. Might not be a good opinion, but I always will give it when asked for it. Hope that answers you.

MAB
Kevin Emmrich
Well, I went to the variety show at the local elementary school (my wife had a few piano students in the show) and I have to say -- Taylor Swift is firmly entrenched in the young girl's hearts and minds.  Two students did Swift tunes, while a few others listed her as their hero.   Didn't hear much about Kayne, though.   Good talent and a pretty good show for being just kids!

Went to an open mic the other night (not playing, just listening) and it was the night of the long sets.   The first guy played four songs and then the next act went on and on and on and on. He even asked how he was doing on time and I called out to Brian (the host) and the guy on stage just broke into another song. The next guy in line had an electric guitar and he just plugged in and started playing along. They ended up playing two more songs!!! I went outside and I stop clapping after the third tune. He must have been up there for 40 minutes!!!!!!!   Gotta talk to the host about that.   Maybe he was the "featured act" and I missed the memo, but I just think he was rude and oblivious to open mic etiquette!  Oh well, life is tough out there.
Marc-Alan  Barnette
Sounds like your example of twenty minute songs and two hour performances are rubbing off on these other people. I have heard it said that Kevin is the "Marching band that refused to yield" in Don McClean's "AMERICAN PIE." 

Kev, all of this is pretty normal. Again,what you have are "living room writers" who sit around and do everything on YOU TUBE, and take selfies all the time. Let me guess, while they were not on stage they were on their cell phones the whole time. A lot of time there are NO sense of ANYONE ELSE. Drives me nuts. But it is the generation we are. 

You go up there, young man, get up and do ALL THE FWAM songs you have written. I know they are all 32 seconds long so you should be an example. I'll expect a report from you next week, young man. 

Keep us advised.

MAB
Justin  Parker
I've decided that David Alan Coe's song: "The Ride" is my new theme song when thinking about MAB. Just replace the last part and say.. "The whole world calls me MAB!!!!" The rest could easily be MAB talking to a new writer/artist...
Kevin Emmrich
... You go up there, young man, get up and do ALL THE FWAM songs you have written. I know they are all 32 seconds long so you should be an example. I'll expect a report from you next week, young man. 

Keep us advised.  -- MAB
Ha, ha - I've played about three open mics recently and I clock in about 8 minutes for the three songs I do.   If my songs are any longer than that, I start getting bored!  But since I am writing I am not practicing the songs I know, I don't what to get up there and mess up because i am not prepared.   My first three open mics I sailed on through without any (super obvious) mistakes.  I may have found myself on the wrong chord a time or two, but I just keep going until it all fixes itself.

Marc-Alan  Barnette
                                                   THE LONE STAR STATE OF MIND

I wanted to relate a story to you that I heard last week, got restated Saturday night, but is very familiar to many of us from Nashville and elsewhere that try to "dabble" a little in Texas, performing, teaching, trying to intereact with them. This is primarily for Wesley and Justin, but it could give a bit of an overview of the relationship, between Texas and....well, everywhere else. 

Now let me start by saying I like Texas. I have generally been treated well, know a LOT of Texas artists, have performed there a few times and I seem to fit in just fine. One of the reasons is that I perform with a blues edged in much of my music and Texas Blues is very big there. On my workshops, I have been treated with grudging respect when they find out that I'm really not trying to force them to change, only "tighten up" what they are trying to do. That songs written elsewhere, particularly Nashville are just SHORTER and MORE DIRECT. And if they are wanting to stay in Texas, they don't have to change a thing. 

But I have dealt with a LOT of TEXANS trying to come to Nashville because they feel their community is coming to an end or great change and they feel Nashville might be "easier." And I have seen a lot of people not just from Nashville, but Boston, New York, California, and other places, who have tried to integrate into Texas, only to be given a pretty icy reception. That is what this is about.

A friend of mine is here in town right now. REESE WILSON has been a Nashville hit writer for many years.  He has written hit songs for Diamond Rio, Jeff Carson and Tim McGraw. About 8 years ago, he moved to Florida and then to Oklahoma, to find other employment, driving a tour bus, heavy trucks, etc. He was involved in an accident where someone hit him and really messed up his back, but he is recovering. This weekend he was in town, re-kindling some relationships, playing a little bit, and getting back in touch with the town. 

He was telling me a story about three years ago, going to Austin at the invitation of some Texas songwriters. He went with CRAIG WISEMAN, who is probably the number one writer in Nashville, with huge hits by Tim McGraw (Live Like You Were Dying) and many many more, and producing and developing Fla. Ga. Line. The guy is a monster. And a good performer. 
Reese was telling that when they got to the venue, during sound check, the sound man acted like they were hobos off the street. He was rude, dissmissive, and barely acknowledged them at all. He sort of bullied them around where they would sit, told them to wait their turn, really was a jerk. This behavior was repeated by others at the venue. "OUTSIDERS FROM NASHVILLE!" The EVIIIIILLLLLLLLL!!!!!
They were kind of treated like crap the whole time. So during the show, Reese and Craig, shifted into "ATTACK MODE" and played one number one hit after another, embarrasing the other two guys on stage with them. They barely had anything and were about ready to quit after a couple of songs.

This is an attitude we get a lot from here. And it underscores some of the difficulties in dealing with Texans, and what you Texans need to remember when you make forays here. This enmity has existed for a while and it really is not FROM the Nashville side. Nashville is about people being from EVERYWHERE. There are very few people FROM Nashville and everyone is familiar with being the "outsider." So you are rarely going to get the attitude from us. 

I just want you Texans to keep that in mind as you deal with a lot of people from other places. If sometimes you have a little trouble getting co-writes or getting embraced by other places. There are some great things about being a "LONE STAR STATE" and being a rock unto yourself. Nothing wrong with being brave. But you do have to be welcoming to other people. You have to understand that it is common courtesy and being congenial. You can't do anything about your State or people in it. But you can do something about YOU. 
I know you guys are just fine, and have had personal dealings with both of you. I'm just wanting to relate a fresh story that illustrates some of the difficulties people face. 

Just something to keep in mind.

MAB
Wes Tibbets
Hi MAB,

I hope you are feeling better. I can relate to a lot of what you wrote. I experienced the same thing when I was in L.A. Several times, I'd start speaking to someone or ask a question and they would cut me off in mid-sentence just to ask me where I was from (the accent). I would reply that I was from Texas and it would instantly bring this cold shoulder, icy attitude out of them. I soon learned to just say Oklahoma. It seemed to do the trick because I quit getting an attitude about it. People from elsewhere love to hate Texans and Texans love to hate people from elsewhere. But the truth is, in my many travels back and forth across the country, I made friends easily with almost everyone I met. To give a little insight into myself, I'm a card carrying Democrat in a Republican world. I hate politics and don't like talking about them but if someone asks, I'm not afraid to say I'm a Democrat. I've always marched to the beat of my own drum. In the small towns of West Texas, town to town people are very cliquish. In Rochester where I was raised, all of the teens and party crowd would meet downtown every evening and they had their own little world that stopped at the city limit sign. I was different though. I would wave at them as I passed by to head to other towns in the area chasing girls and having the guys from those towns follow me around all night trying to start a fight because I was stealing their "girls". Cops would stop me when I rolled by because I wasn't "from there'. And I imagine the fact I was blaring heavy metal while I cruised didn't help my cause much. In effect, I was always a fairly liberal person in an ultra conservative world. When I went traveling, I discovered that more people are like me than like them. I fit into places that none of those people ever would have. When I worked in Tennessee years ago, I spent time in Memphis, Knoxville and Nashville. I liked it there. But I've known other people who have been there and they hated it. 

Years ago, in the mid to late 2000's, my first cousin from Oklahoma was pursuing a country music career. He recorded a few songs. They were pretty good. He has a nice singing voice and the sound was there for the most part. But I had already been involved in writing lyrics for a few years. Quite frankly, I thought his lyrics were mediocre at best. Anyway, he saved his money and just knew he was going to make it big. He decided to go to Nashville. I spoke with him shortly before he left and tried to warn him. I told him, "Look John, I read lyrics every day. I'm a moderator and member in songwriting forums. And to be honest, they aren't your strength. You really need to develop them more before you go to Nashville or you're going to find that you're in for a big disappointment.". Oh man, he got upset at me. He didn't like my opinion one bit.

So, off he went to make it big in Nashville. He went to some songwriter nights, performed for a few people, pitched his songs and then came slinking back to Oklahoma with his tail between his legs. He quit making music, quit pursuing a career in country music and became a preacher. Years later, he apologized to me for his reaction when I tried to warn him. As it turned out, I was spot on with my critique of his lyrics. That wasn't the only thing that he received criticism about but it was first and foremost. But his experience warped his opinion of Nashville for a long time. And from what I gather, that is something that happens to a lot of artists whether they are from Texas or not. The truth is, there are things I like about Nashville that I don't like about Texas music and vice versa. Both are flawed in their own ways. And there is a beauty to both of them as well. I think the key is to remain grounded and be realistic. When in Rome, do as the Romans do. The people who learn how to adapt tend to make it and those who don't, tend not to. And that doesn't just apply to music. That applies to life in general.
Marc-Alan  Barnette
Good post there Wes.  Like I said, I also tend to be treated pretty well anywhere I go. I think some of us realize we are from out of town, and so we are somewhat respectful about other people's backyards. A lot of people feel they have to go "knock all the walls down", probably much like your cousin. That is what we get a lot of here. People just HAVE to have something happen NOW!!! And they feel entitled because of possibly doing well in their own areas. So a lot of people come here with the same idea. 

Every place has it to a degree. Glad to hear from you. One Texan we don't have to lock up. Not so sure about that Justin guy. Might have to keep him there! LOL!

MAB
Wes Tibbets
Sorry I haven't posted or written much lately. I'm still here. I've just been reading and trying to soak up as much as I can. I met with my friend, Kevin, that I mentioned. We worked on two of my songs together, "What Are You Doing In My Head" and "Give Me A Moment". It was a great session. He's going into the studio in a couple of weeks and I'm driving down to sit in on it. The guy who owns the studio is also the copyright attorney that I spoke to a few weeks ago. He's a published poet, an award winning author and has asked me to write some poems and speak at a festival they are having in May. He also asked Kevin to invite me to a "spoken word" convention (poetry related) in Oklahoma City sometime in the near future. Supposedly to be introduced to a publisher there with ties to BMI. Some lady....I can't remember her name. But apparently she's the one who bought several of Kevin's songs and pushed them through BMI. And she's also a judge. Not sure about all of that though. That's just the jist of what I understood him to say. I was published in the 90's for poetry I wrote. Even invited to recite poetry one year at an international convention of poets in Washington, DC. But I never did it. I never took it seriously and  I quit writing poetry when I started writing lyrics. However, from what I gather, these people know a lot of people in the music industry and publishing. So I'll at least entertain the idea until I know more and can make a sound decision. At least I'm connecting at some level with people.

I also did an online search for musicians in the Wichita Falls area. I've sent several of them messages introducing myself. I didn't say anything to them about collaborating with them. I just asked them if they knew of any kind of local efforts to have songwriting nights and open mics that I might attend. And if not, maybe start trying to set up something along those lines. In the process of googling that stuff, I happened to discover where the Beaird Music Group had come to Wichita Falls in 2014 and did a songwriters affair in town. I would've loved to have attended that. But that gives me some hope that eventually something else along those lines will happen again locally.

I"ve also been trying to make up my mind about a couple of things that have popped up in the various songwriting forums I'm a member of. But I was saving those to write you about in an email at a later time along with other questions I might have that I don't think would benefit me if I posted them in here. Somebody might read it and take it the wrong way or think I'm referring to them when I'm not. I may be able to answer them for myself and if not, then I'll wait until several pile up and include it all in one email so as not to waste too much of your time. I know you have a lot of irons in the pot. 

I will ask you about one thing though if you don't mind. When Kevin and I were talking, he told me that he knew several artists out there who come into these songwriting forums and read our lyrics. They may never partake in the posting themselves of music or lyrics. Or reply to any of them. But in their spare time, it's something a lot of artists do. Is that true? I know I often may have only a select number of replies but may have 150 or even more views. I kind of thought it was just other writer members in the forum checking it out or the same people viewing it each time somebody replies or I do a rewrite. But Kevin told me that I'd be surprised at how many really good artists and songwriters come in and read through the better lyrics on these sites. Is he right about that? On one hand, that is flattering if it is true but on the other hand, it worries me that others might be using it to hijack our ideas. What are your thoughts on that?
Marc-Alan  Barnette
Hey Wes,

My thoughts are that in thirty eight years of doing music, Twenty eight years in Nashville dealing with music nearly every day, twenty years of judging song contests, fifteen-eighteen years of Internet based forums and writing related things, I ave NEVER ONCE, NOT ONCE seen ONE lyric written by lyric writers, or really have seen one song written that I have not heard two or three thousand times before.  Most people who live outside of music centers, where they are not doing it daily, live in a vacuum and think that their ideas are very unique. They are not. They are very, very average and the subject matter is almost always 100% rehashes of other songs, subject matter, etc. The reason is simple. If you are around it all the time, you see more of it ,continually, you hear these subjects written all the time. So any unique aspect of songs are usually long gone.

Professional writers, particularly those in a major music center, have a few things non-professionals can't have. First of all, they are in an environment to learn and listen continually. They realize where the bar is so they are unwilling to take average lyrics or melodies where most people who don't have that input will just let things lay. They will know which subjects are getting overwritten and make adjustments to their subject matter BEFORE spending a lot of time on songs. They have OTHER people they write with that have input, which broadens and shapes what they do. They have publishers, record companies, producers, and have to compete with HUNDREDS if not THOUSANDS  of songs, they are immersed in. They live it every day, performing on shows, listening to new artists coming up. 

So their own bar is much higher. 

Now we do have artists come over here and go to other sites. I bring a lot over. But most of the time, they find very little to tweak or keep their interest. One of the reasons is that the majority of people on sites like this are LIVING ROOM writers and not out in the constant onrush of material. About 90% of those on the net, write what they want to, put it out there in however they want and are happy with that. They don't have to listen to anyone else, so it is just fine for them. They are doing it for personal satisfaction in the first place, so it really doesn't matter. 
Everyone would like to get their songs to some magic person, but less than 10% realize things that have to be done to actually do it. 

They are part of the "Selfie" generation, that puts every aspect of their lives, the food they have for breakfast, when they stub a toe, every detail of what they do. So they really have NO INTEREST in what anyone else does. Everything is going to sound virtually the same, because they don't look at anything else. Professionals, HAVE to pay attention to what everyone else does because they are trying to BUILD AUDIENCES. They are trying to get market share, so they have to be aware of what the audience will buy into. 

Now, having said that, let me state that there are VERY FEW PROFESSIONALS, even in many artists and writers out there.  There are a ton of amateurs, even artists that are involved with sites like this. And in many cases, a lot of those START out on sites like this. Most of the people, particularly artists, who are doing this are DOING IT. Not READING about it. They are not really into the minutia that people put up. They don't care to spend a lot of time reading lyrics because they are writing their own. They are not going to get into verbal confrontations on it, they are not going to make suggestions on someone else's songs. They don't care. And artistic EGO is a pretty strong thing. They don't think they NEED anyone else's lyrics, music, or attitudes. 
They might go to the lyric or song pages, give a cursory  glance, but tune out very quickly. All you have to do is glance down the titles and you will see the same things you have seen a million times before. 

And good artists, are not going to deal with being GHERMED by amateur writers just trying to get their songs out there. They don't want people sending them songs unsolicited. We have had people that have come over here, only to be deluged by people sending them songs without asking permission or even bothering to get to know them first. They are also not going to PUT their songs up, to be critiqued by a bunch of people that have no clue of what they are talking about. So you will get a few "views" but just like most things on the Net, it doesn't mean that people are going through it, giving it a lot of thought. It just means they tuned into that particular song or lyric. Usually it's just a quick  glance. 

I go through every once and a while and read over some lyrics, then read the comments other people have. Words like "I love your lyrics, they are clear and concise" when they lyrics are NOTHING LIKE CLEAR OR CONCISE. They are rambling nothing that rhyme. Not much emotion, reality or usability in any of them. And to engage in a dialogue on opinions is of no use whatsoever. Just creates friction. Why bother?

The biggest comments I get from people who start out here, or ones that are just beginning to get around to other writers and artists, going to those nights is "MY GOD, YOU ARE RIGHT!!!" By nearly listing every subject matter, the tone, the rhymes, the titles, I usually can predict what people are going to hear. When I do tours with people, I'll get them ready to go to writers nights, open mics. I'll tell them almost word for word what they are going to hear. I can predict songs pretty well. And usually within about fifteen minutes of any writers show, the people I work with will hear everything I said. 

The same with going to the lyric lounges, open mics, tune topic, areas on almost all sites. I do sometimes go through some of them, it is the same depressing, overdone, very average lyrics everywhere. They usually start by a mistaken premise that is overdone to begin with. They say nothing different in any way shape or form and say it the same way it has been said a billion times before. They rarely reinforce their hooks, and there is no sense of pacing at all. usually four or five verses, they read like a stream of conciousness poetry. The writer or poets almost always know what they are saying but it almost never translates into the real world.

So to think that someone is going to come over and "steal" some idea from one of these, is pretty much nonsense. Nothing worth stealing. We all write the same stuff. But most people involved with Internet only approaches, write the same stuff more often than people who are in the real world. Same on YOU TUBE, same on REVERBNATION, SOUND CLOUD, you name it. Pretty much all been there, done that, got the t-shirt.

These places are always good to meet people or continue relationships you have made elsewhere. They are good to get to know people better, their personal lives, their likes and desires. But until something is taken OUT of the living room, it is only going to go so far. Because it is NOT ABOUT THE SONG. It is ABOUT THE RELATIONSHIP. Those can only go so far online. And the people who are in the real world already have such a head start, the "neter's only" are always just playing catch up.

You have to remember that the reason I contacted you in the first place was because you had written a song that was so overdone and "bro-country" which is dead as a doornail in anything outside of "dirt road" stuff, that in my opinion, you can simply scratch that and start over. No matter how you re-write it, you come back to the same dead subject. It's still DEAD. And overdone. Back to the drawing board. 

So don't worry. Your ideas and lyrics are safe here. Wouldn't worry about anyone stealing them. In the words of STEVE BOGARD, number one hit writer and former president of NSAI, "You spend the first half of your career worrying about someone stealing your ideas. You spend the second half of your career worrying that you have something WORTH STEALING."

MAB




Phillip (phil g.) Grigg

Since we are talking about songwriting, titles, and content, I have an observation I'd like to address. I used to belong to NSAI and went to the meetings. One night, we had a discussion of "why do you write". The answers were all something like; "Because I just have to say this", or, "I get these ideas an just have to write them", "Because I just have to". Not ONE answer included trying to talk to the public. Every answer was about what [I ] want. I'm not guiltless here either. But, until a writer starts trying to write for everyone else, the songs are probably not going to appeal to anyone else either.


The other writer's style that really gets on my nerves is the non specific, unclear, style. This is the style where the writer likes to use a lot of metaphors, and/or skirt around the message. When you point out that you're not sure what the song is about, the response is always something like, "That's the beauty of [my] song. I left it open to interpretation so you can interpret it however you like." When you get that answer, there is noting you can say to make them understand.


phil g.

Marc-Alan  Barnette
Phil,

Great observation. I knew I had trained you well. YOU ARE NOT A JEDI YET!!!!

Actually you are really onto it. Look at amateur and newbie writers. It is ALWAYS about THEM. "I, I, I, Me Me me, YOU make ME feel, blah blah blah. I'm the one who is depressed! You have pissed ME off! You make ME HAPPY! I want YOU TO DO SOMETHING FOR ME, ME, ME!!!!" It is always about THEM because they don't THINK of anything else. They simply write about HOW THEY FEEL. 

Professionals will always be singing to THEIR AUDIENCE. They will be trying to put their audience be in the shoes of the people they are singing to. If it is about being "BROKEN HEARTED" they are trying to find something ELSE to say about a situation the audience has not seen or heard before. Or present it in a new way, or at least have something they haven't heard the same way a billion times before. 

Amateurs DON'T CARE. They have no interest in what audiences want because they never pay attention to audiences. So when they are trying to "pitch songs" to artists, they are ALWAYS short because it leaves out what an ARTIST WANTS TO SAY TO THEIR AUDIENCE. It is just what that WRITER wants to say about themselves. WHO CARES?

My friend, co-writer and mentor Jimbeau Hinson calls it the "Mirror of the soul." Audiences want to see THEMSELVES in the songs. If you just give them the same things they already have heard a billion times and only talking about YOURSELF, they don't care. Why should YOUR EMOTIONS be BETTER THAN THEIR EMOTIONS. 

It is so clear, I see it every day. And if you think I have seen it a billion times, imagine publishers, producers, record labels, etc. And WHY THE INSIDE CUT HAS TAKEN OVER? Because people aren't WRITING ANYTHING ARTISTS WANT TO SAY. I listen to artists all the time. It is what I do. They have NO INTEREST WHATSOEVER in outsiders opinions or songs. Doesn't even factor into the discussion.

So people expecting cuts, better get artists involved WITH the writing of songs. The outside cut is a train that left the station a long time ago. It's long gone. Quit looking for it to come back. 

So there is your question when listening to lyrics. Is this song INTERNAL DIALOGUE, ONLY FOR THEMSELVES, OR IS IT EXTERNAL, meant to CARE about what an audience is about? You start doing that and you are taking a step in the right direction.

You see, we live in the SELFIE world. People only care about themselves. The hit artists and writers will always care about what OTHERS WANT TO HEAR. Not what THEY WANT TO SAY.

MAB
Wes Tibbets
Hi Marc,

Based on what you wrote, why do these sites have song and lyric forums? After reading your reply, I pretty much decided that I just won't post anymore. I rarely get good advice and if I collaborate with someone, I don't get the sound or quality that I'm looking for. And that isn't a knock against anyone. I understand why people are reluctant to post their true opinions on posts. I've seen people over react many times. And the same goes for collaborating on songs, even if you don't like what they've done to one, you feel reluctant to say anything because you don't want to hurt their feelings. So really, there doesn't seem to be much point in it.
Marc-Alan  Barnette
Wes,

Because they are most people's ONLY contact with someone besides themselves. If that is the only way you can get critiques, feedback, at least feel a part of something, that is the reason to do it. But the biggest problem with them is that people DON'T put much of their opinions out there, just really patting each other on the back. And there is NOTHING WRONG WITH THAT EITHER.  There is something to be said for being in a community, feeling connected to other people and to find out what other people are doing, who they are. That is the reason to do it.

But that should only be a PART of what people do. They should be continuing these collaborations OFFSITE. I noticed you doing that with one of the guys on the other site. He has taken some of your lyrics and put music to them. That is as it should be. But you have to look at the other things on those type sites. Almost everyone ASKS for collaboration, but no one really WANTS collaboration, because they go no further than the forums. 

You see, again, I've dealt with this a lot. The people that I find successful, like Matt Casey or Janet Starodub, who have both started on this site, have taken it to the REAL WORLD. They learned things here, then used it to get out into songwriting communities in their area. Matt, who is from Boston, put together a facebook group called NEW ENGLAND TO NASHVILLE. Once he had a few artists, he started doing concerts to raise money for charities around his area. It wasn't just in Boston. It was here. Many artists have moved to Nashville or make trips from the New England area. So he is doing concerts in both places and has hundreds of artists and writers he is working with. He has dozens of songs they are performing because he doesn't perform. WE just did one a week ago and he had several people including Lance Carpenter who had the first KELSEY BALLERINI, single. Matt now has his own publishing company, song plugger and is making  regular trips interacting with the actual music industry.

Janet Starodub, started as a writer herself, but morphed into an artist manager. She recently had two of her artists, Jason and Tom Petrik, (both who belonged here for a while) hit the Canadian Charts at number 11, have a major deal and major Canadian tour. Another artist she works with currently is a new face on the Canadian market and five or six have gone on to major careers in the industry. She found her talent was not in writing but in guiding the careers of others. 

That is what I am talking about by "getting out of the living room." Actually doing something by interacting with actual artists, and other established writers. That is what you DON'T get out of only being involved in a songwriters site of any kind. 

It is a PART of a career, but not the entire career. Just like the people at the top of the charts who have significant Internet fan base. They ALSO have significant, if not more interaction with the real world, the real industry. There are people who use the net to propel them, but there is a certain amount of "physical interaction they have to have." That is what I am talking about.

So there is nothing wrong with putting lyrics up on a site. But you have to be aware that a lot of the replies you are going to get are not going to be much more than a pat on the back. Sometimes you will get a little more, but most of the time that is what it is. If you could develop enough relationships to where you could get INDEPENDENT FEEDBACK, you could achieve a lot.

Another problem with the "internet only" approach is that usually people that want to try and get some constructive critiscim, will often get attitudes as well. The well intentioned repartee often degenerates into acrimony. No professional is going to deal with that. So they don't go to those sites. I am one of many professional writers that have tried to help only to be dealt with like some sack of crap. We feel like. "why bother?" 

It is all just one part of a larger struggle. Once you get that sense of writing, learn as much as you can, you tend to move on. This is just one step in many. 

So don't take my words as saying "don't post any songs." I'm not saying that. I am saying that you have to consider the sources you are talking to. Many of them have limited experience. You have to keep that in mind. All opinions do matter, but the more educated you can get the better it is going to be for your overall approach. And when someone is limited in their personal interactions, they have to take what they can get. 

You have to make the best of it and take it for what it is.

MAB