Marc-Alan Barnette
#4275
Phil,

I just hope "she" doesn't turn into what most people's equipment turn into, "Old Doorstop", "Old Coat hanger" "Old Excercise equipment." Nice guitar. Just make sure you get out and use it! And don't forget your acoustic, because until you get a band behind you, those electrics can be PRETTY THIN on the solo stuff.

J.I.M.M.YYYYYYYYYYY!!!! 
Man it is good to see you again. Damn if you don't show up in the weirdest things, and always with MORE KIDS!!! Geeze boy, don't you know how to stop that stuff? LOL! Was great to see all of you recently. Hope to see you out more soon. 

That is so funny hearing you talk about your first experience in town. Last night we had our first "WELCOME TO NASHVILLE" mixer event in  town. About 65 people, mostly new young artists, ALL had that same look. They all have that "WAIT'LL THEY GET A LOAD OF ME!!!!!" Look. Check back in three months newbies!!!! Those that are still here.

The REALITY CHECK factor hits pretty hard in this town. We see it nightly on the writers nights, open mics, stages all over town. All these newcomers will get in, and doing their songs. They line up at the Bluebird, sit all night at Douglas Corner, come to Sams Jams (Happening today, by the way.) They hear mostly people like themselves, just mediocre songs and performances. They get a flase sense of security, most are not as good as they are, and they think, "wow, this ain't so hard!"

Then they have one of the heavy hitters pop up. Some times they have been sitting right beside some monster writer or player and didn't even know it. Sometimes the waiters, waitresses or bartenders come out and play a song.

AND BAM!!!! they are slapped right between the eyes. And that feeling you felt in July 2012 hits home. "IF THESE PEOPLE DON'T HAVE DEALS, WHAT THE HELL AM I EVEN THINKING?"

Happens to all of us. My first "guitar pull" in town was in a room with about thirty in the big circle. I was pretty secure in my own stuff, and had been playing around and getting the pat on the back people all over. They were approaching me left and right. Record company people, publishing people, hit writers. I was THE STUFF!!!!
Then I get invited to this "private party" of a big Nashville money person. I can't remember where it was but it was a HUGE HOUSE I think in Belle Meade. I'm sitting there in this big group of people and suddenly there was one person after another doing HIT SONGS I HAVE HEARD ON THE RADIO. As it came around it was just one hit after another. I was still fine, but got a little less confident with each person as it swung my way. But I stood my ground.

THEN, it got to the guy sitting next to me. I had seen him before. He was this really older guy, shock white hair, and drinking a white Russian. As everyone played, he just kind of sat there, not really smiling, not saying anything, not really clapping, like the rest of us. I was thinking "Hey Pops! Wait'll you get a load of ME!!" There's a new sherrif in town. 

Then he just starts playing his song and I nearly CRAPPED IN MY PANTS!!! It was "I'VE GOT A TIGER BY THE TAIL" by BUCK OWENS. That guy was HARLAND HOWARD!!!!! I nearly died!!!! But had to keep my cool. I thought about shaking his hand but had seen him earlier around some other people and Harland didn't SHAKE HANDS! He thought everyone was idiots and didn't suffer newcomer fools easier. Years later I see he was right.

I did my song, CAN'T BLAME NOBODY BUT ME" and got a huge reaction. I thought 'THIS IS IT!!!! I'VE MADE IT!!!!" The applause went on for a few seconds then quieted down. The guy on my other side, pulls out this incredible fast chicken pickin stuff that nearly knocked me off my stool again. BLAZING FAST GUITAR WORK and he was playing LEADS AND RHYTHM at the same time. I was hoping my jaw didn't hit the floor. THEN...HE STARTS SINGING. This high tenor voice that sounded like nothing I had EVER BEEN CLOSE TO! He just blew everything away!!! He did shake hands and introduced himself.

THAT WAS VINCE GILL.

And the music went on. Nobody asked me to write, nobody made a big fuss. It went on and on and on.

THOSE WHO WANT A ROYALTY CHECK, MUST FIRST GET A REALITY CHECK.

Try that three months into town. Just when you think you got a handle on it. You better think again.
Glad you're back Jim. Stick around.

John, you are absolutely right. Reality shows have also taken the wind out of sites like this sails. But of course those are fleeting as well. American Idol is gone now and I predict, THE VOICE, AMERICA'S GOT TALENT, and the others will follow suit before long. All of those shows have peaked in their ratings and are starting to decline because people are always fickle and start looking for the next big thing. Remember SURVIVOR? The show where everyone was out there trying to survive on islands, voting each other off, starting the hidden camera politics of personal destruction?
The next thing was every show featured something like that. The GREAT RACE, AMERICAN NIJAS, BATTLE BOTS, you name it. Every show was trying to out gross each other, having people eat bugs, do discusting things. They were all the rage and water cooler talk for a while. 
Then ratings starting peaking and they started dissapearing. They are still out there, just have gone from most of the major networks and onto smaller cable networks. 

For everything there is a season. And the channel turns.

MAB
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Marc-Alan Barnette
#4276
Wanted to tell you all that I talked to Janice Starudob today. Janice is that cutie from Manitoba Canada, that I worked with for many years and was here for quite some time. She came to me first on one of the seminars for NSAI I was involved in,and then we began a six year friendship that took me up there several times and brought her here even more.

Janice had developed from trying to be a songwriter, to an artist manager. She worked with a lot of people, most who faded out very quickly. A very few lasted and now she has really turned into a good artist manager. Actually MAKING MONEY at it. 

Two of the brothers she worked with, PETRIC, who consist of Jason, who was over here himself for a little while, and his brother Tom, who never quite came here. They had been solo artists for many years and finally hooked up as a duo. Two years ago, they signed an independent record deal and started touring. That has led to three top twenty hits and this year they are nominated for two CCMA awards. That is the CANADIAN COUNTRY MUSIC AWARDS. They are up for "Duo of the year." They are touring this year and doing very well. 

Several members of the groups Janice put together are doing very well. So she should be applauded. Many of our allumni are doing quite well. Megan Linsey, is on Broadway, doing the musical CHICAGO. Frankie Ballard, has had three number ones, a new critically acclaimed record out, doing well, and last night headlined with RASCAL FLATTS on the GRAND OLD OPRY.

So yes, all my little chillin's are doing quite well. Glad to see it happen.

MAB
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OD OldDog
#4277

MAB,  that is a great story about you performing in the same room with Harland Howard and Vince Gill.  I don't think I have ever heard that one before; but it was great.  I love your stories when you share your experiences with us. 


 


I also got an email notice from Music Starts Here, and your event the other night.  I enjoyed you sharing some of your thoughts about that evening as well.  When you tell some of their stories of how they hope to take Nashville over and become the next great act; I can't help but wish them luck but also realize they have no clue what they are in for.


 


JimmyB is so correct when he describes the incredible talent in town that will never get a deal or gain any recognition for their talent, outside of their circle of musician friends and followers.  I have to admit, in my opinion, you personally will always be my favorite artist I will never understand why you didn't end up with a deal and become a famous entertainer.  I'm sure my disappointment is nothing like what you have had to deal with over the years.  If I may only give you this one single constellation, you have thousands of friends like the Old Dog that feel it a privilege to know you and work with you.  Okay, I'm done sucking up now. Ha!!!


 


I'd like to comment on KevMo's post and him sharing his thoughts about how to best approach newer writers.  He is so correct to suggest we should encourage everyone and not try to judge them, just because their writing abilities don't measure up to what we hope to hear.  He is also correct when he say's we don't know their intentions  how far they want to go with their music and whether they want to educate themselves or not; especially from folks without any real credits like those of us who may offer suggestions. 


 


S.O.B.   That is a real problem for me because I compare my limited songwriting education (mostly from MAB; although I was never his best student; nor do I always get it right) of trying to learn the songcraft, to a med student that dropped out of med school in his Sophomore year.  Much like I don't have the education or credentials to give medical advise,  I don't  have the experience or wisdom to give songwriting advise either.  But I can't seem to keep my mouth shut when I should. 


 


Part of my reasons for wanting to help newer writers is because I was once one myself.  Hey, back then I wrote a song, who cares about song structure, rhymes, long verses, a chorus that sounds like a verse, a sad "cry in your beer ballad"; as long as I had what I thought was a good song idea and a hook.  Talk about hitting that "Reality Wall", that is exactly what happened to me the first time I met MAB.


 


Okay, one that day, I had a decision to make, do I go back home and write silly songs to please my beer drinking buddies and family; or do I try to learn how to write better songs and challenge myself to do better.  In all honesty, I was leaning heavily towards going back home and just writing the same mediocre songs over and over.  It was MAB that figured out I was going to go back home and continue to write songs, when he challenged me to work with him and learn how to write much better songs.  That made sense to me and began a several year working relationship with MAB; although it meant me coming back down to Nashville when I could and it took that long because I was a slow learner.


 


However, just as MAB promised, I eventually improved my songwriting to a level that exceeded my previous songwriting skills before meeting him. Oh, believe me, I'm still not a great songwriter (never will be), just a much better songwriter.  To become a great songwriter would involve a lot more time, much more work, and many more co-writes with many more advanced songwriters than I was willing to put into it.  However; here comes my delemma.  I learned just enough to become dangerous with my opinions and giving out bad advise.


 


My main problem is; when I read someone's lyrics on this songwriting site or another, I feel that person is wanting to improve just like I did after meeting MAB.  Everyone seems to express how they want to be a songwriter and request someone comment on their lyrics or their song.  S.O.B.   I don't mean to be rude to anyone but sometimes the truth hurts; unless you hold back the truth and resort to a "pat on the back" which is not going to help them at all.  Then I try to realize not everyone wants the truth, they just want a "pat on the back".  S.O.B.   They are causing the Old Dog to drink and I don't need any help with that.


 


OD


 


 


 


 


 


 

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David Wagner
#4278
I always enjoy reading and catching up ..hoping to be back in Nashville to meet Chris ising in Sept by buddy Jared Hicks is finding his way around pretty good 
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John Westwood
#4279
Marc-Alan Barnette said...

Phil,

I just hope "she" doesn't turn into what most people's equipment turn into, "Old Doorstop", "Old Coat hanger" "Old Excercise equipment." Nice guitar. Just make sure you get out and use it! And don't forget your acoustic, because until you get a band behind you, those electrics can be PRETTY THIN on the solo stuff.



MAB



 I have 8 guitars ( 7  and a bass) . They all get "their turn". Robyn often  asks me  and fails to understand my answer to " why  do you have so many  guitars?"

My answer is that they all have a different  " natural" voice . And as I rotate them thru the playing   order   they speak to  me. My go to guitar is my Maton A/E and my Japanese Strat and least used  is my Ric bass ( but a guy has to have at least one bass ) .

ramble ramble. If I dont stop Ill be  putting up sound clips of each  like a proud  dad   :)
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Jimmy Bielkiewicz
#4280
The Wall Did not Break, now what?

What does a wan-a-be songwriter do after the musical Emergency Room Visit?

“Shake off the where you came from dust!”

For me it was support and learn, apply what I learned each night, into a song the next day, this gave me all new questions for that night out.

Learn, Apply, and Repeat almost every night for a couple of years taught me that there is no magical answer. There is no book you can buy or coarse you can take to learn songwriting it’s a moving target.

Someone like Marc can give you the tools and even the toolbox, however the way you choose to use, practice, and handle those tools is completely and totally what makes the quality of the art that comes out of you.
Frankie Ballard’s first album received no traction at all, he changed the way he used his tools and the next 3 songs he released went to number 1.

If you think you just can’t do it and should go back to your life before, it will never stop haunting you, trust me!

“You Don’t Choose Music, Music Chooses You”

Jimmy
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Marc-Alan Barnette
#4281
OD,

You can't sit and wonder "What if's." There are always a million of them. Why didn't I take a few minutes after putting my guitar up, and sit with Bob Doyle and Garth Brooks when they asked about "Can't Blame Nobody?" No, I said "I'm hanging on to the song for myself as an artist." Hindsight? Incredibly stupid. Who did I think I was? I had no big hits. I was just a guy a lot of people seemed to be interested in and the people who were advising me, Ron Muir, told me that is what I should do. I'm "STILL" holding on to the song. 28 years later. 

BUT....
At the time, Garth was just another one of thousands of singers in town. Working a boot place. Having come here two years before, hitting the wall, and turning around and going home after one day. Bob Doyle, his manager, was just another guy who quit his job at ASCAP, took out a second mortgage on his home to manage Garth. Many people had done just that same thing. And their singers, their songs, their publishing companies, their production companies, their advertising agencies, etc. all failed. You still see them around town. Working at car washes, managing resturants, driving for UBER. 

Everyone has THE NEXT BIG THING.

So I can't begin to tell you WHY things haven't turned out differently for me. It is just part of the way it is. The thing for me, is that I come here and talk to all of you, get to begin each day fresh, looking at Nashville through outside eyes. A pretty cool thing to do. And I can actually HELP people.

Today I'll be meeting with a Momanger, and her two clients. Her son, who is 17 and a singing partner female who is 16, who are in town touring Belmont college, where my daughter graduated. They are part of Matt Casey's NETN group, and came into town to check it all out. I actually vouched for them yesterday and got them on Sam's Jams. I was not able to stick around to see them, had some other stuff I had to do, but I'll meet them today.

And the story will be about the same. They are 16 and 17. They have played all over their area and are the big kids on campus at their school. They have "almost passed auditions" on all the talent shows. They have done their own CD and have YOU TUBE videos up and running. They have hundreds or thousands of "likes" and people are ALWAYS telling them (and her) that they are "ABSOLUTELY ON THEIR WAY BECAUSE THEIR STUFF IS SO MUCH BETTER THAN THAT ON THE RADIO!!!!"

Yeah. I know.

This is why I focus on the INSIDE of the artist. The writer. I try to get them to look at their lives, and build their songs around reality. To find the best that inside them, and to HELP other people along the way. To worry about POSITIVELY AFFECTING THE OVERALL COMMUNITY of artists, writers, songs, etc. THAT IS WHAT IS IMPORTANT. How they act, behave, and conduct themselves AWAY from just writing songs. That is what is important.

You never know what steps you should have or COULD have made that would have changed it all. You just take it as it comes, get as much information as you can,, and make the best decisions you can.

About all you can do.

MAB

PS: But at least it has some of you talking again That is a good thing.
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OD OldDog
#4282

MAB,


 


I remember the story about your song "Can't Blame Nobody But Me" (I love that song) and an unknown Garth Brooks wanting to record it.  Looking back it's easy to say your decision wasn't the best one (with the advantage of hindsight); but in all honesty you did exactly what you should have done by saving it for yourself.  I'm sure at the time you were creating more of a buzz around town than Garth was.  So as you say, it falls into one of those "what if" factors we can't change. 


 


I don't have to tell you but it didn't end there.  You were so close so many times; which only supports your decision to save that song for yourself;  There is the story about the Label exec that believed in you and was ready to draw up a contract when he suddenly died of a heart attack.  That stopped everything.


 


Then the deal with the successful Publishing company that was going to hire you as a staff writer; when your attorney threw the contract back over the desk at them, saying "you can do better than that"; which only pissed them off and ended the meeting, and almost ended your career.  I'm sure there were many more opportunities that came so close for you that I don't even know about.


 


I can't speak for any of that beyond what you have shared with us.  All I know is; you are my favorite entertainer in Nashville, end of story.   So, I'm sure the disappointment and confusion you must have been forced to face is very understandable; but the fact you were almost forced into a teaching and mentoring business is another example of someone doing what it takes to survive, as I see it.  


 


You could have easily gone back to buying and selling classic cars, as you once did with your father Grady; or gotten a job around town that paid your bills yet still allowed you to perform once in awhile.  Instead you found a way to re-invent yourself and use the skills and abilities you had developed into helping others seeking a career in music, just like you once did.  That's quite a story in itself, as far as I'm concerned.  I feel very fortunate to be one of the people you helped along the way.   Oh, I may not be one of your success stories like a Frankie Ballard, or Julie Moriva; but I'm one of your success stories that doesn't warrant any mention; beyond you helping me become a better writer than I would ever have become without your help, and I have some really good songs to leave behind as my "footprint" to prove it.


 


So while it may appear on the surface I am only "sucking up" again, that is most likely true.  I'm only trying to get a back stage pass at your Commodore Birthday Show, and beat JimmyB to the first hug.  He can have all the kisses, I just want the first hug.  Ha!!!


 


By the way JimmyB,  I sure hope you and Melissa will be around and attending show's while we are in town for MAB's birthday show.  It will be great to see both of you.  Well great to see Melissa again more than you; but you know what I mean.  Ha!!!


 


OD


 


 


 


    

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Marc-Alan Barnette
#4283
OD,

Now you are going and mixing my stories up and I DON'T even know what happened? What bar were we in again? LOL!

Actually, the guy who died was the owner of David Ball's record label, while the song "TOO MUCH BLOOD" was climbing the charts. He did die of a heart attack but was also suffering from Cancer at the same time. 

The attorney throwing the contract back did happen. I wasn't there for that one, just caught the flack latter. There are a lot of those stories, and I could write them all down. Just NO ONE WOULD BELIEVE IT!!!LOL!

(actually I just wrote that last week!!)

Thanks for reminding me of all the silliness I have witnessed around here. Always reminds me of other stories.

Hey for you guys coming here, the kitchen/living room is really moving along. Painted today and it is really looking good. You're gonna be impressed!

MAB
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Jimmy Bielkiewicz
#4284
Mister OD,

I really hope to see all of you out and about in July, please keep me updated on when and where ya'll will be.


Jimmy
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Jimmy Bielkiewicz
#4285
“Today’s Songs”

We know the songs that are released are aimed at the very young; the ones who will steal if from the internet and then bug mom and dad for a concert ticket plus $100.00 for a tee shirt “So I can be popular at school”.

My 14 year old is unable to do simple math, and will not problem solve anything in life, all of that is someone else’s job.


Even simple things like what do you want for dinner or what would you like to order? I am not kidding she will order whatever her mother orders at a restaurant!

I have noticed the perfect rhyme has returned, everything is explained, and there is absolutely nothing to figure out, ever. It has been years since I had a discussion about lyrics asking another “What is that song about, what are they attempting to say?”

So my Question is “Does the lyric matter any longer?” I know the lyric has to be there, but is it the melody that is making songs popular today?


“John Cougar, John Deere, John 3:16” How many younglings actually know what any of those are?
(if you sang it vs read it you made my point!)

Or is all of this just a twist on what has always been?

Awaiting you thoughts

Jimmy

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Marc-Alan Barnette
#4286
Jimmy,

Music always adjusts to the audience listening to it. Rock lyrics for decades have been not much more than just something to dance to, or in the last 30 years something to vent frustration at life, the older generation, revolution, breaking rules, etc. That is sort of what rock was based upon. Rap, hip hop, are mostly dissatisfaction with life, and bringing things down to a very base level. Alternative and roots are where the poetry and folk aspects ended up and more of the thought provoking lyrics would be there.

Country always had somewhat of a story line. But of course as the audience has youthened, the subject matter (bro country) and "dumbed down" lyrics have permeated the landscape. Bands like Fla. Ga. Line and LoCash, don't really say too much on the landscape, but "are good to dance and grind to." It reminds me a lot of the old "DICK CLARK BANDSTAND" days when they would say "I give it an 85 with a good beat!" Music was MOSTLY about dancing to it.
So in ways, that has come back around.

But we are dealing with a younger audience that pretty much defies description at how unprepared or even aware they are. Yesterday I met with four people, a 16 and 17 year old Duo from the Boston area and their mothers, and a 20 year old girl from Fla, and her boyfriend. All are in town trying to check out the music scene, they are all trying to be writers and performers, all pretty much the same dreams and levels. I didn't listen to a song, (was just doing the meetings as favors to people) but I could tell you they sound almost the same. They are completely clueless. The male version of the duo (the 16 year old) spent most of our lunch meeting texting on his phone, instead of asking questions or even participating in the discussion. And HE is the brains behind everything. 

I saw many the other day at the Music Starts Here event and of course see unending groups of them coming in every day on writers nights, events, etc. And the level of music is diminishing greatly. I'd say "you ain't seen nothing yet."

Having said that, there is still good music out there. Kacey Musgraves, Chris Stapelton, Maren Morris, (My favorite song out there is MY CHURCH), there is still plenty to listen to. So are "lyrics going away?" Probably not. But the "mainstream" is probably going to continue to be a place you don't particularly care about. That is kind of normal.

So much of this is generational, and we are always talking about this "DAMN KIDS!!!" And talk about how goofy and stupid they are. They are. And we were too. I just think most of us had a little more levels of interest and questionaing nature when it came to finding out what we needed to do.

We are in the "FACEBOOK/TWITTER" generation. it is all about the "ME ME ME" stuff. The 80's were called the "Me" generation, but I think the 80's had NOTHING on what there is now. When you can write whatever you want, whatever you want to say, record it on a camera phone, put it on YOU TUBE, and start getting "likes/dislikes" or conversation, that is truly the DO IT YOURSELF generation. And when the culture itself gets more course, more divisive, more attitudinal, then people start tuning out other people, only listening to themselves. And I'd say that is the reflecting part in music. 

Fortunately, the "OTHER SIDE" of the Internet is that there is BILLIONS and billions of songs, and millions and millions of artists out there. People find the ones they like, and tune out those they don't. I think the future are going to be thousands and hundreds of thousands or even millions of "smaller stars" that find their own niches, promote themselves and some will end up breaking out in to the huge mainstream. You can look at artists like ED SHEERAN, who was really just an Irish (or English, I don't know which) folk singer, that has built a huge career, winning awards, and huge fan base, BEFORE he got his record deal. Now he is everywhere. Again, not really my cup of tea, but he is doing well. Groups like Matt C's favorite, Alabama Shakes, have been tearing up the  Independent scene until they became mainstream. That is actually HOW the Internet can HELP build careers. It can extend the reach of an artist. but it can't do all the work.

On a side note, yesterday I attended an Interview show at Douglas corner. It is called THE PRODUCERS CHAIR, and is a talk show format hosted by my friend James Rae. The guest yesterday was TREY FANJOY, who is one of the top video directors and producers in town. Has one over 150 awards and done hundreds upon hundreds of videos for Keith Urban, Taylor Swift, George Strait and others. Yesterday she unveiled two new videos, one for Jennifer Nettles, of Sugarland and one for the new single of Miranda Lambert. Both are amazing videos and unbelievable songs. Miranda's is called "FASTEST GIRL ALIVE" and features a "THELMA AND LOUISE" type senario with two hot chicks stealing a car and running from guys and the law. The "other girl" driving the getaway car? DANICA PATRICK!!!, the NASCAR driver. Man that is a monster mini movie!!!
Right now I'm watching Trace Atkins on Fox playing live in New York. Pretty good song, called "LIT." Really like that guy. Scared the crap out of me the first time I met him. We literally bumped into each other going into a restroom at a show. And when you run into Trace, YOU RUN INTO TRACE! That guy is built like a football player. But very nice.
Good for him.

So yes, the language, music and overall culture decline. What else is new? But that doesn't have to affect YOUR MUSIC. And that is kind of my thing to you and all people trying to do this. Just because their is a lot of garbage out there doesn't mean you have to emulate it. Don't go for the lower common denominator. It's what has always bothered me about the "All music out there SUCKS" crowd!!!! Yeah, a lot of it does. WHAT DOES THAT HAVE TO DO WITH YOUR MUSIC? 

If you are trying to figure out the market, don't. It's always going to be weird. And always has. Any of you remember the 50's? All the doo wop groups Rama Lama Ding Donging!!!!? The 60's, when EVERY group was a Beatles Rip off, with the hair cuts and wanting to hold each other's hand, foot, face, leg, spleen? The  DISCO ERA of the 70's? Boom, boom...boom...boom.. four on the floor beat and DANCE....DANCE....DANCE....!!!! 80's "Hair Band of the Week?' "
"GIRLS...GIRLS...GIRLS!!!!" Strap Tawny Kittain on the hood of a car and you got a rock video!!!!! 90's? Seattle Grunge? "I'm in the Darrrkkkk Depressionnnnn of my minnnnnnddddddd???" 2000's rap and hip hop? "Yo..yo...yo...Get Da B***TCH in the CAR!!!!YO YO YO!!!!!"

Yeah, it's always kind of inane. Don't worry about it. Should have nothing to do with you. Go write something that makes sense and people like. TRY NOT TO SUCK!!!

MAB
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Marc-Alan Barnette
#4287
THE "IT GETS WEIRDER AND WEIRDER DEPARTMENT"

Yesterday a rule was passed in the Department of Justice regarding songwriting. I still don't understand this rule and am just trying to find out more about it. But they have passed some new regulations regarding 100% LISCENCING, which means (as I understand it) that now one PRO (ASCAP, BMI, SESAC) have to have 100% liscencing on songs. That means if you are a BMI writer, BMI liscence that. ASCAP writers would not be able to have it liscenced. This means they WOULDN'T GET PAID!  This will stop BMI writers from being able to write with BMI, ASCAP, SESAC, etc. So yet one more NAIL IN THE COFFIN, for commercial songwriting. Most songs throughout history would NOT have been written if this were in effect. Another wonderful case of the Government poking it's nose where it doesn't belong.

Enjoy the day!
MAB
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Phillip (phil g.) Grigg
#4288

Jimmy, it sounds like you are still writing? That's great! I hope we can get you and Justin together while he is there. Thursday day we're headed down town. Thursday evening we're going somewhere with MAB. (MAB, sorry I forgot what it is? I just remember it sounded exciting!) Friday day and Saturday day, Justin has his 2 day tour with MAB. Friday afternoon and evening are kind of open right now.


I think "the story" is what always has, and always will, set country music apart from pop. I don't really listen to too much pop though. The few times I do try to listen, the lyrics don't make much sense, or they are RAP. NOT that I don't like RAP, but the pop lyrics seem to be way too cluttered, tend to ramble, and the artists slur them so bad I can't understand them. At least in country, if there is a RAP section, the words can still be understood, and they are focused and add value to the overall point of the story.


Folks are always talking about how country is going to go back to the way it was. Well guess what. The way we have been talking about country, it has never left, "what it was". It just sounds more modern and pop these days. If these negative folks could ever get past the new way country sounds, and listen to the "story", they will find country is still country. Even OD likes Sam Hunts, "Break Up In A Small Town", in spite of it's RAP and pop sound. That's because it still tells a story about how hard it can be when you both live in a small town.


About licensing. I did not read the new ruling, but it sure sounds stupid to me! Sounds like it was passed by someone who doesn't even understand how the music industry works. What are they going to do next? Declare that any song must be 100% owned by only one of the writers? I guess that is effectively what they did just say, right? Since it is currently common practice for writers from different PRO's to write together. According to the new ruling, only one of those writers would be owed royalties.


Another issue about licensing, that I'm really on the fence about, is open mic's. We have had a few instances here where the open mic has been shut down because ASCAP or BMI or SESAC have demanded the venue start paying PRO fees. These fees are not cheap, and the venues would actually loose money because the open mic's do not produce any extra income to speak of, or cover those fees. Does that mean all these artist wanna-be's that post their version of cover tunes on you-tube should be fined? I just don't see the harm here. In fact, to go even further, maybe anyone wanting to perform cover tunes in public should be getting a mechanical license from the writers and/or publishers? Your thoughts.


phil g.

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Marc-Alan Barnette
#4289
Phil,

Welcome to the "Drowning pool" of the music industry. The overall ending is that all music is going to end up being FREE. The only people that will be paid will be those top of the heap major stars and the people in their orbits, or the small or reginional artists who are holding their own worlds in live performances. The money collected in songs themselves will be non-existant. 

No one can explain the rule changes in the PRO's. Basically it is going to say that there can no longer be one BMI or one ASCAP, SESAC writer, because only one PRO will be able to liscence a song. What it is going to do on the writing front is that you won't have BMI, ASCAP or SESAC writers writing with anyone OUTSIDE of their PROs. It is just another way to find regulation on dissapearing money.

The same as PRO's suing venues to pay liscencing fees. They thought they were going to bring in income for the fees. What happened is venues quit featuring live music in any way shape and form. For now, the open mics are one of the last vestiges. What I forsee in the future, is if you want to play on the open mics, you will have to PAY to do that.. That is how the venues will pay the fees. They will pass on to the consumer. If you don't want to pay, you don't play.

This is what LA, New York and Chicago have done for decades. If you want to play those venues, you have to sell tickets. If you can't sell a certain amount of tickets by a certain time, you will not play. Right now, some of the new clubs, particularly those in Franklin, are starting to have guidelines that spell out how many people you have to bring in in order to play on the gigs. So you might as well get ready for that. All of this are symptoms of a declining marketplace, and overwehlming supply. When EVERYBODY can do something, NOBODY gets paid for it.

On where we are going on THURSDAY, July 21, it is the MAXWELL HOUSE, for a BROKEN SPOKE reunion. For about 15 years, the BROKEN SPOKE was one of the two or three main clubs that everyone played. The Bluebird and Douglas Corner have always been the spotlight, showcase clubs, and the new to town, open mics, and regular writers nights were done at Bogies, The Broken Spoke, Hall of Fame, JACKS GUITAR BAR, and a few more that are long gone. The Commodore and Maxwell House came long after those. Many were in the places across from the college strip of bars on Demombreum. Where the big Condos are now. That used to be a strip of bars, including a house that was reportedly once owned by HANK WILLIAMS SR. that had been relocated to the place where the big naked statue is now. 

The Broken Spoke was one of those places. It started in one place and then moved to the Ramada Inn Hotel on Trinity Lane for about 15 years. It was the main place everyone hung out and where a lot of todays stars like Chesney, Tim McGraw and others started playing. It close about  10 years ago due to a suspicious Kitchen fire. The Ramada Inn is still there but the bar is long gone. Lee Rascone' and Debi Champion used to trade off nights there, so Lee is hosting a show with a bunch of Spoke Veterans. Who knows, Keith Urban might show up. He started out playing there too.

MAB
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Phillip (phil g.) Grigg
#4290

Well MAB, part of the problem here is the venues that have open mic's are mostly once a month. One is twice a month. So, even if they charged $5.00 per performer, and IF the performers would pay that, it wouldn't be enough to pay the PRO fees. They really don't even do the open mic as a business investment to bring in extra patrons. It's more a community service for the local musicians to be able to play out. AND, most of those performers don't even buy a soda, let alone a beer!


Thanks for reminding me about Thursday! That WILL be a treat! I went there a few times back in the late 90's early 2000's. Just before the kitchen caught on fire. I couldn't begin to tell you who I saw there, but I just remember every song sounded like it should be on the radio. I remember Lee, because I used to talk to him when I went in. He doesn't really remember me though. I wander if I will recognize anyone?


phil g.

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Marc-Alan Barnette
#4291
Phil,

I can't tell you what is coming, only my gut instinct. Years ago when I got to know people from LA and new york (dated one girl who had lived in LA as a rock chick band) and saw the "selling tickets" and how there was NO pay for gigs, I got a sense of what was going to be coming in years that we are in now. As I saw the INCREDIBLE amount of people coming into this and seeing money going COMPLETELY away, in lieu of "getting exposure", I am just making a guess. All of these things are piling up to run any form of professional or the ability to make any money whatsoever in this business. The "Open mics" are there to bring in drinking patrons. They pay nobody so they get free entertainment. If they don't pay enough and if there are additional fees from licencing, they will stop. That simple. What I was told once in Kansas City, is that they quit having open mics simply because it "ran the paying customers off." 

If they can get a bunch of 21 year old college students that will bring their friends in to drink, they will do that. The "old folks" (sorry Phil ol' Buddy) will be put out to pasture. Hope not. But I just see that coming.

                                                        VACATION!!!!
Okay, tomorrow morning, Miss. Dee Babe and I are headed to CLEVELAND/CANTON OHIO for an actual VACATION!!!! We are going to the Pro Football Hall of Fame, the Rock and Roll Hall of Fame, and the Hard Rock Cafe/Casino. A friend of mine is headlining the comedy club at the Hard Rock and has gotten me passes for the show and all that stuff. Tina will be throwing those black jack bets down. Very excited about the Hall of Fames. I LOVE HISTORY, and am REALLY LOOKING FORWARD TO THIS!! 

I now am wearing black braces on both hands when I am not doing things with my hands like typing these posts. I have to keep my wrists straight and relax my hands. About September I am going to have to have Carpal Tunnel surgery, and hopefully that will relieve the pain and symptoms I have had for nearly 20 years. I have put down the guitar now for the next week until I get back and play Saturday night and Sunday night with RiDawn. Speaking of which, she is looking forward to seeing all you guys and will be performing the Sams Jams show the day you guys are here. If you are nice, she might do your songs.  

But this weekend will be special because it will be NO GUITAR, NO COMPUTER, NO NOTHING. I'll be signing off here and you won't hear from me again till next week. I will check from my phone on what you say, but want be responding till then. If you guys don't talk about anything, I won't be responding.

That is about it from Twang Town. Hope everyone is well and see you soon.

MAB
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OD OldDog
#4292

MAB,  I was hoping to remind Philboy what our event was on Thursday evening; but you beat me to it.  I don't dare tease Philboy about becoming a forgetfull old bastard because he's my designated driver, and he's still pretty good at it; at least much better than me.


 


I can't make a comment on another law proposed to hurt the songwriter and allow free music because it doesn't apply to me; but I sure hate to hear they are making it more difficult for songwriters and performers trying to make a decent living.  Maybe if they applied the same laws and rules to all the politicians and celebrities writing books and depending on those  royalties they would see things differenty. Sadly, I don't see common sense and politics being entered into a discussion as one and the same.


 


Hey, you and Tina Dee Babe are going to be in Cleveland and Canton on vacation.  Have Tina send down the company Limo to pick me up and I'd be happy to join you for one day.  Ha!!!   Seriously, I hope you guys have a great time.


 


Holy Crap, then there is our buddy JimmyB that has come out of the closet.   I mean from out of obscurity.  JimmyB Ol Buddy, I hope all is well with you and your Melissa.  I hope we get to see both of you while we are in town.  Please know the Old Dog once thought he loved your Melissa best; but because of you keeping her away from me, I was forced to move on and use my onery lines elsewhere.  I hope you don't mind if I "pick up" (meaning not trying to pick up your Melissa); but pick up where we last left off.  Ha!!!


 


Oh then MAB, you say my girlfriend RiDawn Raelette may join us also.   Holy Crap!!!   I'm such a sucker for her beauty and pleasant personality.  She is certainly on my "short list" of potential girlfriends OD "Loves Best".  Holy Crap!!!   It will be good to see her again.  Beware you may have to time my hug and not allow me to hold on too long.  Ha!!!


 


Hey Brother, I'm sorry to hear you require surgery; but I've known several people that had to go through that and all of them recovered as good as new.  Of course they required time for healing and some therapy which had to be included but they all came out of it well. 


 


Okay, the Old Dog is out of here and hoping everyone is doing well.


 


OD


 


  

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Marc-Alan Barnette
#4293
OD,

Over the past 15-20 years, about 85-90% of professional songwriters and publishers have simply quit the music business, or found their own little niche in that business. Your's truly is one of those. In the early 2000's, as publishing deals, and opportunties started dissapearing, many of us saw these types of things coming. The outside cut, which had never been very prevalent, no longer existed. Money started drying up. Like a slow motion train wreck, many of us saw this coming and changed what we did to avoid what was coming. This is the latest of what has coming.

If you know anything about me (and I know you do) the FIRST thing I have done is talk to people about FORGETTING ABOUT DEALS, ABOUT CUTS, ABOUT MAKING MONEY, all of that I have been trying to explain the WHY'S it was happening. An entitled public, who gets a product for free are simply not going to start paying for it. Period.

So the people making that music, have to figure out how to promote and stay alive. ARTIST BRANDING. Now, drawing the circles  even closer and eliminating anyone who is NOT ON YOUR OWN TEAM (PRO's) are just one more way to ensure that there is no way people outside those tight circles ever are allowed in. 

Don't worry about it. If you believe in writing, write. Be around your own circle of friends. Develop your own artists. Do what YOU CAN DO. Don't worry about this stuff. 

I almost never if at all REGISTER songs in the first place. There is not enough activity on any one song that even warrants going to the effort. You are not going to make any money that way, so why bother. To me, PRO's are pretty much entity's that don't even count any more. Pretty much like publishers. Hey, the horse and buggy got retired too.

It happens. 

Do this because you enjoy it. If you spend all your time trying to jump through these hoops, you will have no energy to do anything. Just another day at the office. 

Off to Ohio. Take care all.

MAB

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John Westwood
#4294
If the music doesnt speak to you , its not gonna speak to anyone else  and if it speaks to them then maybe , just maybe,  you might recoup your losses but dont count on it . See a good tax accountant  and make sure  you keep your day  job.

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Phillip (phil g.) Grigg
#4295

MAB, have a great time in Cleveland and Canton!! At least you're going now and will be out of town BEFORE the convention starts.


Also, I don't have any comments on your impending carpel tunnel surgery. I personally don't like any surgery. My carpel tunnel bothers me. At one time, I even had to wear the wrist brace. It helped immensely and my wrist quit hurting (as much or often) after about a month. If you DO stay off of your guitar, and wear your brace, for the next week, it may help you a lot. BUT, if you do decide to have the surgery, and want to wait until September, please get it done the first week of September, to be sure you have plenty of recovery time before Nov. 3rd.


O.K. MAB, I followed your FB link and read that whole article about the PRO licensing and even read the NSAI report linked to by that article. They left me even more confused. PLEASE DO NOT ANSWER THIS WHILE YOU ARE ON VACATION!!! Like I said, the article talks about "licensing". I thought it worked as simple as this; The writers, regardless of PRO affiliation, write the song, the publisher of ONE of those writers works to get a cut (EVEN IF the publisher is a branch of the label). IF there is a cut, the publisher files the copyright and notifies the writer(s) of the song. Then, the writers "file a notice" with their PRO that the song is being cut. At that point, the PROs will "monitor" activity on that song, and collect royalties for their writers. So, what is this "licensing" the article talks about, and how would one PRO, "having 100% of the licensing", affect another PRO's ability to collect royalties for it's writers?


phil g.

Like
Marc-Alan Barnette
#4296
The other PRO won't be collecting anything. There won't be any more writing with people who are not in your PRO. Or the PRO's will merge. At any rate, quit thinking about being paid for music. I've said that now for about 10 years and am kind of tired of saying it . Unless you have a song that breaks the top 30 on terrestrial  radio, is in a major commercial or television show, OR has around 100 million streams, you won't make a dime. That is pretty much the end of story.

MAB
Like
Marc-Alan Barnette
#4297
Hey folks,



Still in Canton Ohio. Been here for three days for visits to the Rock and Roll hall of Fame, and the Pro Football Hall of Fame. Tina's business, Diebold, is based out of here so she is actually working while I am lazing on my butt in a very nice hotel room. Yesterday was a fourth of July fest with her boss and some other work people. Very good times.



Today, I am actually going BACK to the ROCK AND ROLL HALL OF FAME (which is actually in Cleveland, about an hour away). I missed several exhibits due to time factors the other day, and I am going to see things I missed. It is an incredible museum and actually takes more than one day to take it all in. I have a relative in both the country music hall of fame and the rock and roll hall of fame in the SINGING BRAKEMAN, JIMMIE RODGERS, who was considered the "father of country music." Jimmie was my Grandmother's second cousin, and she told me of being a little girl, remembering him coming to family get together's in his big cars and huge suits. During the depression.



So I will go back today for a closer look. Some incredible exhibits and then of course, some things I don't care for at all. The Rap, hip hop and political contingents, I could do without, but that is why you can go through at your own pace and see what you want to see.



This trip was actually much more than I expected because I got to see a friend of mine HEADLINE the comedy night at the HARD ROCK CAFE' CASINO. His name is GREG HALL, and while I have known him for around twenty years, it was actually as a songwriter. That didn't work out for him, so he turned to comedy .And really does that well. He mixes some music in, but most of it is observational comedy, ala Jerry Seinfeld. I found him really talented and really funny. Having done that, I know how hard it is. So my hat goes off to that guy.



This afternoon or tomorrow I will take in the MAP's Air museum. Which has WWII bombers, fighters, Korean War, Vietnam, Gulf War, and beyond airplanes. I'm a war and aviation nut so it will be great to see these things up close and personal. Always makes you appreciate the people who flew those things in battle. Amazing people.



And then I will check out the PRO FOOTBALL HALL OF FAME. A buddy of mine Kenny Stabler was inducted this year. Unfortunately, right after he passed away from Cancer. Kenny was very nice to me and hired me to play on a concert on one of his golf tournaments once. Was a great honor. And he really introduced me to some great people and actually once I got on the sidelines at an ABC Monday night football game due to that connection. Maybe I'll tell that one sometime if you guys want to hear it.



Then tomorrow night will be back to Nashville. It is interesting not taking a guitar with me. First time I've ever done that. But I am not playing the guitar any more than I have to as I am wearing these braces for my wrist problems. So it is an odd thing. Maybe they'll let me play Hendrix's Stratocasters in the Hall of Fame. NOT!!



Actually, on a side note to that, it is really cool to see Jimi's Strats up close and personal. They have the white one that he played the STAR SPANGLED BANNER at WOODSTOCK on. A lot of people don't understand what he did. He actually played left handed, but used right handed guitars strung upside down. His strings were like normal, with the big E" on top and little strings on the bottom .But when he started playing, they didn't make as many left handed guitars, so he had to flop one over. He learned to manipulate the tone and volume with the crook in his arm, and could do all that feedback was created by the way he used the tone and whammy bar. That, and of course two full stack Marshall Amps, turned up PAST ELEVEN would create all kinds of wild sounds.



One thing I did not know, is that Steven Stills actually did give him a left handed Strat before he died but he didn't use it Was more used to the up side down controls. And actually Eric Clapton was bringing him another one to London when he died. So he never really used the Lefty's. Kind of wild.



Oh well, off to see the wizard. Good to hear from so many of you lately. On the "PRO' Issue, my overall take, is that it is just one more impediment to being a professional songwriter. I, and others, have been saying for years that overall, the money is GONE from music. Everyone keeps trying to come up with ways, streaming, getting a handle on illegal downloading, etc. Now trying to get a handle on Registrations, is just another "re-arranging the deck chairs on the Titanic, move. The sad truth is when you have unending supply of music, and when generations of listeners simply refuse to pay for that music, there is not a lot you can do. The horse got out of the barn and it burned down.



There will be people at the top of the heap, HUGE STARS which will make a lot of money and there will be small, independent people who do things on their own small niches, will do fine. The middle of the road, people trying to get cuts, trying to get other people to do their songs, will be FREEBIES.



But the other thing I have always said. If you got into this thinking you were going to write some big huge hit, send it out on the Internet and go viral, and looking at this as your NEXT BIG JOB, you are probably delusional and in this for the wrong reasons. If you are looking to share what you do with others, meet other people to have the friends of your life, interact on web sites, and personally, you will always do great. THAT is the reason to do this. Everything else is a bonus.



MAB
Like
Marc-Alan Barnette
#4298
                                        THE LONG AND SHORT OF THE CONSENT DECREE

Phil, pretty much all of this is not something you will EVER have to deal with. The majority of writers and artists in the world, write alone. just do their little projects, and will never receive much in the way of renumeration or anything. Most people who are "really trying" to do this, those college students the people playing those writers nights and open mics, etc. will quit within 2-5 years and their music will be left to a few recordings, CD's, files on computers, and the musical equipment will be in yard sales, auctions, given to younger siblings, traded for motorcycles, computers, or other things that fit into their "hobby of the moment."
Some will sit around, become the clothes racks, things to hang or sit other things on, guitar cases used as ironing boards, acoustic guitars mounted on walls or used for planters for flowers. A few will drag them out from time to time on the Saturday night front porch or living rooms, and jam with buddies. Some will come out of retirement from their jobs and pursue what they did thirty years ago, trying to do open mics, or build their own stuff, a good deal with come to Nashville, LA, New York. Some will work with me. 
98% will quit and never look back.

So all these legal issues really don't affect very much. This is the industry. Why it is being acutely felt in Nashville is that we are a CO-WRITING COMMUNITY. We all write with each other. It is how we network, how we build and keep relationships. The way "in the doors" are by writing with people ahead of you in the line. Hit and established writers, writing with those new artist wanna be's and the people coming into town all the time. In addition to finding your way up the ladder, it is how you learn your craft.

Over the past two decades it has gotten harder and harder to find established people that will write with unsigned people. As the money has declined the only way to get a "big boy ( or girl) to write with a newcomer was if they were an artist that might present a way for that established writer to get a cut if they got a deal. To give you a more focused example, look at it like this:

                                                  A REAL WORLD EXAMPLE

The way we "built" Frankie Ballard to get ready for his publishing deal was by writing with hit writers. That's how you earn STREET CREDIBILITY WITH AN ARTIST. The first question is WHO ARE YOU WRITING WITH? We did it first with Jimbeau, Then Kim Tribble, Tim Buppert, and finally Walt Aldrich, who go him physically signed to Sony as a writer and then Warner Brother's as an artist. The rest had to take care of itself. but to get him the STREET CREDIBILITY that the industry respects, we had to get him with those established names. Now Jimbeau and I are ASCAP, but neither of us care that much about PRO's ,We've learned over the years how little they do and how little money is involved, so there would be no problem. But Kim Tribble, Tim Buppert, AND Walt Aldrich were all BMI writers. So if this rule had been in effect then, they would have NOT written with Frankie, who at that time was unaffiliated. And if I were observing these rules, and he had been a BMI writer,
 
I WOULD NOT HAVE BEEN ABLE TO WRITE WITH HIM.

So you see, it would have affected him from the beginning if I was having to jump through the hoops to get him writing appointments. And who knows? He might have quit or just stayed in Kalamazoo. I doubt I would have gone through putting my reputation on the line. I would have just written with him myself and sent him home. 

This is where it comes down. Now, not only do you have to consider what the other person has done, who they are associated with, but WHAT PRO THEY ARE A PART OF BECAUSE IF YOU DON'T REGISTER THE SONG WITH YOUR PRO, YOU DON'T GET PAID.

That is the bottom line. While none of it really matters to me, because while I am an ASCAP writer, I rarely register anything, rarely even list anything because I know that UNLESS YOU ARE GETTING MILLIONS OF DOWNLOADS AND STREAMS you are NOT GOING TO MAKE A DIME ANYWAY!!!! but many of my professional friends and relationships DO care about this stuff. They would not write with anyone outside of their PRO, because their publishers WOULD NOT LET THEM. 

But it is always that "what if..." question that the actual industry goes by. "What IF he gets a deal? What If he gets huge success and tours? And "If I am going to spend my time, my experience and political capital, I am going to work with an artist on my OWN PRO TEAM."

So what you are seeing is a political solution to a problem that didn't exist in the first place. The same as has happened for Veterans groups having non-veteran, political hacks making life and death decisions, Political hacks destroying the health care and insurance industries, and changing how everyone gets health care, non-business political hacks making decisions on businesses wiping out industries, and non-military political hacks making decisions on the Military that are literally life and death. It is Government bueacracy gone crazy. And it is THE EXACT REASON that the British have voted to leave the European Union, with the BREXIT.

Having un-elected bueracrats passing legislation that affects your life, your country, your borders and National Soverenty. There are many things that are coming out, that problems and roadblocks were CREATED by the EU that allowed these terrorist attacks worldwide going on. There are no borders in the EU, and they are allowing terrorists to roam freely from country to country. That is what is happening with the bombings, the knifings, the beheadings, the shootings in London, Spain, Turkey, Paris, Brussels, etc. They have no way to provide security, and are making it more difficult by ordering these countries to take in more refugees and more people they cannot vet. That is the "REAL WORLD" situation that all this BRXIT stuff is about. It's about SECURITY and a country that has come to the realization that they cannot be ruled by other countries. It is about self protection and SECURITY. 

This is just another one of those decisions. This did NOT go through Congressional oversight. This is just a Department of Justice (that is insane to begin with) passing decisions down that affect people they have no idea the effect it is going to have.

At the end of the day, that is what we are all pissed off about. Just another intrusion into our lives unasked for or unneeded. Just like most of what is going on in life from Washington DC. If they would just LEAVE us alone, we could probably resolve this ourselves.And actually IT DIDN'T NEED RESOLVING!!! But they don't do that.

The bottom line for someone like you Phil is that you just lost pretty much any chance of ever writing with a professional songwriter besides me. Now that might not mean anything to you. But if you ever hoped you might hook up with one of  your heroes from the Frank Brown festival, that just was the final nail in the coffin for that dream.

That's what it means.

MAB
Like
Phillip (phil g.) Grigg
#4299

Well MAB, I don't really have any thing to say, except thanks for taking the time to provide an answer. Very enlightening. And actually, Justin might be really interested in your answer.


phil g.

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