tag:marcalanbarnette.com,2005:/blogs/mabblog?p=2MABBLOG2022-05-06T07:03:17-05:00Marc-Alan Barnettefalsetag:marcalanbarnette.com,2005:Post/69650582022-05-06T07:03:17-05:002024-02-12T13:01:08-06:00"ENTITLEMENT GENERATION"<p><strong>ENTITLEMENT GENERATION.<br><br>I've noticed a new trend among a lot of people who seemingly find their way to this web site. The propensity of people who just show up, join my mailing list THEN ADVERTISE THEIR OWN BLOGS ,THEIR OWN WEBSITES ,THEIR OWN CONTENT!!!! What the HELL ARE YOU PEOPLE THINKING? <br><br>What if I just tracked down your web site, social media, etc. and started putting my own content on there? What if your competitiors just started advertising (FOR FREE) on your web sites? HOW WOULD YOU LIKE THAT?<br><br>The reality is that THIS IS MY WEB SITE. It's not yours. It's not made to advertise for someone else doing (or attempting to do) what I do, trying to place some Zen oriented nonsense, that very few (especially NOT ME) are interested in in the first place. <br><br>UNLESS YOUR NAME IS MARC-ALAN BARNETTE, have had a multi decade career as a singer/songwriter in Nashville Tn., have a list of recording credits, are actively involved in the teaching and promotion of the craft of songwriting, the art of live performance, the finer art of PROFFESSIONAL NETWORKING INSIDE NASHVILLE, OR THE BUSINESS OF MUSIC IN NASHVILLE TENNESSEE, THIS IS NOT THE SITE FOR YOU!!!!!</strong><br><br><strong>Unless you have GONE OUT IN THE MARKETPLACE, MET PEOPLE, DEVELOPED INTEREST IN YOUR PRODUCT WHICH PERTAINS TO THE ABOVE PARAGRAPH, THIS IS NOT FOR YOU!!<br><br>UNLESS YOU ARE <em><span class="font_large">ME</span></em>, THIS IS NOT FOR<span class="font_large"><em> YOU!!!!</em></span></strong></p>
<p><strong>I have watched as this industry has imploded, with every one suddenly become FACEBOOK, TWITTER, TIC TOK, INSTAGRAM, (whatever the trend of the second) "STARS" on their own limited pages and their 15 seconds of fame, and think that entitles them to suddenly just go wherever and whenever they want, and take over someone else's sites or content. THE ENTITLEMENT GENERATION is in full swing and I will tell you this people, it WILL BACKFIRE ON YOU. At some point, people will do the same thing to YOU and take over your site, your content, and believe you me, if you are trying to monetize something in music, THAT AIN'T GONNA HAPPEN.<br><br>I am fine with people placing comments. I invite that. But that is upon READING THE CONTENT I PROVIDE. No one reads or even places anything having to do with that. They just blast their own garbage on my site. <br><br>NOT GONNA HAPPEN. You will be ERASED AND REMOVED FROM THIS SITE.I don't control anything else, but I do control this. <br><br>So, if that is the reason you try to come here or anywhere else you go, you WILL NOT RECIEVE MUCH OF A WELCOME HERE. THIS IS NOT THE PLACE FOR YOU. <br><br>Good luck. But learn a valuable lesson in life since that is what I teach. REAL LIFE. In real life, particularly something as competitive as music, you have to EARN your OWN REPUTATION. STOP TRYING TO USE OTHER PEOPLE'S REPUTATIONS AS YOUR OWN.<br><br>MAB</strong></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/66739962021-06-29T12:36:21-05:002021-08-17T15:36:52-05:00Songwriters Festivals and how to Play Em'<p><strong> MAB’S MUSICAL STUFF: </strong></p>
<p><strong> SONGWRITERS FESTIVALS AND HOW TO PLAY EM’ </strong></p>
<p><strong>I found out last Friday, that I was going to be included in the upcoming GATLINBURG SONGWRITER’S FESTIVAL, August 19-22 of this year. This was very nice because I had forgotten I SUBMITTED, for the Gatlinburg songwriter’s festival so it was very nice and an honor to be included. I had done the SMOKEY MOUNTAIN SONGWRITERS FESTIVAL for five years but when the founder, Cindy Montgomery died two years ago, I did not know if or when it would go on .I love the area, so am excited to get back there. </strong></p>
<p><strong>Songwriter’s festivals are among the best opportunities to be seen by great audiences, get to know people from that area, have great venues, network with other writers, and see the hit makers up close and personal. I strongly encourage people interested in the art and craft of songwriting to attend and be a part of all of them they can. <br>I’m also often asked “How do you play them?” so I thought I’d do a little simple guide on how to become involved in these great events. </strong></p>
<p><strong>My main one is in November, THE FRANK BROWN SONGWRITERS FESTIVAL, where I have been honored to be included since 1994. It’s the main boost to my career in Nashville and I’ll be there this year. Also, The Pensacola songwriters festival, Mississippi songwriters festival, Tin Pan South, and many others. There are also many, many others I’ve never been to. Each one has their own requirements, submissions, fees, and etiquette, and all have web sites. So always check with the sources first. But here are some general thoughts: </strong></p>
<p><strong>#1. KNOW WHAT THEY ARE ABOUT. <br>While showcasing great entertainment, giving the audiences a very special experience, bringing the art and craft of songwriting to people that rarely see it, It needs to be mentioned that festivals are ABOUT BRINGING MONEY AND TOURISM INTO THEIR AREAS. Their restaurants, bars, venues, hotels, air B&B, condos, and workers in those areas. <br>They are usually in “DOWN SEASONS” for the area. In Gatlinburg, there is a break between summer and the fall foliage viewers. In Gulf Shores and Perdido Key, it is a break between labor day and Snowbird season. So it is bringing dollars into an area at a down time. </strong></p>
<p><strong>#2. DON’T SUCK. <br>I know this sounds silly but you have to be someone that will attract people who are not interested in music alone. Tourists, general travelers, locals, etc. are usually going out just for the area. Most of these shows are not the BLUEBIRD “SHHHHH!” nights. They don’t always listen. You are playing for the GENERAL PUBLIC, so if you go on with your five nine minute depressing murder ballads, you might want to stay home. This is THE ENTERTAINMENT BUSINESS. No one wants to run customers off. If you want to play these, BE ON YOUR GAME, and make your game CROWD FRIENDLY. </strong></p>
<p><strong>#3. PECKING ORDER. <br>Like all things that have to do with music, there is a definite “pecking order” of who gets in. Limited venues, hours in the day and night, and fickle public dictate that there has to be a certain level of talent. Instead of that warding newbies off, it should UP THE LEVEL OF THEIR GAME. If you want to play with the big boys and girls, better be on your game! <br>The pecking order goes something like this: <br>HIT AND ESTABLISHED SONGWRITERS. These are the people with the songs or personalities that bring in the general public. Hearing someone who wrote a Garth Brooks, George Strait, Faith Hill, or Brad Paisley, is going to get you at the front of the line. Hit writers have that and are also usually VERY GOOD PERFORMERS. <br>“Established writers” are ones that might not have the marquee singles, but have very good songs, are known in their industry circles, have probably had cuts or deals, and are the people everyone likes to see and hear, and that venues want entertaining their clientel’. </strong></p>
<p><strong>LOCAL AND REGIONAL ARTISTS. <br>These are people that play the respective areas or might be regional people that do touring throughout that region. <br>They will also include local favorites who might play the venues regularly but often doing cover songs. This is a time they get to feature their originals. </strong></p>
<p><strong>UP AND COMING WRITERS/ARTISTS AND FRIENDS OF FRIENDS. <br>Usually publishers, labels, like to get their new artists out for some stage time. They test out new material and preview upcoming projects. Some of these are younger people just kicking off their careers. Some are the proteges of the hit and established artists. They get invited on rounds and showcase sets, but the established people. Friends of friends are people who know someone who is giving them a leg up. These can also be favorites of the venues. It’s very normal for “someone’s son, daughter, grandchild, friend or relative to get put on because their contact owns the venue. Or getting “grandfathered in” by a round for someone who has been a volunteer or supporter of the festival. </strong></p>
<p><strong>OPEN MICS AND NEWBIE’S: <br>Most festivals have an “open mic or stage” for the people who haven’t yet earned their way onto the regular shows. <br>These can range from an “official stage” with times that are before or after regular shows, to an afterhours party on a front porch or special room, or hotel room “jams” that go on quite a bit. Many of these have the hit and established writers attend, play a song, meet people, the volunteers from the festival, the established people behind the scenes, it is the way that you build RELATIONSHIPS. </strong></p>
<p><strong>TIPS ON PLAYING. <br>Expect to stand in line. For every slot, usually room for 75-150 people on the regular shows, there are 500-600 that submit, show up, and want to play. After Covid, expect those numbers to skyrocket. Submissions usually require a bio, link to web sites, photos, who you are. Usually, it’s good to have video on yourself, in front of audiences. <br>Make sure you are EASY TO CONTACT. Remember that people viewing the submissions are viewing HUNDREDS of people. So having yourself look good in a MINUTE or less is a great idea. </strong></p>
<p><strong>MAKE YOURSELF AUDIENCE FRIENDLY. <br>One chance to make a BAD FIRST IMPRESSION! If you have a five-minute set up to a ten-minute song, you are probably not going to be accepted. If you are boring as hell, you probably not going to be accepted. If people are fast forwarding past your product, you probably won’t be accepted. Again, DON’T SUCK. </strong></p>
<p><strong>VOLUNTEER or JUST SHOW UP. <br>Everyone usually goes to these festivals once or twice, before they really even get serious about performing on them. Volunteer behind the scenes. Festivals need help to man booths, sell merchandise, sign in writers, help venues, run errands, help the writers find out what they are doing, man the hospitality rooms. This is where you meet the people you want to. You get to see the shows. You become a PART of the festival. It will earn you endless good will. </strong></p>
<p><strong>JUMP START YOUR CAREER. <br>Look, Listen and learn. Find out how the major writers think and act. Be a part of something bigger than just yourself. <br>It’s THE BEST way to see “behind the curtain” of the real music industry, see and hear upcoming songs and artists, and is a great opportunity to learn how it all works and a lot of what DOESN’T WORK. </strong></p>
<p><strong>Good luck and I’ll see you at the Festivals. <br>MAB <br>www.marcalanbarnette.com</strong></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/66385962021-05-24T07:07:26-05:002022-07-20T07:27:34-05:00THAT AIN'T COUNTRY!!!!!<p><strong>MAB'S MUSICAL STUFF <br>"WHAT IS "COUNTRY"? <br>Well, it must have recently been awards time, (haven't watched them in years), but the age old claims have popped up over and over again, "THAT AIN'T COUNTRY!!!" "All the acts, have changed,the music has changed, the looks have all changed, "it's just warmed over pop and it SUCKS!!!!" <br>Well, yes, that is probably right from YOUR point of view. And in many cases, I might agree with you. I don't like much on radio, don't really pay attention to trends, or momentary blips on the radar screen, have my favorites, GEORGE JONES et. all, and wish it was still around. <br><br>ACTUALLY IT IS. There is STILL traditional country out there, there is still pretty much everything you want is out there. You just have to go find it. A lot of it now falls under the "AMERICANA" category. But you need to understand something, if you are over about 30 years old and are tied to "old country", TODAY'S MUSIC IS NOT FOR YOU! You are NOT the target customer nor the demographic. Honestly, YOU ARE A DINOSAUR! Sorry, but that is just the way music is. It always changes and moves forward! <br><br>Think about when you were 15,16,17 years old. Is that music still on the radio? Nope! Am I supposed to get all worked up because the music of the ARCHIES, THE MONKEES, THE ROYAL GUARDSMEN" are not on the mainstream radio? Nah! And a LOT of that was vapid at that time. It's what we listen to as "teeny boppers!" <br>I always quote TONY BROWN, who was the head of MCA records and a producer of people like REBA MCENTYRE, who once told me while we mutually waited for a dinner table, "IF COUNTRY WRITERS WRITE IT, COUNTRY PUBLISHERS PUBLISH IT, COUNTRY ARTISTS RECORD IT, COUNTRY LABELS RELEASE IT, COUNTRY RADIO PLAYS IT, COUNTRY PRESS AND MOST IMPORTANTLY COUNTRY FANS, EMBRACE IT, <br>IT IS COUNTRY!"<br> <br>Now we may not think so, but guess what, WE HAVE NO SAY IN WHAT IS AND IS NOT COUNTRY! And guess what else, "were in a LONG line of what is and is NOT considered "COUNTRY." <br>In the 20's, there were people who claimed that JIMMIE RODGERS the FAther of Modern country music, and a distant cousin of mine, was NOT country. He was a "Blues singer, playing that damn N####****" music!" (an actual quote from the day) <br><br>In the 50's and 60's, they thought the "Country Politian" sound of strings, and "moooing background singers"of PATSEY CLINE, and JIM REEVES, were NOT COUNTRY! <br>In 1976, Charlie Rich, BURNED THE ANNOUNCEMENT at the CMA awards that JOHN DENVER had won "ENTERTAINER OF THE YEAR!" <br>Yep, pulled out a cigarette lighter and lit it on fire. Weren't as many rules about no smoking at that time. <br><br>In the 80's, 90s, people like Alabama, Exile, Lee Greenwood, were POP SINGERS, and rock bands. Garth Brooks and Travis Tritt were rock singers, with big stage shows, lights and lasers. <br><br>In the 2000's, Rascal Flatts, Taylor Swift, were all slammed as "THAT'S AINT COUNTRY.!" I recently heard a younger singer I was working with tell me what she wanted her music to be. She said, " I want it to be country, but not that OLD TRADITIONAL SOUNDING STUFF LIKE TAYLOR SWIFT." <br><br>So that's the way it always is. I've been here since 1988 and all I've ever seen stay the same is one generation complaining about the generation replacing it. Need to GET A GRIP!!!! It's NOT YOUR COUNTRY! NOT SUPPOSED TO BE. IF you are not out there buying the product, merchandise, going to shows, supporting the venues, joining the fan clubs and mailing lists of your favorites, YOU ARE NOT THE TARGET MARKET. Sorry! <br>And for songwriters and artists, YOU DON'T HAVE TO WRITE WHAT IS ON THE RADIO!!! Be yourself. Maybe YOU'LL set the trend that leads the way in the next few years. Maybe someone will be saying YOU'RE NOT COUNTRY! You'll be in vogue. <br><br>Just keep this in mind. I recently finished a book by a writer named Jack Isenhour. It's called "THE TRUE STORY OF MAKING OF THE GREAEST COUNTRY RECORD OF ALL TIME. He talks about when the song came out, the producer, a very successful guy at the time, had "RUINED COUNTRY, by putting the "wailing background singers and the strings all over this song and had destroyed everything. They said the singer had "sold out", and was not country, Just a wanna be pop star." <br><br>That singer was GEORGE JONES. The song was "HE STOPPED LOVING HER TODAY." Considered the GREATEST COUNTRY SINGER AND GREATEST COUNTRY SONG IN HISTORY. <br>Guess that wasn't country either. Sometimes you just gotta roll with it and deal with it and make your own contribution. Get over it. <br>www.marcalanbarnette.com</strong></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/65844222021-03-25T09:41:36-05:002021-12-21T06:15:59-06:00THAT'S MY NICHE AND I'M STICKING TO IT (THE ONGOING SAGA OF SCOTT SOUTHWORTH)<p><strong> <span class="font_large">THAT'S MY NICHE AND I'M STICKING TO IT </span><br> <span class="font_small"> (THE ONGOING SAGA OF SCOTT SOUTHWORTH) </span></strong></p>
<p><span class="font_small"><strong> 3-23-21 </strong></span></p>
<p><strong>One of the hardest things to convey people from all over the world, trying to make forays into the music business, particularly those of Nashville, New York, Los Angeles, Austin. Toronto, etc. (music centers), is how much WORK it is to a music career these days that is "OFF THE FIELD", away from writing, rehearsing, recording, performing. That is only about 15% of a career. The rest is ALL NETWORKING, MAKING FRIENDS AND ALLIES, BUILDING AND NURTURING RELATIONSHIPS. That is EIGHTY-FIVE PERCENT OF IT. </strong></p>
<p><strong>You can write incredible songs, be a monster performer, have a solid social networking and packaging, all the connections in the world and you will DO NOTHING if you can't meet and befriend REAL PEOPLE who will show up, pay you for being you. Without that, you really are not going to go far beyond your friends and family. And many times, even they will not go beyond clicking a “Like” button on a computer or phone key. “Likes” are not CUSTOMERS. </strong></p>
<p><strong>But most newcomers to this are conditioned to think that all they must do is put something “out there” on social media, record something, “put out a ‘I’m now a songwriter’ sign” and they are in business and expect the money to roll in. “HOLD ON THERE PARTNER, IT’S A LITTLE MORE INVOLVED.” The reality of today’s music marketplace requires CREATING YOUR OWN NICHE! The actual successful people today do that. Here is one of them. </strong></p>
<p><strong>The point of this missive, SCOTT SOUTHWORTH. Scott, while being a friend of mine for over a decade, is the epitome of one of the people who know and DO what it takes to CREATE HIS OWN NICHE. He does it every day, and the approach and energy he expends amazes me. That’s what I wanted to talk about here. </strong></p>
<p><strong>Scott is a down home honest to God Honky-tonk writer and artist in the style of his influences, Merle Haggard, Lefty Frizzell, and others, and sounds like he stepped right off stage at Tootsies in the 1960’s. Yet he has updated real life lyrics on songs like BROWN LIQUOR, WHISKEY BOTTLE, and HEY HILLBILLY SINGER. And recorded with some of Nashville’s top veteran studio players, in some of the top studios. He also has a softer, bluesy side that can really take you across a musical journey. Throw in some humor, great looking jackets and you see someone that in a fair world, should be on the biggest stages in the world. This guy is GOOD. </strong></p>
<p><strong>I first met him over a decade and a half ago at a Nashville tradition called “THE THIRD SUNDAY AT THREE” a songwriter’s get together at a house in West Meade. Each third Sunday of the month, about 100-150 writer’s artists and interested people would get together to share food and swap songs. Being at a house, the parking was not always optimum, and Scott’s first trip has car sliding through mud to ding a fairly nice Mercedes Benz. He walked inside looking for the owner and found her in the personage of a petite, very attractive blonde. They shared information and she shook it off like it was nothing. Later on, we would find that woman was my significant other, Tina Swanson. Welcome to Nashville Scott. Never know who you’ll run into. </strong></p>
<p><strong>He had grown up in Oregon, playing in bands, from rock, blues, country, and had finally decided to take on the big time. His own style is if you want to get to know something, say a business, you go to the power players to find out how it’s done. That began a ten-year run on the syndicated THE MUSIC ROW SHOW along with his partner in crime, fellow songwriter, Heino Moeller. They interviewed nearly every hit writer, upcoming and established artists, record producers, publishers, and musicians. That way they could find out how the business worked from the people actually doing it. All the time, Scott worked multiple jobs in addition to writing and recording his own songs. He worked a variety of sales jobs that took him all over the country. </strong></p>
<p><strong>He would always find “extra ways” to combine his passions. When his jobs took him to other regions, he would pair up with the charity, “MEALS ON WHEELS” and book a night in a club, put a show together and give proceeds to the local charity. He continued to work in town as well, with packed houses at THE BLUEBIRD and DOUGLAS CORNER, and many of the songwriter’s festivals from ‘SMOKEY MOUNTAINS festival to the Gulf Coast, FRANK BROWN INTERNATIONAL SONGWRITER’S FESTIVAL. <br>As things continued to move on, he felt like he might not be in the right niche as the “usual” Nashville singer/songwriter. Never one to spend a ton of time in the co-writing world that most writers seek, live and die by, having some private conversations with some of the hit movers and shakers, who only were looking for the “hot, young artist with a shot at a record deal, who could do their own tracks and demos”, he felt it was time to quite trying to step to other people’s tunes and define his own target audience. A lot of that took him to Europe. </strong></p>
<p><strong>He booked himself tours into Ireland, England, France, Switzerland, and other areas, where he found himself shooting up international charts, and found his status overseas going from the obscure pub singer to major slots on huge outdoor festivals. And all of this was going swimmingly until the dreaded COVID epidemic hit in March of 2020. </strong></p>
<p><strong>But, he didn’t even let THAT stop him. He started getting up impossibly early, around 6:00 am (unheard of from Nashville musicians) to do FACEBOOK LIVE SHOWS that would be received in early afternoon or evenings in England, France and other areas where his fan base had reached. He would do a ton of LIVESTREAMING and consistently increasing his audience. His shows are always interactive with his audiences, he'll do requests and always held a lively court in his home music room. </strong></p>
<p><strong>At the same time, he would go on to do a group of music videos, (some I was actually a bit player in) which enabled him to get other opportunities. The guy just doesn’t quit.And he goes on to this day. He is currently filming episodes of a new podcast dedicated to country music, and there is really no telling where he is going to end up next. </strong></p>
<p><strong>This is the definition of the level of dedication, self-invention and promotion that it takes to continually expand in today’s marketplace where most artists can’t get people to put the cell phone down for 3 minutes much less tune into a live streaming broadcast. Yet that is EXACTLY what people have to do now. And really this is not just NOW. It has always been the nature of this business where you have to keep a dozen balls in the air simultaneously to have one actually pan out. </strong></p>
<p><strong>Yes, it ALL BEGINS WITH A SONG. And Scott’s songs are there. Each one, rich in visuals and memorable melodies, each one a crowd attention grabber. It can’t be HYPE ONLY. It has to be there. And he is. <br>But once there is a product, you have something to work with. And with some inventive marketing, it can be used to build momentum in a very crowded field. </strong></p>
<p><strong>My buddy Scott knows Momentum. He creates it every day. Get em boy. </strong></p>
<p><strong>MAB<br><br>www.scottsouthworth.com<br>Flaming Tortuga Records</strong></p>
<p> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/65596532021-02-26T12:30:40-06:002021-08-17T10:24:42-05:00Using REALITY, writing "Life's Little Twists and Turns" with Artist Breanna Faith<p> <strong> USING REALITY <br>by MARC-ALAN BARNETTE </strong></p>
<p><strong>Hello folks, hope everyone is weathering the ongoing challenges of life. Between Covid, snowstorms, lockdowns, and even in Nashville, a Christmas day bombing, there has been a lot going on, and not a lot of it good. But like always, life goes on. For me, it is the opportunities to work with younger artists and writers, who are trying to find their way on their musical journey. Above I explained my approach and how it worked with one person, Frankie Ballard, to help him achieve his goal of National success. That was a while back, and I recently started working with a new 19 year-old female, and since she was just here the past two days from her home in Indiana, I thought I would relay something we just did that might illustrate how I try to utilize the reality of a situation, add some personal experiences, and also MAKE STUFF UP! Never let the facts stop a good story. If you don't mind, I'll go through the process we went through to get to the point. Hopefully it might help you in your own efforts. </strong></p>
<p><strong>The artist, is a 19 year old female from Indianapolis. Her name is Breanna Faith, I have worked with her three times before, but mostly critiquing songs she has had. This is the third song we have written together. She comes to Nashville about every 5 weeks along with her father, a construction supervisor for a multi-National company. He does business while coming to Nashville with his daughter. They are both very nice, intelligent, inquisitive and are far from the "stars in their eyes" effect that most of the people who come to this town have. Her father, John, is also a coach of a travel baseball team of 17-19 year old's trying to make stabs at college and the pros. So he see's many of the parallels between sports and music. They are very similar. </strong></p>
<p><strong>In this occasion, I had gone through several songs of Breanna's which are very much what you would expect from a 19 year old girl, BOYS, BOYS, BOYS, as most of her age group does. A problem with younger people is the lack of life experiences and with women selling less product, merchandise and income as male artists, it is always a challenge of finding "something else: to write about. That was the point of this day's exercise. How do you identify subject matter, how do you find hooks, include details, avoid second verse hell, and find a way to wrap a story up where the listener can see it in their mind's eye, feel a front row seat to the action and get the entire story in around three and a half minutes. In it I am always trying to achieve two responses from listeners: <br> <br>#1.YOU ARE WRITING MY LIFE! (SOMETHING THEY THEMSELVES ARE GOING THROUGH PERSONALLY OR HAVE GONE THROUGH OR KNOW SOMEONE WHO HAS) <br>#2. YOU ARE WRITING MY LIFE AND I NEVER THOUGHT OF IT LIKE THAT! (Using a "twist on a tale, and describing a story they might not have seen coming) </strong></p>
<p><strong>I generally will have the participant give me some details about what they are going through in their life. Many times these are just random thoughts, emotions, or things they don't realize could be a song, they are just life from their point of view. On a previous trip, I had instructed her to write down details of her life, things she was going through, things she saw, experienced, etc. She had done this and gave a nice start. </strong></p>
<p><strong>On this day, she started out with how they had begun their trip to Nashville. It is a little over four hours down here from Indy, and this particular day had started out with road construction, traffic, detours, and some really challenging events that held them up on their time, She had written down ideas about the detours, road signs, having to go ways they had not gone before, and trying to find the best way to stay on a time frame. She also mentioned about her week last week. She works at a Cheesecake factory restaurant and last week as you might know, the Midwest South, southeast were paralyzed by huge snow storms, which shut down most of our worlds. Her restaurant actually had stayed open, and she was one of the few employees that could make it to work. They actually did pretty good business, as all other restaurants and bars, they were THE ONLY GAME IN TOWN. </strong></p>
<p><strong>So it was from here that I started. When I write with these people, I take notes on things they say, experiences they have and write from the first line down. I shoot for a verse and chorus, with a defined hook, which describes and encapsulates what the song is actually about. It is the most important thought, and is the singalong hook that hopefully audiences will remember. I don't touch my guitar at this point and write from the first line down. I usually have a bit of a feel or melody going on in my head that I try to find a pattern on, and most of the time it works. I gather this from listening to their other songs and attempt to find things they have not done yet in order to give them a different feel and type of a song. I felt she needed a mid-tempo story song, something you might hear a James Taylor, or today's artists like Chris Stapleton, Maren Morris, or Kacey Musgraves might do. This is the story I constructed. </strong></p>
<p><strong>I decided to create a scene where it is a huge snowstorm, closing roads and many businesses. (again, not much of a stretch as we just went through that.) I put her as she was, as a waitress in the only place open. But I put her in the place alone with one customer, a weather-beaten man, who seemed to like to talk. The idea was to present this as a guy you might think could be homeless or just someone who is getting in this place to keep warm. I wanted him to be non-threatening, and to describe the experience as one of learning life lessons. For some reason I seized upon a thought for a hook, "LIFE'S LITTLE TWISTS AND TURNS." This was to incorporate the experience she had that day, roads being closed, finding a different way to work, and the possibilities she might encounter. Here was the first verse and chorus: <br> <br> LIFES LITTLE TWISTS AND TURNS <br> MAB/BREANNA FAITH <br> 2-24-21 <br> <br>3 feet of snow outside, couldn’t miss those road signs <br>Had to take a different route than usual <br>Every other store was closed, but we were open through the storm <br>So I had to work even though I didn’t want to <br> Only people in the place were me and him <br> Warmed up his second cup of coffee said here’s a little tip <br> <br> CHORUS <br> LIFE’S LITTLE TWISTS AND TURNS <br> NEVER KNOW WHAT YOU WILL LEARN <br> CAN’T TELL WHERE YOU’LL END UP NEXT <br> THE THING THAT YOU WERE LOOKING FOR <br> YOU NEVER DID EXPECT <br> IT’S THE LESSONS OF LIFE YOU GOTTA LEARN <br> THAT COMES WITH LIFES LITTLE TWIST TURNS </strong></p>
<p><strong>That was the first verse and chorus. I wanted to describe the details of HOW they both got there, and his comments over coffee in the form of "giving advice" to this young girl, who was obviously upset having to come in when it was so bad outside. The "Little Twists and Turns" are meant to describe both the physical challenges of getting to work, but also the "twists and turns" that life gives you that you never know where they end up. Something that most of us experience in one way or another most of our lives. Now for the second verse, l wanted to hone in on describing the man, and some details that might explain who these characters are: <br> <br>He had a weathered face, clothes had seen their better days <br>Wondered how long since he’d had his last meal <br>Told stories of his history, He kept talking I kept listening. <br>Seems he’d had millions of miles beneath his heels <br> Said I’ve seen life, from the bottom looking up <br> Never know who you will meet over the next coffee cup <br> <br> Chorus </strong></p>
<p><strong>So now, I had reached a place which had gotten us into the scene, described the weather the two characters, the winding way that they have ended up together on a very dismal day. Now was time for the "twist on the tale" which is taking the story to a conclusion most people might have not seen coming: <br> Bridge <br> <br> Then like a wisp of smoke, he disappeared into the night <br> For a twenty dollar meal, He’d left a thousand bucks behind </strong></p>
<p><strong>This was something I took directly from real life that we have seen happening all through the COVID-19 shut downs. There are tons of stories of someone coming to a restaurant, convenience store, feeling a "pay it forward" effect, and leaving a large tip, paying someone else's bills, groceries, gas, etc, or doing some random act of kindness that helps someone they don't know. </strong></p>
<p><strong>So that was the song. I played the first verse and chorus for Breanna, and she really liked it. So I went on to the second verse also including some of the details she had given me from her own experiences. The twist was something that just occurred to me that I've read about, and actually have seen happen and done myself on occasion. So it all seemed to fit. She liked it very much, as did her Father, and after a while of testing it out, finding a key that worked for her vocal range, she sat about bringing it to life in her voice. In a couple of hours, we had a new song that she is planning on performing on an upcoming FACEBOOK LIVE show she will be doing in the not-too-distant future. As we write more songs we'll continue to review it and others and at some point, probably go into the studio to record the best of them. As she gets comfortable and makes it her own, I think it will be song that serves her well. At least I hope. </strong></p>
<p><strong>So, that is a way that I personally attempt to demonstrate my own writing style and process. I hope you might find it interesting. As it progresses, and if and when we get a recording, I will probably post it in some format. <br>Thanks for letting me post. Good luck to you all and stay safe. </strong></p>
<p><strong>MAB</strong></p>
<p><strong> USING REALITY <br>by MARC-ALAN BARNETTE </strong></p>
<p><strong>Hello folks, hope everyone is weathering the ongoing challenges of life. Between Covid, snowstorms, lockdowns, and even in Nashville, a Christmas day bombing, there has been a lot going on, and not a lot of it good. But like always, life goes on. For me, it is the opportunities to work with younger artists and writers, who are trying to find their way on their musical journey. Above I explained my approach and how it worked with one person, Frankie Ballard, to help him achieve his goal of National success. That was a while back, and I recently started working with a new 19 year-old female, and since she was just here the past two days from her home in Indiana, I thought I would relay something we just did that might illustrate how I try to utilize the reality of a situation, add some personal experiences, and also MAKE STUFF UP! Never let the facts stop a good story. If you don't mind, I'll go through the process we went through to get to the point. Hopefully it might help you in your own efforts. </strong></p>
<p><strong>The artist, is a 19 year old female from Indianapolis. Her name is Breanna Faith, I have worked with her three times before, but mostly critiquing songs she has had. This is the third song we have written together. She comes to Nashville about every 5 weeks along with her father, a construction supervisor for a multi-National company. He does business while coming to Nashville with his daughter. They are both very nice, intelligent, inquisitive and are far from the "stars in their eyes" effect that most of the people who come to this town have. Her father, John, is also a coach of a travel baseball team of 17-19 year old's trying to make stabs at college and the pros. So he see's many of the parallels between sports and music. They are very similar. </strong></p>
<p><strong>In this occasion, I had gone through several songs of Breanna's which are very much what you would expect from a 19 year old girl, BOYS, BOYS, BOYS, as most of her age group does. A problem with younger people is the lack of life experiences and with women selling less product, merchandise and income as male artists, it is always a challenge of finding "something else: to write about. That was the point of this day's exercise. How do you identify subject matter, how do you find hooks, include details, avoid second verse hell, and find a way to wrap a story up where the listener can see it in their mind's eye, feel a front row seat to the action and get the entire story in around three and a half minutes. In it I am always trying to achieve two responses from listeners: <br> <br>#1.YOU ARE WRITING MY LIFE! (SOMETHING THEY THEMSELVES ARE GOING THROUGH PERSONALLY OR HAVE GONE THROUGH OR KNOW SOMEONE WHO HAS) <br>#2. YOU ARE WRITING MY LIFE AND I NEVER THOUGHT OF IT LIKE THAT! (Using a "twist on a tale, and describing a story they might not have seen coming) </strong></p>
<p><strong>I generally will have the participant give me some details about what they are going through in their life. Many times these are just random thoughts, emotions, or things they don't realize could be a song, they are just life from their point of view. On a previous trip, I had instructed her to write down details of her life, things she was going through, things she saw, experienced, etc. She had done this and gave a nice start. </strong></p>
<p><strong>On this day, she started out with how they had begun their trip to Nashville. It is a little over four hours down here from Indy, and this particular day had started out with road construction, traffic, detours, and some really challenging events that held them up on their time, She had written down ideas about the detours, road signs, having to go ways they had not gone before, and trying to find the best way to stay on a time frame. She also mentioned about her week last week. She works at a Cheesecake factory restaurant and last week as you might know, the Midwest South, southeast were paralyzed by huge snow storms, which shut down most of our worlds. Her restaurant actually had stayed open, and she was one of the few employees that could make it to work. They actually did pretty good business, as all other restaurants and bars, they were THE ONLY GAME IN TOWN. </strong></p>
<p><strong>So it was from here that I started. When I write with these people, I take notes on things they say, experiences they have and write from the first line down. I shoot for a verse and chorus, with a defined hook, which describes and encapsulates what the song is actually about. It is the most important thought, and is the singalong hook that hopefully audiences will remember. I don't touch my guitar at this point and write from the first line down. I usually have a bit of a feel or melody going on in my head that I try to find a pattern on, and most of the time it works. I gather this from listening to their other songs and attempt to find things they have not done yet in order to give them a different feel and type of a song. I felt she needed a mid-tempo story song, something you might hear a James Taylor, or today's artists like Chris Stapleton, Maren Morris, or Kacey Musgraves might do. This is the story I constructed. </strong></p>
<p><strong>I decided to create a scene where it is a huge snowstorm, closing roads and many businesses. (again, not much of a stretch as we just went through that.) I put her as she was, as a waitress in the only place open. But I put her in the place alone with one customer, a weather-beaten man, who seemed to like to talk. The idea was to present this as a guy you might think could be homeless or just someone who is getting in this place to keep warm. I wanted him to be non-threatening, and to describe the experience as one of learning life lessons. For some reason I seized upon a thought for a hook, "LIFE'S LITTLE TWISTS AND TURNS." This was to incorporate the experience she had that day, roads being closed, finding a different way to work, and the possibilities she might encounter. Here was the first verse and chorus: <br> <br> LIFES LITTLE TWISTS AND TURNS <br> MAB/BREANNA FAITH <br> 2-24-21 <br> <br>3 feet of snow outside, couldn’t miss those road signs <br>Had to take a different route than usual <br>Every other store was closed, but we were open through the storm <br>So I had to work even though I didn’t want to <br> Only people in the place were me and him <br> Warmed up his second cup of coffee said here’s a little tip <br> <br> CHORUS <br> LIFE’S LITTLE TWISTS AND TURNS <br> NEVER KNOW WHAT YOU WILL LEARN <br> CAN’T TELL WHERE YOU’LL END UP NEXT <br> THE THING THAT YOU WERE LOOKING FOR <br> YOU NEVER DID EXPECT <br> IT’S THE LESSONS OF LIFE YOU GOTTA LEARN <br> THAT COMES WITH LIFES LITTLE TWIST TURNS </strong></p>
<p><strong>That was the first verse and chorus. I wanted to describe the details of HOW they both got there, and his comments over coffee in the form of "giving advice" to this young girl, who was obviously upset having to come in when it was so bad outside. The "Little Twists and Turns" are meant to describe both the physical challenges of getting to work, but also the "twists and turns" that life gives you that you never know where they end up. Something that most of us experience in one way or another most of our lives. Now for the second verse, l wanted to hone in on describing the man, and some details that might explain who these characters are: <br> <br>He had a weathered face, clothes had seen their better days <br>Wondered how long since he’d had his last meal <br>Told stories of his history, He kept talking I kept listening. <br>Seems he’d had millions of miles beneath his heels <br> Said I’ve seen life, from the bottom looking up <br> Never know who you will meet over the next coffee cup <br> <br> Chorus </strong></p>
<p><strong>So now, I had reached a place which had gotten us into the scene, described the weather the two characters, the winding way that they have ended up together on a very dismal day. Now was time for the "twist on the tale" which is taking the story to a conclusion most people might have not seen coming: <br> Bridge <br> <br> Then like a wisp of smoke, he disappeared into the night <br> For a twenty dollar meal, He’d left a thousand bucks behind </strong></p>
<p><strong>This was something I took directly from real life that we have seen happening all through the COVID-19 shut downs. There are tons of stories of someone coming to a restaurant, convenience store, feeling a "pay it forward" effect, and leaving a large tip, paying someone else's bills, groceries, gas, etc, or doing some random act of kindness that helps someone they don't know. </strong></p>
<p><strong>So that was the song. I played the first verse and chorus for Breanna, and she really liked it. So I went on to the second verse also including some of the details she had given me from her own experiences. The twist was something that just occurred to me that I've read about, and actually have seen happen and done myself on occasion. So it all seemed to fit. She liked it very much, as did her Father, and after a while of testing it out, finding a key that worked for her vocal range, she sat about bringing it to life in her voice. In a couple of hours, we had a new song that she is planning on performing on an upcoming FACEBOOK LIVE show she will be doing in the not-too-distant future. As we write more songs we'll continue to review it and others and at some point, probably go into the studio to record the best of them. As she gets comfortable and makes it her own, I think it will be song that serves her well. At least I hope. </strong></p>
<p><strong>So, that is a way that I personally attempt to demonstrate my own writing style and process. I hope you might find it interesting. As it progresses, and if and when we get a recording, I will probably post it in some format. <br>Thanks for letting me post. Good luck to you all and stay safe. </strong></p>
<p><strong>MAB</strong></p>
<p><strong> USING REALITY <br>by MARC-ALAN BARNETTE </strong></p>
<p><strong>Hello folks, hope everyone is weathering the ongoing challenges of life. Between Covid, snowstorms, lockdowns, and even in Nashville, a Christmas day bombing, there has been a lot going on, and not a lot of it good. But like always, life goes on. For me, it is the opportunities to work with younger artists and writers, who are trying to find their way on their musical journey. Above I explained my approach and how it worked with one person, Frankie Ballard, to help him achieve his goal of National success. That was a while back, and I recently started working with a new 19 year-old female, and since she was just here the past two days from her home in Indiana, I thought I would relay something we just did that might illustrate how I try to utilize the reality of a situation, add some personal experiences, and also MAKE STUFF UP! Never let the facts stop a good story. If you don't mind, I'll go through the process we went through to get to the point. Hopefully it might help you in your own efforts. </strong></p>
<p><strong>The artist, is a 19 year old female from Indianapolis. Her name is Breanna Faith, I have worked with her three times before, but mostly critiquing songs she has had. This is the third song we have written together. She comes to Nashville about every 5 weeks along with her father, a construction supervisor for a multi-National company. He does business while coming to Nashville with his daughter. They are both very nice, intelligent, inquisitive and are far from the "stars in their eyes" effect that most of the people who come to this town have. Her father, John, is also a coach of a travel baseball team of 17-19 year old's trying to make stabs at college and the pros. So he see's many of the parallels between sports and music. They are very similar. </strong></p>
<p><strong>In this occasion, I had gone through several songs of Breanna's which are very much what you would expect from a 19 year old girl, BOYS, BOYS, BOYS, as most of her age group does. A problem with younger people is the lack of life experiences and with women selling less product, merchandise and income as male artists, it is always a challenge of finding "something else: to write about. That was the point of this day's exercise. How do you identify subject matter, how do you find hooks, include details, avoid second verse hell, and find a way to wrap a story up where the listener can see it in their mind's eye, feel a front row seat to the action and get the entire story in around three and a half minutes. In it I am always trying to achieve two responses from listeners: <br> <br>#1.YOU ARE WRITING MY LIFE! (SOMETHING THEY THEMSELVES ARE GOING THROUGH PERSONALLY OR HAVE GONE THROUGH OR KNOW SOMEONE WHO HAS) <br>#2. YOU ARE WRITING MY LIFE AND I NEVER THOUGHT OF IT LIKE THAT! (Using a "twist on a tale, and describing a story they might not have seen coming) </strong></p>
<p><strong>I generally will have the participant give me some details about what they are going through in their life. Many times these are just random thoughts, emotions, or things they don't realize could be a song, they are just life from their point of view. On a previous trip, I had instructed her to write down details of her life, things she was going through, things she saw, experienced, etc. She had done this and gave a nice start. </strong></p>
<p><strong>On this day, she started out with how they had begun their trip to Nashville. It is a little over four hours down here from Indy, and this particular day had started out with road construction, traffic, detours, and some really challenging events that held them up on their time, She had written down ideas about the detours, road signs, having to go ways they had not gone before, and trying to find the best way to stay on a time frame. She also mentioned about her week last week. She works at a Cheesecake factory restaurant and last week as you might know, the Midwest South, southeast were paralyzed by huge snow storms, which shut down most of our worlds. Her restaurant actually had stayed open, and she was one of the few employees that could make it to work. They actually did pretty good business, as all other restaurants and bars, they were THE ONLY GAME IN TOWN. </strong></p>
<p><strong>So it was from here that I started. When I write with these people, I take notes on things they say, experiences they have and write from the first line down. I shoot for a verse and chorus, with a defined hook, which describes and encapsulates what the song is actually about. It is the most important thought, and is the singalong hook that hopefully audiences will remember. I don't touch my guitar at this point and write from the first line down. I usually have a bit of a feel or melody going on in my head that I try to find a pattern on, and most of the time it works. I gather this from listening to their other songs and attempt to find things they have not done yet in order to give them a different feel and type of a song. I felt she needed a mid-tempo story song, something you might hear a James Taylor, or today's artists like Chris Stapleton, Maren Morris, or Kacey Musgraves might do. This is the story I constructed. </strong></p>
<p><strong>I decided to create a scene where it is a huge snowstorm, closing roads and many businesses. (again, not much of a stretch as we just went through that.) I put her as she was, as a waitress in the only place open. But I put her in the place alone with one customer, a weather-beaten man, who seemed to like to talk. The idea was to present this as a guy you might think could be homeless or just someone who is getting in this place to keep warm. I wanted him to be non-threatening, and to describe the experience as one of learning life lessons. For some reason I seized upon a thought for a hook, "LIFE'S LITTLE TWISTS AND TURNS." This was to incorporate the experience she had that day, roads being closed, finding a different way to work, and the possibilities she might encounter. Here was the first verse and chorus: <br> <br> LIFES LITTLE TWISTS AND TURNS <br> MAB/BREANNA FAITH <br> 2-24-21 <br> <br>3 feet of snow outside, couldn’t miss those road signs <br>Had to take a different route than usual <br>Every other store was closed, but we were open through the storm <br>So I had to work even though I didn’t want to <br> Only people in the place were me and him <br> Warmed up his second cup of coffee said here’s a little tip <br> <br> CHORUS <br> LIFE’S LITTLE TWISTS AND TURNS <br> NEVER KNOW WHAT YOU WILL LEARN <br> CAN’T TELL WHERE YOU’LL END UP NEXT <br> THE THING THAT YOU WERE LOOKING FOR <br> YOU NEVER DID EXPECT <br> IT’S THE LESSONS OF LIFE YOU GOTTA LEARN <br> THAT COMES WITH LIFES LITTLE TWIST TURNS </strong></p>
<p><strong>That was the first verse and chorus. I wanted to describe the details of HOW they both got there, and his comments over coffee in the form of "giving advice" to this young girl, who was obviously upset having to come in when it was so bad outside. The "Little Twists and Turns" are meant to describe both the physical challenges of getting to work, but also the "twists and turns" that life gives you that you never know where they end up. Something that most of us experience in one way or another most of our lives. Now for the second verse, l wanted to hone in on describing the man, and some details that might explain who these characters are: <br> <br>He had a weathered face, clothes had seen their better days <br>Wondered how long since he’d had his last meal <br>Told stories of his history, He kept talking I kept listening. <br>Seems he’d had millions of miles beneath his heels <br> Said I’ve seen life, from the bottom looking up <br> Never know who you will meet over the next coffee cup <br> <br> Chorus </strong></p>
<p><strong>So now, I had reached a place which had gotten us into the scene, described the weather the two characters, the winding way that they have ended up together on a very dismal day. Now was time for the "twist on the tale" which is taking the story to a conclusion most people might have not seen coming: <br> Bridge <br> <br> Then like a wisp of smoke, he disappeared into the night <br> For a twenty dollar meal, He’d left a thousand bucks behind </strong></p>
<p><strong>This was something I took directly from real life that we have seen happening all through the COVID-19 shut downs. There are tons of stories of someone coming to a restaurant, convenience store, feeling a "pay it forward" effect, and leaving a large tip, paying someone else's bills, groceries, gas, etc, or doing some random act of kindness that helps someone they don't know. </strong></p>
<p><strong>So that was the song. I played the first verse and chorus for Breanna, and she really liked it. So I went on to the second verse also including some of the details she had given me from her own experiences. The twist was something that just occurred to me that I've read about, and actually have seen happen and done myself on occasion. So it all seemed to fit. She liked it very much, as did her Father, and after a while of testing it out, finding a key that worked for her vocal range, she sat about bringing it to life in her voice. In a couple of hours, we had a new song that she is planning on performing on an upcoming FACEBOOK LIVE show she will be doing in the not-too-distant future. As we write more songs we'll continue to review it and others and at some point, probably go into the studio to record the best of them. As she gets comfortable and makes it her own, I think it will be song that serves her well. At least I hope. </strong></p>
<p><strong>So, that is a way that I personally attempt to demonstrate my own writing style and process. I hope you might find it interesting. As it progresses, and if and when we get a recording, I will probably post it in some format. <br>Thanks for letting me post. Good luck to you all and stay safe. </strong></p>
<p><strong>MAB</strong></p>
<p><strong> </strong></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/65395632021-02-04T13:04:39-06:002021-08-17T10:25:24-05:00FINDING A POINT (THE DISEASE OF IDOICY, PEOPLE WHO WRITE NONSENSICAL NOTHINGNESS<p><span class="font_large"><b>FINDING A POINT (or not)<br><br>Recently, a lot of people seem to gravitate over here, to post their own web site information and their comments about nothingness. which is basically showing how senseless and low intelligence they are. Not a problem. Easily erased. But it's more or less the era in which we live.<br><br>These people, always talk about how "informative" the article is, then go on to vomit out their babble about whatever they have, fitness coaches, tile and wood salesmen, whatever. So I address all of your idiocy.<br><br>GET A LIFE. If you are that weak to not be able to address what I actually talk about, there are many other places on the Internet that are just as clueless as you are. Most of social media is that. About 90% of pure idiots, who wander around, screaming or trying to ply their wares anywhere they are uninvited and not welcome. Oh, well, a simple click and they are gone.<br><br>THIS SITE IS ABOUT MUSIC. The relationship of songwriters, artists, people with an interest in their music and their own musical journey. It's not about any of your nonsensical nothingness. <br><br>If you want to read articles about songwriting, performing, networking, and finding your way in a constantly changing MUSIC BUSINESS, this is a good place to check out. If not, there are other silly sites about nothing you can participate in. <br><br>So if you pop up, you'll be popped off. About all I can say. Read what I write, or don't. But if you want this for your own idiocy, I'm not going to help you demonstrate how stupid you are.<br><br>MAB</b></span></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/64916812020-12-04T10:16:25-06:002021-04-21T12:14:43-05:00FINDING THE "TWIST" IN SONGS, NEGATIVE TO A POSITIVE<p><span class="font_large"><strong>"If everything has been </strong><strong>written, what can you write about?"<br>This question gets asked a lot, especially after a two hour critique session, where I;'ve been forced to say to a client, "Yeah, I've heard it before." Cause most of the time, I have.<br><br>Songwriting as been around hundreds of years, and over the past hundred or so, has increased expotentially each day. With about a BILLION songs a month, going up to the Internet, it is increasingly difficult to find ANY WAY to write SOMETHING DIFFERENT! There is really nothing "new under the sun" so what to do?<br><br>The trick is to SAY THE SAME THING YET DIFFERENTLY. And this comes into the "DETAILS!" Even though the "devil lives there", there are ups and down sides to everything. I add a different component to my own songwriting and I bring this into my teaching. I DON'T DO NEGATIVE. There is just so much anger, bitterness, depression (have you looked around lately?) I just can't bring myself to add to the pile.<br>And songwriters will instinctively go negative first and foremost. We have plenty to be down and depressed about. We can't hold jobs, relationships and if you are writing what you know, and seeing in the world, it's pretty easy to find that out there. <br><br>But if EVERYBODY IS DOING THE SAME THING, you are already starting out from a weak position if you are a writer or artist, trying to stand out in a business with millions. So what to do, as my friend Jimbeau Hinson says<em> "STOP SWIMMING IN THE RIVER OF BITTERNESS!!!"</em> <br>Everything has potential to have two sides to it and they don[]t always have to be bad. As a writer in Nashville, you hear a phrase all the time, "UP TEMPO AND POSITIVE." I find that actually to be more "MID TEMPO AND NOT NEGATIVE" but you find most songs, particularly radio songs, a little more up beat and positive than the average amateur writer or less experienced one. <br><br>Go to an average writers night or open mic and the first thing you want to do is get the silverwear off the tables so people don't slit their wrists. Sounds like a self therapy convention. Helpful to the writer maybe, but how many therapy sessions would you pay to attend? So what to do?<br><br>WRITE REALITY .And find the "TWIST. " Here's how I recently did it:</strong></span><br> </p>
<p><span class="font_large"><strong>Recently I had and18 year old female artist/writer and her Father in one of my sessions. I was telling her that the best songs come from real life. Something that recently might have happened to spur something. And you have to really pay attention because it may pop out of nowhere. I got the two of them talking about their lives and anything recent that might have happened. They started talking about a day trip that she and her younger brother and another friend had made during last summer. They had started out going to a water theme park about two hours from their house outside of Chicago. One the way, their car started smoking, and they pulled into a truck stop. They would end up being stuck there for about 5 hours while help arrived from their Grandfather and a wrecker. Everything went wrong, from miscommunication on directions, to not being able to diagnose what was wrong, etc. But along the way the three kids were able to laugh, hang out and actually had a pretty good time observing life. They were in a fairly safe area, and just got to people watch. And then she said it. "IT WAS MY BEST WORST DAY EVER". </strong></span></p>
<p><span class="font_large"><strong>That was the key. By taking down notes on the day, the conversations, and the element that while it was a difficult day, they actually all had a good time and got closer as friends and family. The song basically wrote itself as she talked about how the day progressed. And since I had listened to her other songs and knew what she was comfortable playing on guitar, keys, chords, melodies, I was able to construct something built around her style. It all worked out fine. </strong></span></p>
<p><span class="font_large"><strong>Usually if you'll just get a conversation going, you can find the song. Songs are musical conversations. And if you can look for "the twist" and deliver something that most people never thought of, you can take a "sad song and make it better." (I always meant to write that!)<br><br><br>At any rate, you have to work a little harder, but it is worth it when someone hears it and says "WOW! The same thing happened to me and I never thought to look at it like that! I'd like to hear more of your songs!"<br><br>That's when it all pays off.</strong></span><br><br><strong><span class="font_large">Hope you are all doing well. Have a safe holiday season and happy writing!<br><br>MAB</span></strong></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/64812022020-11-19T09:13:21-06:002020-11-19T09:13:21-06:00WHAT'S GOING ON AND DO I WRITE ABOUT IT?<p><span class="font_large"><strong>Here we are in the age of Covid, elections, and about every part of unrest we have ever seen. I guess it's the "END OF THE WORLD AS WE KNOW IT." Do we feel fine? That remains to be seen I guess.<br><br>As for me, I try to keep my mind on music and my participation in it, and use the overall world as the backdrop for my comments. The focus of this blog is about SUBJECT MATTER and different ways to look at that. <br><br>Songwriters often will first go for the NEGATIVE, in every situation. We don't hold jobs well, we don't don't hold relationships well and are very passionate animals. We also write about WHAT IS AROUND US. This is fine, and what we should do. However, we do have to keep our minds open to what OTHERS do so that we don't just become "ANOTHER ONE OF THOSE..." <br>For the sake of this discussion it is the current COVID 19 pandemic. Should we write about it.<br><br>Again, writers write what they see, and that is EVERYWHERE. So they are GOING to write about it. But how does this manifest itself in the public square, when we are out there trying to get people to listen to our music and embrace what we do. When we do that, we find it's a little more tricky than we realize. <br>If you quarentine 30-60 million writers, artists, poets, authors, etc. for months, you can bet that it is going to be ONE MAIN TOPIC of songwriting for some time. What that does is create a GLUT of people doing the same things in the same way. And the inherent problem with that is pretty quickly, the audience tunes out pretty quickly. A lot of the reasons they tune in to music is to GET AWAY FROM THE THINGS THEY EXPERIENCE EVERY DAY IN THEIR LIVES. <br><br>What this means is that if you want to STAND OUT with your music, you really need to look hard at what you are doing and find a way to say the SAME THING, DIFFERENTLY. It's very tough when you find a subject that is SO IN OUR FACE. And in this world of the 8 second attention span, it is pretty hard to get and keep people's attention in the first place. Near impossible to do if you don't do it differently.<br><br>I'm not telling anyone what to or how to write. I'm saying, be aware that there are a LOT of these out there. So it is essential to find ways to say what you want to say, and be aware of what others are saying so you don't just repeat information.<br><br>For myself, I've never really gotten to far into the "news message of the second." I did write a "9-11 " song, on the Saturday after and played it a little while. But the passion on that subject went away quickly and you were suddently hearing thousands of them, and while many were great, they quickly got pushed away because we moved on to other issues. Anytime you do current events, there is a good chance it is going to move past you before you even get your version "<em>OUT THERE.</em>" The same had happen with wars, civil unrest, Hurricaines, tragedies, misery, etc. There is no shortage of any of it.<br><br>Personally, I prefer songs that find a positive out of the negative.Songs about "random acts of kindness" in stressful times. Neighbors helping neighbors, passing along help to someone they don't even know. Those, to me are more interesting details in times of stress, division, depression. Those are things that truly can bring us together. <br><br>Beware of having a "time stamp" on your songs. They can expire quickly. Write what you know, what is important to you. But be aware that the more public a subject is, the more crowded the field might be for it. <br><br>Good luck,<br>MAB</strong></span></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/62917562020-04-23T08:46:32-05:002022-01-01T09:48:51-06:00MARC-ALAN MORNIN'S-FACEBOOK LIVE<p><span class="font_large"><strong>Hello,</strong></span></p>
<p><span class="font_large"><strong>I have not been here a lot lately, as we are all under the Covid 19 lockdowns and I have been focused on some other things. All Nashville musicians have been locked down, and all venues have been closed so no one can make any income. Since they are many that need help more than I do, I have stayed out of the fray.<br><br>But I have been involved with one thing, FACEBOOK LIVE, where I have reached a lot of new people for my own music and efforts, where I do two, one hour Facebook live broadcasts per week. Monday's and Fridays, at 10:00-11:00 CST. It has completely reinvigorated my music and seemingly has brought a lot of joy to other people who have responded overwhelmingly. <br><br>Most every songwriter and musician worldwide are participating in these sort of things. There are millions worldwide and hundreds of thousands in the States. And tens and tens of thousands of all of us here in Nashville. The general public, shut down inside their homes seem to love it, giving them a respite from all the Coronovirus pandemic around them. Many performers will do their orignals, covers, whatever and put up "virtual tip jars" or push their web sites to sell their merchandise. Many are doing quite well.<br><br>Mine are designed mostly for songwriters, and people who have a passing interest in the "behind the scenes"side of songwriting and the music industry. Having been around a LONG time, I have endless stories to tell and MORE SONGS THAN I CAN EVER DO IN ONE LIFETIME.<br><br>You see, for over 20 years, I have been involved in the TEACHING aspect of Nashville and part of that is teaching the process of writing songs. I have done it thousands of times with thousands of people worldwide, through my workshop programs, my visits to many other areas, and people who have come to Nashville through my "SONGWRITER TOURS."</strong></span><br><br><strong><span class="font_large">My shows are all THEMED. Each one representing songs I've written around that theme. I've done: "Songs of faith and rising above adversity" (good subject matter for now)</span></strong></p>
<p><span style="font-size: 16.8px;"><b>Funny Bone Songs (Humor based)<br>"Opening door songs (things that have been used for people's first times)<br>R&B flavored songs<br>Collabortation songs (talking about the co-writing process) </b></span><br><span style="font-size: 16.8px;"><b>It's a GURL THANG (Songs written with, for and about women)<br>"Truth is Better than Fiction" (songs written from real life and true stories) <br>"Tina's Tunes" (Favorite songs of my significant other, Tina Swanson)<br><br>And on and on. So far I've done ten shows (one month) and I plan on continuing on after this ends. I have sevearl hundred I can go through before even getting into the lesser known songs in my catalog. <br><br>My overall purpose is to present songs I have not done much or in many cases never done. Give the co-writers, most of whom are NOT PERFORMERS and will never have a shot at a cut, and to illustrate how I approach subject matter. I play what I want to and present the shows how I want to do them. I love it.<br><br>I am reconnecting with people I have not heard from in decades. My family in Alabama, distant relatives in Miss. high school friends, people who have no idea what I have been doing for 30 years, long missing co-writers, etc. It has been great reconnecting. And it has brought endless new people to me. Hit writers, producers, publishers, label people who might have known ABOUT ME, but not really ever seen me have become regular viewers. I have had interest on songs I frankly have forgotten about. <br><br>It has reinvigorated people who might want to take a tour after all this opens up. </b></span><br><span class="font_large"><strong>And I am being contacted by others to do Facebook shows for other avenues, pod casts and other things that are all coming my way through the broadcasts.<br><br>It all underlines new avenues we all are having to develop in our lives. With the "new normal" of Social distancing and other real life issues we are dealing with, it will force those of us who are creators to find new ways to illustrate what we do. This is not going away. <br><br>So that is what I am doing. I hope you can tune into the broadcasts. I plan on continuing them after the present crisis ends. No reason not to. <br><br>I hope you are all well and as always remember, YOU DON'T CHOOSE MUSIC, MUSIC CHOOSES YOU.<br>MAB</strong></span></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/62841412020-04-16T07:24:57-05:002021-09-27T07:46:36-05:00INTERNET LIVE, THE NEW NORMAL<p> <span class="font_regular"><strong>INTERNET LIVE, THE NEW NORMAL </strong></span></p>
<p><span class="font_regular"><strong>Hello everyone. Hope you are all safe at this time. The newest dimension that is now a fact of life for all of us in music are the LIVE PLATFORMS on FACEBOOK, TWITTER, and all other Internet platforms. At this point for the past few week and on into the future are millions of artists, writers, are live video concerts, single songs, messages on internet, via, camera phone, computer, or video camera. AS social distancing has become a life and death situation, live venues have closed down, concerts are on hold, appointments and face to face interaction is off limits these days, this is becoming the rule rather than the exception. </strong></span></p>
<p><span class="font_regular"><strong>Musicians and artists are using this to their benefits connecting with people around the world, some recording live, some doing teleconferencing with their fans and business partners. The biggest stars in the world, Garth Brooks, Lady Ga Ga, most major stars, and all of the late night television shows, in fact, pretty much all news and programs are now being done from living rooms, bedrooms, music rooms, around the world. It's the fact of life for now, and probably going to be quite a bit in the future; There might come a day where it is more normal than large concerts. People get to see their favorite artists up close and personal and in many cases, get to talk to them direction through questions. Nothing could be more personal. <br>Many are monetizing it through the sale of physical product, downloads or virtual tip jars and donations. It's doing well to keep many musicians alive who would otherwise have no income at all coming in. </strong></span></p>
<p><span class="font_regular"><strong>So this should be reinforcing something that all songwriters need to know and understand. Your music depends on AUDIENCES to go past what only you can do. It has to have listeners unless you want to be the best writer in your living room which is really happening now at any rate. This is also opportunities for finding collaborators and even finding artists. you wouldn't be able to "pitch songs" to the majors any more than you can now, but you can find the newer and up coming artists and start relationships there. It is the best of times and the worst of times. <br> </strong></span></p>
<p><span class="font_regular"><strong> MARC-ALAN MORNINS' <br>Personally, I am using it to great effect in my own life. I have "MARC-ALAN MORNINS'" every Monday and Friday at 10:00 am CST. I do a variety of songs I have written, mostly with other people over my 30 plus years in Nashville. I've written with number one and top writers, hall of famers, Award winners, and legendary artists, as well as thousands of average individuals, artists, young and old, different races cultures, creeds. For 20 of those years I've been called on to be a TEACHER and MENTOR of songwriting, live performance. I have been using it to great success, namely in re-connecting with friends, relatives, many that I have not seen in decades, but also a variety of people across the world fans of my music, co-writers, other interested parties. It's had an interesting effect of reaching people I've never thought of. Hit writers who have heard of me or are friends of mine, hit producers, label people, publishers, are all tuning in and I am actually getting some pitches on songs, most I would have never gotten an opportunity to do. </strong></span></p>
<p><span class="font_regular"><strong>It's connecting me with people who might be candidates for my "Nashville songwriting tours" (private workshops) song critiques, songwriting lessons, and I am being contacted by all sorts of people privately. As they see the way I write my own songs and lead others through the process, they get a sense of who I am, and what I might be able to do in their own careers. Many writers and artists who have gone on to be successful in their own hometowns and regions have found what I teach useful in their own efforts. And many of those are going on to have their OWN live shows. It rising tide lifts all boats. </strong></span></p>
<p><span class="font_regular"><strong>My approach is to have THEMES of shows. Grouping songs in their subject matter, tone, approach. In each show I have an element of teaching as well as the songs themselves. <br>I've had shows that deal with Collaboration, Humor songs, Songs of Faith, Transportation songs, R&B songs, and tomorrow's selections, "TRUTH IS BETTER THAN FICTION" songs written from real stories, personal relationships, and from the current headlines. I talk a bit about the process, how pro writers develop story lines, avoiding "second verse hell" and other stumbling blocks in songwriting. I also tell some real stories of hit makers, and things friends of mine have gone through in their way to the top. It's a lot of fun. </strong></span></p>
<p><span class="font_regular"><strong>For people who only know me from a distance in things I've written or blogged over the years, it provides a chance to actually SEE ME and helps me illustrate what I always talk about. </strong></span></p>
<p><span class="font_regular"><strong>I hope some of you might find it helpful and tune in. If you can see it LIVE, they are archived on my "MARC-ALAN BARNETTE" or "MARC-ALAN BARNETTE MUSIC" Pages on Facebook. IT would be an honor to hear from some of you and try to help you if possible. If nothing else, it's a way for us all to connect, hopefully take our minds off of the current state we all are in. <br>I invite you to join me. </strong></span></p>
<p><span class="font_regular"><strong>Please take care of yourselves and good luck in your own efforts. </strong></span></p>
<p><span class="font_regular"><strong>MAB</strong></span></p>
<p><span class="font_regular"><strong> </strong></span></p>
<p> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/57573692019-05-16T17:57:43-05:002021-04-03T17:06:09-05:00CREATING YOUR NICHE (WRITERS FINDING ARTISTS)<p> <span class="font_large"><strong> CREATING YOUR NICHE </strong></span></p>
<p> <strong>WRITER’S FINDING ARTISTS </strong></p>
<p>In the past, I have outlined some of the reasons we’ve gotten where we are in the music business. It took me three posts to scratch the surface, and there could be dozens more. I want to thank so many of you for reading and especially when you comment. It’s so much more satisfying than “LIKES” or “REACTIONS.” I appreciate it when people participate and I get ideas of what I want to talk about next. So thank you. </p>
<p>If you didn’t see it, basically the music industry as regard to PURE songwriters, (those that do not perform, those who are focused more on having people record your songs or in PARTICULARLY, those trying to move to Nashville, or make regular forays into the modern music business. You will find all the doors LONG shut, for many reasons, Loss of income in songs themselves, oversaturated market, Internet marketing, and the RELATIONSHIP factor that a town like Nashville and a business like music, have always thrived on. Go back and read it if you missed it. </p>
<p>In many ways it sounds like the “VOICE OF DOOM” in that I am declaring that the “era of song pitching breaking in over and the era of FREE MUSIC taking their place. That is, and is NOT true. There is STILL a music business, still people that do well, still a vibrant society going on. There are always going to be a “TOP OF THE PYRAMID” “POWERS THAT BE” GATEKEEPERS” ETC. And someone will ALWAYS BE BREAKING THROUGH. </p>
<p>But until you find ways INTO those circles, or if you NEVER find your way in, there is STILL hope. And for many in todays’ Internet world, there will NEVER BE A NEED for those circles. WE MAKE OUR OWN. </p>
<p>Much of what I do as a teacher and mentor of songwriters and artists, is spend a day or multiple days, going through their songs, doing performance critiques, writing new songs with them introducing to my friends and circles, and helping them understand an overview. Not everyone wants to move here, but plenty do. Many are on the cusp, trying to find how to do it. And many would just like to have another avenue for their hobby. If it pays off, fine, but mostly to NOT LOSE lot of money. </p>
<p>So many will try to jump line, go have meetings, hire song pluggers (many who are well intentioned, but not very effective, often over promising and under delivering,) recording songs that probably should be left UNRECORDED, and basically operating with both feet firmly in their mouths. </p>
<p>ONE CHANCE TO MAKE A BAD FIRST IMPRESSION. </p>
<p>In many cases, some of the best advice I can give is STAY WHERE YOU ARE. FIND PEOPLE IN YOUR AREA INSTEAD OF TRYING TO PITCH TO CARRIE, JASON, FLORIDA GA,LINE OR LUKE BRYAN. Trust me, until you get KNOWN those people are WAAAAAY OUT OF YOUR REACH, and even AFTER YOUR KNOWN, they might not be, and also might not even BE HERE by the time you GET KNOWN. <br>The music industry is always kind of like that old joke: </p>
<p>WHO IS GARTH BROOKS? <br>LETS GET TO GARTH BROOKS </p>
<p>FIND ME THE NEXT GARTH BROOKS </p>
<p>WHO IS GARTH BROOKS? </p>
<p>Fame is fleeting and today’s interns are tomorrows record label presidents. </p>
<p>And today’s record company presidents are tomorrow’s interns. <br>Tough business ain’t it? </p>
<p>So I suggest all writers AND artists, find like minded people in their home areas, and then look for people in regions, online, and in music centers. Find local writers hang outs, coffee shops, colleges, songwriters clubs and venues, local songwriter’s groups, OR start your own. Get a couple people together for a lunch of dinner, play some songs, do critiques, build your friend’s list. Have a party once a month and invite a bunch of people and some players. Have a living room house concert. <br>One of our buddies, Doak Turner did that every Third Sunday of the month. Ended up doing it for SEVEN years, and at times as many as 200-600 writers, friends, fans showed up.Hit writes artists, publishers, producers all came through there. Was great till they nearly destroyed his house and he had to shut it down. A great resource is Doak’s MUSIC STARTS HERE website. The “YELLOW PAGES OF NASHVILLE MUSIC BUSINESS” <br>“G’DAY’ MATE!” </p>
<p>So there are ways. One of my favorite is this one. One of my clients over the past couple years is a guy from Cairn’s Australia, Andrew Cavanah. Andrew is a C.D. (Computer Dude) who’s business is Internet marketing, and consulting. He’s very good at what he does and has many clients. Andrew, like so many others, had a hobby in songwriting, nd through research, decided a visit to Nashville, while making a tour of the states, would be a good idea to see what the real world was like. <br>He and his sweet girlfriend, were visiting several states and finally found me. I picked them up at the bus station and we were off and running He was doing a three day “TOUR” with me, and after a good Nashville lunch, we went to work. </p>
<p>One of the things with people from other countries, the UK, Australia, New Zealand, etc. is that we are people separated by a common language. A lot of the way they say things are not how we say things and vice versa. There are local sayings colloquialisms that don’t work everywhere. So much about writing is sometimes as much TRANSLATING. Also a lot of other countries have different styles and genres. Sometimes they are similar, sometimes not. So again, part of the tour, “THE PAST, PRESENT” is going through things they have already done and trying to organize them with an eye and ear toward Nashville. </p>
<p>Then, we get into my favorite part, THE FUTURE, where I actually WRITE SONGS with them, I demonstrate the PROCESS of songwriting. And show how to get REALITY into songs. I use the details OF THEIR LIVES, up against grooves, melodies, tempos, that I know well. Since he is a writer and not a performer, I could indulge my imagination and experiences. One, MADE IN AUSTRALIA, was STRAIGHT AC/DC, which I would really be hit by two days later when we RECORDED THE DAMN THING AND I HAD TO SING IN MY BEST BRIAN JOHNSON/BON SCOTT SCREECH ALL THE WAY THROUGH A SONG!!!! DAAAAAMMMNNN!!!! Doing it at 21 was bad enough. Try that crap at 59!!!!!!! </p>
<p>But we had a lot of fun. One of my favorites was bringing in CHRISTINE PARRI, from Perth Australia, who lives here and is one of the COOLEST people I ever get to work with, I like to introduce these people to their fellow countrymen (and women) to get a perspective on the multi continent approach. Christine, who in addition to having one of the BEST VOICES I’VE EVER WORKED WITH, is also almost a character in herself. Very tall and STATUESQUE, she is more of the 1940’s-50’s pin up girl who LOVES the “FABULOUS BAKER BOYS” type of torch music. A throwback to a great era, you can imagine her in a Humphry Bogart movie, singing in the bar, while “Sam plays a steamy song for Bogie to narrate, “Just looking at you kid.” <br>I adore her, and the resulting song, “IS THAT TOO MUCH TO ASK” is one of my favorite specialty songs I’ve ever written on. And two days later when we recorded it, SHE NAILED IT TO A WALL! Later on, Andrew would do a song video to it which I’ll post a little later. It was a BLAST!!!! Damn I love this town! </p>
<p>We got several songs and through it, I asked questions and made comments about his home country and ways to plug in there. Like most people, he was more interested in Nashville, but pretty quickly found that the time investment, money investment, probably would not be worth the payoff if any. Smart guy. <br>He was here for a few more days, and I think I had an effect of pointing out things that were underneath his nose. Like most, he went home and I didn’t hear a lot for a while. </p>
<p>Then he started contacting me and bringing me up to date on his activities. .He had taken the things we worked on, started finding artists in Australia. Those efforts paid off when he foujnd BENN GUNN, an up and coming singer songwriter, who Andrew found online. They started writing by SKYPE and before you know it they were tearing it up. Resulting in Andrew writing a lot on Benn’s next CD, which hit the charts, eventually going to number one “ONLY IN AUSTRALIA.” It has been on the charts for FIVE MONTHS. They have followed that up with GOT THE BOAT and are Just getting warmed up. </p>
<p>They now have a regular writing team, and they’ve NEVER BEEN IN THE SAME ROOM TOGETHER! That, in turn has brought other artists, who are now SEEKING out Andrew. When ya Hot, ya hot!!!! </p>
<p>The point is IT CAN BE DONE. You still can find your niche. You can find people in your area. Hey folks, the NEXT AMERICAN IDOL or the THE VOICE contestant doesn’t come from Nashville, New York or LA. They come from Sioux City, Iowa. Mentone Alabama, Wichita Kansas, Liverpool, England. Wait a minute. Didn’t; somebody come from there before? </p>
<p>You can still participate in this. In many ways, it’s the BEST OF TIMES, IT’S THE WORST OF TIMES. You don’t always havse to play by the rules. <br>YOU CAN MAKE YOUR OWN. Go get em. <br>MAB </p>
<p>www.marcalanbarnette.com</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/57248152019-04-18T18:21:14-05:002020-10-30T22:02:30-05:00WHAT'S THE POINT?<p><span class="font_regular"><strong>I was talking to a fellow today from New York City, who has been going through a very familiar situation to anyone who does music.<br><br>WHAT IS THE POINT?<br><br>I mean, we have to be realistic in all of this. We're in a world of DREAMS. Every writer, musician, producer, artist, manager. promoter, you name it, are just really MAKING STUFF UP. And being able to MONETIZE that is becoming harder and harder every single day. Here are some things to keep in mind:<br><br>THERE ARE APPROXIMATELY 30-60 MILLION artists, writers, (creators) on the Internet.</strong></span></p>
<p><br><span class="font_regular"><strong>100,000 songs are uploaded AN HOUR to the Internet.</strong></span></p>
<p><br><span class="font_regular"><strong>There are approx. 1 BILLION songs a MONTH uploaded.</strong></span><br><br><strong>The vast majority of music is FREE! Most artists will never get a significant amount of listens, views, or PAID for what they do. <br><br>FACTS KIND OF SUCK!!!<br><br>So WHAT IS THE POINT?<br><br>This is what my new friend from New York was asking. He has been a musician most of his life, and has been facing the realities of life, that it is VERY DIFFICULT to make money in this day and age of FREE MUSIC.<br><br>Well there are different reasons to write. Most have nothing to do with MONEY. <br>There is LEGACY WRITING. Writing for friends, relatives, significant others, children, to leave something behind that you actually did.<br><br>There is THERAPY WRITING. Most of us have gone through hard times. Sometimes it seems like ALL WE GO THROUGH. So being able to get our thoughts on paper and then into musical interpretation can help us through a variety of struggles and challenges.<br><br>There is NICHE MARKETING. You might find yourself or other artists creating their own niche in music and the culture. It might not take you to the top of the charts, but it beats having a song sitting on your computer doing nothing.</strong><br> </p>
<p><strong>There is CATALOG WRITING. To build your skills, your overall musical awareness.<br>To make yourself attractive to other people to work with. It often is about the NEXT SONG you write. </strong><br> </p>
<p><strong>CONTESTS, and other activities.</strong><br> </p>
<p><strong>SOCIAL AWARENESS.<br><br>Just to have a great hobby!<br><br>Money might factor into some or all of these. But you have to do something VERY WELL FIRST.<br><br>Imagine this scenario.</strong></p>
<p><strong>You are a pretty decent songwriter living in a major metropolitan area. You are no longer the writer/artist willing to get out there on the road. You'd like to get your songs "out there" and pitch them to some major artists. What do you do?<br>You can make a ton of trips beating the pavement, or hire a song plugger, pay a lot of money for recordings, and basically find out that most artists write their own music, have no incentive or inclination to even LISTEN to anyone else trying to "put words in their mouths." <br>So is that wise?<br><br>OR<br><br>You hang around and get to know some artists and other writers. That leads to a few relationships with some younger, fresher faces. That leads to some much better, more directed songs with these artists. The artists love them, and put them on CD's, their websites, their social media. THAT leads to attention from audiences and independent or even major record labels, publishers or producers. Most importantly, the AUDIENCES get to know the artist AND your song. <br><br>You just opened some doors and UPPED THE LEVEL OF YOUR ODDS.<br><br>See the point?<br><br>If you are going to write anyway, write with someone who can help you extend your reach.<br>If you are going to pay for recordings, have someone who can make better use of those recordings.<br><br>REPEAT THE PROCESS.<br><br>Will it make you rich and a household name? <br>I doubt it. But it will get you OUT OF YOUR OWN WAY.<br><br>AND THAT IS THE FIRST STEP.<br><br>MAB</strong><br> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/56672662019-03-03T11:17:56-06:002022-05-23T07:26:10-05:00Hello and happy spring to you all<p><strong>Hello folks,</strong></p>
<p>I had not realized that I have not put anything up here in a while. Social media is a funny thing and we are sometimes involved in so many different sites that I might forget about some that are right under my nose. Since I mostly respond to things people ask about or on other sites I see people talking about, I don't always talk about much. I am more interested in what you are doing and any way I might be able to help. But I also know that some of what I do, might help you in your journey.<br><br>A common thing I see among writers and artists are trying to find people who they can connect with. Social media has become THE mover and shaker when it comes to meeting people, but as we all know, that can often be a delicate proposition. You never know if that attractive, 24 year old great singer/songwriter you see the pictures and read comments on, is really some 50 year old perineal video gamer, sitting in his parents basement. Getting to the truth on the Internet is sometimes a really difficult equation.<br><br>But there are a lot of things out there. I always try to urge people to find local songwriting groups. There are open stage, open mic, and talent nights in almost every City, State, Town and Province in the world. Television shows like AMERICAN IDOL, THE VOICE, AMERICA (BRITIAN, AUSTRALIA....) GOT TALENT, have spurred enormous interest in people trying to shop their talents in the marketplace. There are approx. 30-60 million people out there trying to do some form of music. So they're out there. You just have to find them.<br><br>A Google, or some other search engine site of your area, might help you find a starting place. "SINGER-SONGWRITER NIGHTS OR OPEN STAGE", Even Karaoke nights can some results. They might not immediately lead you to that magic writing partner or producer, but they can give you a starting place. You have to get into the game and once in a while you just have to venture out.<br><br>You should have your own calling card. You need some songs of your own that you have written or even if you have sung or participated in helping someone else, can give someone else something to listen to.<br><br>Finding your place in all of this is challenging but can be done. As always, I am here to cheer you on.<br>Good writing,<br>MAB</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/54522862018-10-02T13:49:18-05:002022-06-24T08:42:38-05:00BACK AFTER A WHILE<p><strong>BACK AFTER A WHILE. THE CRAFT OF WEARING MANY HATS.</strong><br><br>Hellooooooooo!!! Sorry I've been away for a bit. Actually I haven't been away, just have not written anything on here for a while. It is my web site, and I enjoy it but I participate in several forums around the Internet and so I often sort of neglect my own efforts. But I hope I can put up something you will find interesting and you might let me know what you would be interested in.<br><br>SOCIAL media now is a nessacity in any writer or artists lives. We have to do a lot of things we used to NOT have to do. A while ago things were very segmented:<br>Writers wrote songs.<br>Publishers promoted those songs.<br>Song pluggers pitched those songs.<br>Artists recorded those songs.<br>Producers produced those songs on the artists.<br>Labels distributed those artists and songs.<br>Publicists promoted those songs.<br>Fan club presidents promoted those artists.<br>Booking agents booked the gigs.<br>Magazines featured articles on those artists and songs.<br>Managers managed everything about the artists and songs.<br>And so on and so forth and so on.....<br><br>NOW.<br>It is a DO IT YOURSELF WORLD. We have to be our own writer, artist, publicist, agent, manager, fan club, producer, tour manager, song plugger, publisher, you name it, WE DO IT!!!!!<br>It's one more thing that weeds out people trying to do this. People still are thinking if....<br>I just get a manager, a publisher, a producer, a booking agent.....<br><br>And the people in HELL want ICE WATER TOO. <br><br>There are a lot of things that USE TO BE. Not so much anymore So what to do?<br><br>Building TEAMS are a huge deal. Do you have friends? Do you have people interested in helping you out? LET THEM DO IT.<br> </p>
<p>If you are WRITER, primarily, scour your area for up and coming artists. Befriending them, becoming part of THEIR TEAMS. If you are an artist, look for writers. Learn the craft. Far too many artists are promoting sub standard quality on their songs. Far too many writers are waiting on the GOOD RECORDING FAIRY to drop down and annoint their songs with success! Again, doesn't happen that way. And REALLY NEVER DID!!!!<br>So how do you do this?<br><br>#1. GO WHERE YOUR TRIBE CONGREGATES.<br>A lot of this is Internet based now. But never overlook your home town base. They are out there. Trust me. Look for writers shows, open mics, talent contests, open stages. <br><br>#2. BUILD RELATIONSHIPS.<br>Instead of coming up and saying "hey I've got songs, you want some?" Why don't you sit DOWN with those artists and get to know what they want to say?<br><br>#3. INCLUDE THEM IN YOUR SONGWRITING. <br>There is something about ;LISTENING to an artist and finding out where they are coming from, what they are passionate about. and helping them to get to that. Make them a part of what you do, instead of just trying to SHOVE words in their mouths.<br><br>#4. GET OUT OF YOUR OWN WAY.<br>Artists will often write the same song over and over again. Really evident when they are doing a solo set and up there with every single song sounding the same. We all can get caught up in what we are doing, and not see the similarities in what we do. Helps to have someone to bounce things off of.</p>
<p>#5. WATCH AUDIENCES.<br>One of the biggest challenges we have now is getting people to PUT DOWN THE CELL PHONE. Most people have incredibly short attention spans so watching how audiences react to others are very important .Are they tuned in or tuned out? Where are they losing their attention? <br>Make notes and try not to repeat the mistakes others make.</p>
<p> </p>
<p>There are many more, but as I like reacting to what people want to talk about, I'll leave it here for now.<br><br>Good to be able to talk to you. If I can help, just let me know.</p>
<p>MAB</p>
<p> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/48968692017-10-18T12:05:10-05:002017-10-18T12:05:10-05:00I'M HEADED TO NASHVILLE!!!!<p>MAB’S MUSINGS Oct. 7,2017 </p>
<p>“I’M HEADED TO NASHVILLE!!!!!” </p>
<p>We see it all the time. Someone posts on Facebook or Social media the big news that they are “HEADED TO NASHVILLE” and very excited for their trip. And of course everyone wishes them luck, “Always Knew you’d make it” messages…” pretty much the same all the time. And it IS GREAT! An opportunity to see a VIBRANT city, on the move, tons of exciting things happening, and a lot of people just like themselves, all sharing music, performing, being a part of a CULTURAL MOVEMENT!!! </p>
<p>For those of us “OLD TIMERS” we say “WELCOME HOME!” We are glad to have you. Tons of people visit here each week, many move and settle in. Of course, the down side is that MANY ALSO MOVE HOME, having lasted about 6 months to two years. So while you need to be optimistic and excited, you also need to inject some REALITY into those big dreams and focus on what you can get accomplished and not get too caught up in what probably won’t happen. </p>
<p>WHAT CAN HAPPEN: <br>THERE ARE BASICALLY THREE THINGS YOU WANT TO GET <br>ACCOMPLISHED. <br>NETWORKING. <br>PERFORMING. <br>CO-WRITING. </p>
<p>What is probably NOT going to happen is you waft into the Bluebird, they have a last minute cancellation, and pull you onstage, to be heard by a record president who just happened to be there to see the person who didn’t show up, and they rush to you with a <br>RECORD DEAL IN HAND!!! I know that happens all the time on <br>“NASHVILLE” and other Hollywood productions, but it doesn’t <br>exactly happen in real life. You are more than likely going to stand in line, wait your turn, participate in an open mic after most people are gone, PLAYING TO TABLES AND CHAIRS. (Yeah I already wrote that one). </p>
<p>There are writer’s nights all over town and you HAVE TO ATTEND THEM AND WAIT YOUR TURN! Just part of “pledging the fraternity”. </p>
<p>BUT: You can make the best of that time. There will be dozens of people performing. Watch THEM! See what they are doing, what makes the audience TUNE INTO the songs and performances, and what makes the audience TUNE OUT! </p>
<p>A majority of performers are very inexperienced. Most songs sound just like other songs. A lot are steeped in <br>Negativity, anger, bitterness, despair, preachy, self-absorbed…. DON’T WE GET ENOUGH OF THAT ENDLESSLY ON THE NEWS AND SOCIAL MEDIA? </p>
<p>Many are things you CAN’T UNDERSTAND A WORD OF WHAT THEY ARE SAYING OR UNDERSTAND THE MEANING OF THEIR SONGS. <br>If you need a decoder ring to figure out what they are about NEED TO RE-WRITE THE SONG! <br>Many performances are substandard, with no flow or dynamics. Many are BALLADS, which can slow an entire night down. <br>So THINK about what YOU WANT TO DO. Do song and artist RESEARCH. Make your moment in the spotlight as appealing as possible. </p>
<p>PERFORMING <br>Got ONE CHANCE TO MAKE A BAD FIRST IMPRESSION. <br>Make sure you DON’T WASTE YOURS. <br>Choose your songs wisely. If you do the introspective “all about me, whining, depressing, bitter songs” you are going to fall into where 98% of other people who are ignored. Doesn’t mean you have to be all “HAPPY!!!” Like Pharell Williams (although that one did pretty good!), but if you can NOT BE SO DEBBIE DOWNER, it will MAYBE make people put their cell phones down for a few minutes. <br>Make sure you are IN TUNE! Be ready to go on BEFORE THEY HAVE TO CALL YOU! Know where your place in the line is. <br>Make sure the HOST KNOWS YOU, and you are ACCESSIBLE to go on. There just MIGHT be a cancellation, and being aware and ready is EVERYTHING! <br>Perform WITH DYNAMICS. ENNUNCIATE. LOOK AT YOUR AUDIENCE. ENGAGE THEM! That is what you are supposed to be doing but most people don’t. Don’t just CLOSE YOUR EYES and sing to yourself. Those that do, only end up SINGING TO THEMSELVES! </p>
<p>NETWORKING: <br>“Networking is simply MAKING FRIENDS.” If you see someone who impresses you, GO UP AND TELL THEM. If they have family members, talk to them. (BUT DON’T DO IT AT THE TABLE WHERE YOU ARE DISTURBING THE OTHER PERFORMERS. GO TO THE BACK OR OUTSIDE!) <br>Learn about their journey’s. Share information, business cards. <br>IMPORTANT NOTICE: DON’T GHERM!!! (Giving out CD’s BEFORE they are asked for.) <br>This is mainly for established or hit writers, producers, publishers or anyone in the industry. That is a VERY BIG NO, NO! (see my web site for definition.) </p>
<p>But for most newer people, or out of towners, it is fairly common to trade CD’s. If you like something ASK FOR IT, OR OFFER TO PAY FOR IT! <br>(Hey, what a novel concept!!! Paying for someone’s music you like!) </p>
<p>CO-WRITING: <br>This more than likely WON’T happen over just a couple of days in Twang Town. It is something that needs to be built up to. But starting those relationships, seeing when people are open, long distance or SKYPE writing, all are viable opportunities. If you MAKE FRIENDS while you can, you can EXTEND those relationships later. But there are opportunities sometimes with others that are in similar circumstances, in town for a few days, and might have some open times, TRY TO MAKE USE OF IT. Most IN TOWNERS or established writers are going to take longer to build up to. So expect that. </p>
<p>DON’T SCARE PEOPLE AWAY. Just keep it light, friendly, and build for your future. Usually every trip to Nashville SETS UP FOR THE NEXT TRIP!!!! </p>
<p>KEEP EXPECTATIONS MANAGABLE. <br>Expect to stand in line, expect to meet a lot of people like yourself. Expect a lot of things NOT TO WORK OUT. This is the musical version of SPEED DATING. You will see a lot of people, but very few will actually pan out. With every writer you will meet THREE other writers. And you will hear of other shows, venues, social events, guitar pulls, etc. </p>
<p>BE PATIENT. It all takes time. This is a very slow town. We call it a “TEN YEAR TOWN” because it takes a while to get known. But the more you put out there, the more you get back. Support others and they’ll support you. We’re always glad to have you. And you can go home with a great experience. Just realize that you are one of many, and everyone wants their own “moment in the sun.” <br>Make sure you don’t waste yours! </p>
<p>MAB </p>
<p>www.marcalanbarnette.com</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/48968682017-10-18T12:03:56-05:002022-04-01T06:03:20-05:00THE COPYRIGHT CONUDRUM, "THEY'RE STEALING MY SONGS!"<p><strong>MAB’S MUSINGS </strong></p>
<p><strong>THE COPYRIGHT CONUNDRUM (THEY’RE STEALING MY SONGS!) </strong></p>
<p><strong>It is one of the most hotly debated subjects when it comes to songwriting in the modern age. There are two distinct schools of thought. The COPYRIGHT AND REGISTER EVERYTHING RIGHT NOW RIGHT NOW RIGHT NOW!!!!! These are usually from newer or less experienced writers and artists, (and their attorneys) who think everything they do is profound and amazing and that there are thousands of people just lying in the weeds waiting to STEAL THEIR IDEAS AND SONGS!!! <br>And the old grizzled veterans, writers, publishers, labels, producers, etc. that know everything sounds like something else, and it is much harder to come up with an ORIGINAL concept, unique melody, or idea that hasn’t been done to death, often before most writers were born. <br>These people tend to write a LOT of songs, do rudimentary work tapes, perform or have them performed out, test marketing songs until they get the best of the best, and when they get tangible attention, then start the copyright registration process. <br>They know that most pro writers will write literally HUNDREDS of songs just to get a few that get sincere attention and the rest often get tossed on the “good idea at the time” pile, often forgotten and left behind. <br>They also know that BILLIONS of songs are “released” a month, uploaded to web sites, you tube, Spotify, Pandora or the countless Internet sites out there. A LOT of stuff. </strong></p>
<p><strong>So what to do? </strong></p>
<p><strong>Well the truth is WHAT EVER YOU FEEL COMFORTABLE WITH. Technically, you have a COPYRIGHT as soon as it is affixed to a tangible form, meaning that if you have it on a work tape, a guitar or piano vocal, the lyrics written down on an affixed form, you are protected from the “time the pen leaves the paper.” So you are protected. With today’s time stamps on computers, and the Internet, you can prove when YOU came up with something. To have a case in court, you have to have it REGISTERED with the US Library of Congress. And you have to PROVE that someone deliberately intended to defraud you. And that is where it gets tricky. </strong></p>
<p><strong>Proving that someone actually FOUND you among all the songs and writers, and said <em>“I like that idea, I can write that better</em>” and defrauded you of being able to make money is a tough thing to prove. How do they find you in the first place if you are not a known quantity? That is the reason most copyright lawsuits are when one major songwriter or artist sues ANOTHER major songwriter or artist. </strong></p>
<p><strong>There are surprisingly FEW lawsuits that ever go forward. The reason is that they are very expensive, and hard to prove. <br>And in most cases, someone “SUBCONSCIOUSLY” picked up parts of other songs, and just put it into their own, without even realizing it. The most famous of these would be the GEORGE HARRISON/BRIGHT TUNES “MY SWEET LORD/HE’S SO FINE lawsuit. </strong></p>
<p><strong>The case, which went on for 13 years and cost a fortune, proved that the Ex-Beatle had accidentally lifted parts of a song from 20 years before. </strong></p>
<p><strong>That happens a lot. I have personally found myself IN THE ROUND at the BLUEBIRD with my latest creation, that I was so proud of and about to play, only to realize that I had accidentally copied ONE OF THE PEOPLE I WAS IN THE ROUND WITH when I heard their song, years before. <br>Sometimes it can be intentional. Rock artist, Kid Rock, did this years ago with a song called “SINGING SWEET HOME ALABAMA ALL SUMMER LONG”, where he purposely used guitar chords and instrumental passages from two songs, SWEET HOME ALABAMA, from LYNYRD SKYNYRD, and “WEREWOLVES OF LONDON” by WARREN ZEVON. Kid Rock actually gave songwriting credit to all the writers of those songs. Same with “Listening to Old Alabama” by Brad Paisley, where he referenced many songs from the Country super group. <br>Sometimes, like the Sam Hunt/Allen Thicke “BLURRED LINES” MARVIN GAYE lawsuit can be accidental and go forward, but most are worked out behind the scene. The Late Tom Petty was a beneficiary of this a while back. </strong></p>
<p><strong>And then there are some nasty ones. The Rapper FRANK OCEAN, who sampled the EAGLES HOTEL CALIFORNIA tracks, music and all, then put his rap lyrics over the looped music, was a particularly bad one. When contacted by Mr. Frey and Henley, to gently tell him that he couldn’t do that, he told them less than politely to go “<em>screw themselves</em>!” That was a bad one. </strong></p>
<p><strong>So there are all kinds of extenuating circumstances involved in this. And each writer is going to have to make their own decisions. </strong></p>
<p><strong>Most professionals don’t do the entire registration on songs until they pass several tests and work their way to the top. Many don’t even do it until the songs are almost ready to be released commercially. A lot of this is due to costs, but also because elements of songs, lyrics, music, production, etc, can be changed even IN THE STUDIO, so instead of having to go back in and re-copyright or do changes on songs, they will wait until everything is final. </strong></p>
<p><strong>I would suggest first WRITING MORE SONGS, and then doing the best as a COLLECTION of your work. But do what feels comfortable for you. In most cases, you are going to find that there are no new ideas under the sun and find a lot of things you thought were so original and unique, actually less much less original than you realized. </strong></p>
<p><strong>For myself, I like to adhere to the saying of a friend of mine, hit songwriter and former president of NSAI, Steve Bogard. <br>“You spend the first half of your career worrying about people stealing your songs. <br>You spend the second half of your career worrying about having something worth stealing.” </strong></p>
<p><strong>Write a lot of songs. Work through them. Get them perfect. Write more songs. Then when you have the ones you and others ABSOLUTELY LOVE, go copyright those. </strong></p>
<p><strong>THEN WRITE MORE SONGS. </strong></p>
<p><strong>MAB</strong></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/48907042017-10-13T13:34:47-05:002021-04-21T12:12:55-05:00BUILDING RELATIONSHIPS FOR MUSIC SUCCESS<p>MAB’S MUSINGS: </p>
<p>BUILDING TEAMS FOR MUSIC SUCCESS </p>
<p>10-13-17 </p>
<p>I’m in a continuous dialogue with writers and artists literally across the world in the importance of “building teams” in their approach to music. Too many feel that the industry, publisher, producers, labels, agents, managers, etc. will come in and set everything right, so they will be able to “do what they do…” Not exactly, We now ALL have to do more than we ever had, and that means you have to BUILD teams. </p>
<p>For writers, this starts out with ARTISTS. <br>There was a time, that you wrote songs, wrote with others, and then got them to publishers, who hired song-pluggers, who pitched to producers and labels. While that still happens at certain levels that is not going to happen for most people for a while. So they have to get to that part. In this day and age, that requires them to have ARTISTS involved in their songs. And doing that means you don’t have to worry a out “what the industry is looking for.” You are finding what that ARTIST is looking for. The songs, written in conjunction around what the artists want, find the reality that that artists wants in their own songs. </p>
<p>For ARTISTS, this means getting another view of a certain subject. Artists tend to be younger, so not as many life experiences. It helps to get perspective, having someone with more or focused skill set. It helps when you have someone to bounce ideas off of. And it helps to have people to promote you in addition to themselves and songs. The WI- WIN scenario. </p>
<p>And there is nothing like the result of having songs OUT THERE, being performed, on web sites, actually being promoted, instead of hiring demo singers, studios, or having a song that never gets off a computer or onto a web site that no one ever sees. It’s PRACTICAL APPLICATION. And you are all trying to find the STARS OF TOMORROW TODAY! </p>
<p>This week I have had the fortune of seeing this come together in three very unique ways. </p>
<p>First, on Monday, was a newcomer to town, Dan Stoeckel, Dan is a 23 year old guitar/bassist from Rhode Island, who has been here for two weeks. While Dan has many guitar pieces, he really had no finished songs. Now, in order for him to get into writers nights, get to know people and therefor start building his TEAMS, he is going to have to have finished songs he can play on the writer’s nights. <br>So what did we do? WROTE HIM THREE SONGS. Finding out about his background, personal inspirations and opinions, and using those details into songs, we wrote things based around his own musical stylings. So now he will be able to get up on the nights, and start performing, thereby getting him on the playing field. </p>
<p>HEARING THINGS WITH FRESH EARS </p>
<p>On Tuesday, it was working with three guys, SAL CASALE, DAVE SHWALM, and PAT NETTI, who form the trio, WHISKEY HOLLOW RUSH. </p>
<p>These guys are from Sarycuse, New York, were they operate businesses, a recording studio, and other interests, as well as being performers in that area. They are very dedicated, and come down once a year to play the Bluebird, the Commodore, and other places like Bobby’s, write with people, and to work with me. I got to see them three times this week, and in all, they are doing songs we have written together on previous tours with me. And that allows me to hear these songs, fresh, each time, and I get to experience them the way the audiences do. <br>The songs, SOMETHING YOU HAVE TO PASS ON, about Dave’s father and mother’s marriage, “CONCRETE AND STEEL” about a combination of all four of our Father’s, and “KISS ME I’M IRISH” about Sal’s experiences with marriage is a very ST ,PATRICKS DAY song. All of them feature astounding harmonies and were written again around THEIR real life experiences. These help them attract other singers, writers and hosts of the writers nights who always invite them back. </p>
<p>Now this time it was even more interesting as they met a girl on Monday’s COMMODORE show, EMMA JUDE, who is FROM their same town. Which goes into my theory that you meet people IN NASHVILLE from your home town. They all met up and even invited Emma, to the Tuesday’s writing session, where we wrote one with her. That means they will all have more team members, when they get back home. To write, record and do shows together. See how this works? One thing leads to another, which leads to another. </p>
<p>The third was JESSI PUGH a newcomer to town, BELMONT college student, who I have been working with for a few months now. She is 18 but VERY TALENTED. She writes well, sings well, and is a WONDERFUL PERSON. In addition, she is very attractive, which always helps in today’s music marketplace. A new song we have written, SO OVER BEING UNDERESTIMATED, is a TRIBUTE to FEMALE EMPOWERMENT. Jessi has a great sense of herself and it comes through in that song. </p>
<p>A video of her performing it at a party this past weekend, was posted on FACEBOOK, and by Wed .had received over 3000 views. </p>
<p>The point of all of this is THIS IS HOW IT ALL WORKS. Finding people who help you do what you do, finding their inner selves, writing songs that MEAN SOMETHING TO THEM, and challenging yourself to find what people WANT TO SAY AND OTHERS WANT TO HEAR, </p>
<p>Is the MAIN thing we are trying to do. Do that and other people see the growth and want to be involved. Do that consistently and you have a career. </p>
<p>It is all part of a formula I particularly like: </p>
<p>ACTIVITY leads to PROXIMATY that leads to OPPORTUNITIES. </p>
<p>What that means is that if you put yourself out there, build relationships work with other people on their goals while still helping your own goals, you create opportunities. These can succeed whether it is in Nashville, in home towns, on the road, or wherever people go. And even if they don’t get the big record or publishing deals, they have found things about themselves, they have made steps in the right direction. You extrapolate that in many directions and you have a successful career. And if you DON’T do this, the managers, labels, producers, publishers, agents, DON’T come along. So BUILD YOUR TEAMS NOW! <br>SO thanks to all my participants this week. You make us all look good, and are on the right track! <br>AND THAT’S WHAT I’M TALKING ABOUT!</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/48677112017-09-27T14:53:35-05:002021-09-02T10:37:35-05:00PLAYING THE BLUEBIRD, OR SONGWRITER'S HEAVEN<p>MAB'S MUSINGS <br>PLAYING THE BLUEBIRD, OR "SONGWRITER'S HEAVEN." </p>
<p>I think I have hit a zone with my recent post about playing the BLUEBIRD and so I thought I would put a post on JUST that. For over thirty five years, everyone who has anything to do with songwriting and performing, and specifically Nashville songwriting and performing, have in their sights a goal to "PLAY THE BLUEBIRD CAFE'." <br>I've been fortunate and proud to be involved with the venue since before I moved to town. Auditioning in Feb ,of 1988, before I moved in April of 1988. I've had a love affair with the place from the moment I stepped in it's doors, and it is still a place like no other to be involved in, either from a performer's point of view or an audience point of view. Just no other place has the same vibe. <br>It is to SONGWRITING what the GRAND OLD OPRY is to COUNTRY MUSIC. </p>
<p>One of the continuous questions brought up by songwriters and general people is HOW DO YOU GET INTO THE BIRD? When you are a new writer or even those that have been around for many years, that keeps popping up. It is on "people's bucket list" to play or go. People come from all over the world, stand in line, arrange vacations around it. and writers are drawn to it like the "promised land". It is always packed, always in demand. Shows sell out in five minutes for the week. </p>
<p>So if you are wanting to perform there, there are a few things you need to understand. <br>#1, EVERYBODY WANTS TO PLAY THERE. <br>Being a member of NSAI, who owns and administers the venue is a good positive. But there are a TON of people who want to even just make the audition. 20 plus years ago, my good friend Amy Kurland, the original founder and owner, told me there was a standing list of over 20,000 people who had auditioned and were waiting to play the Sunday night. Only so many Sunday nights. </p>
<p>#2. YOU WORK YOUR WAY UP. <br>Most people start with the OPEN MICS. Now you call the number and get your name on a list. (If this is different, someone let me know. I haven't done that in a long time, well actually never, just people who have been trying have been telling me how it is) <br>Most of the time, you go from the open mic. which is open to anyone, to the SUNDAY NIGHT SHOWCASE. <br>This is where new and up and coming people will play three songs and then have a FEATURE, who is a hit writer or someone known in the community. </p>
<p>#3. ROUNDS. <br>Most everything revolves around ROUNDS This is when four-five writers are in the middle of the room and play AROUND the circle. Doing one song at a time, till it gets back around. Usually about 4-5 songs in a two hour set. <br>The rounds are organized by one person who will most often invite their co-writers, their friends hit writers, known performers, etc. <br>It is also to have a wide selection of entertainers. filling in different slots. Having the young artists, the older experienced writers ,hit writers, some humor oriented sections. They audiences are varied so the music should be. </p>
<p>#4. IT'S NOT ABOUT YOU. <br>Each person is a part of a larger show. Having rounds that have diversity and yet allow everyone to shine in their own slot, is the best thing about it. And when people can sing or play on each other's songs, you have a really fun experience for everyone. </p>
<p>#5. IT'S NOT WHO YOU KNOW. <br>One of the things about Nashville in general is "IT'S NOT WHO YOU KNOW, IT'S ABOUT WHO KNOWS YOU AND HOW THEY KNOW YOU." <br>While any time you have an "inside contact" it is a good thing, most of the time it is how your reputation and your own skill level develops. Some are just not at the level for the BLUEBIRD. having such demands, means the overall caliber of performers is higher. It is something you have to work up to. <br>People who organize the rounds will invite their co-writers, friends, and people that will make the round work best. </p>
<p>So performing in other venues, writing with other people, developing those unending relationships are all essential. </p>
<p>#6. IT'S A VERY TIGHT TIME FRAME. <br>The shows, two a night, one in the evening at 6:00-8:00, one at 9:00-11:00 ish. Early shows are no cover, second ones have a cover charge. And there is always a $7.00 charge of food or drinks. Got to keep the doors open. <br>And the time frame for the early shows mean there is another show coming in right afterward. They "Clear the room" in between shows, so if you play early, you need to get your stuff together and move out. Often have to sell product or take pictures, greet the public in the parking lot. </p>
<p>This is part of the limiting factor. With roughly 14-16 shows a week with 4-5 people each, 20 on the open mic, and nine on the Sunday night show, is roughly around 100 people a week. With THOUSANDS AND THOUSANDS of people wanting to perform, waiting in line, auditioning, trying to work their way in, there is only so much physical space for people to perform. So it keeps it very tight on who gets in. </p>
<p>#7. IT SHOULD BE LOOKED AT AS THE GRAND OLD OPRY OR A BROADWAY SHOW FOR AN ACTOR. <br>It is the place everyone wants to be. The top of the heap of venues. It resonates with the people who came before. There is an electricity that is not found anywhere else. So it has to be respected. People have to be on top of their game. </p>
<p>Basically it is the best you can get if you are a writer. And it lives up to the reputation every time. The staff, bartenders, cooks, bar backs, managers, door people, waitresses and waiters, are trained very well, and get in and out of the crowd, take orders, deliver great service without disturbing the show. (AND THEY ARE SONGWRITERS TOO! SO TIP UP PEOPLE!!!) <br>The food is very good and it is THE place to take your out of town guests. Just have to figure ways to get in! LOL! </p>
<p>Last night was an exemplary round with TIA McGRAFF AND TOMMY PARNAM. Tia is from Canada, and has tha tvery sweet folk approach to her music. Tommy is an established writer in his own right. <br>WOOD NEWTON is hit writer, with number ones like BOBBY SUE, for the OAK RIDGE BOYS, and RIDING WITH PRIVATE MALONE for DAVID BALL. He also is a Grammy Winning producer for folk album of the year, SONGS OF STEPHEN FOSTER. <br>JIM SALES is an established writer and guitar player. He plays a smooth combination of country, jazz and blues, with a very easy delivery. <br>I was there for the edgy, country, blues, and humor. </p>
<p>This is a very good approach to the round. Each person able to sing on each other;s songs, different styles of songs and a show that was very well paced. There was no down time and everyone took the ball as it was handed to them, shone brightly and then passed it on to the next person. When that happens in a well constructed set, it seems like it flies by. It does. </p>
<p>So that is more or less my take on the BLUEBIRD. It is tough to get into, yet amazingly rewarding. I hope everyone gets a chance to visit or perform there. It will be a memory that will last you forever! </p>
<p>MAB</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/48286482017-08-28T12:42:42-05:002017-08-28T12:42:42-05:00Artists, "Why should I listen to Anybody Else?"<p>MAB’S MUSINGS 8-27-17 </p>
<p>“ARTISTS. <br>WHY SHOULD I LISTEN TO ANYBODY ELSE?” </p>
<p>Okay artists, this one is the “other side of the coin” for you guys. I’ve spent an average of 4 nights a week, 5 hours a night, for TWENTY NINE YEARS, listening to music, watching songwriters and artists, doing critiques, performing on shows and most of that was LISTENING TO OTHER PEOPLE. So I kind of know this one. I also know what it is like to BE AN ARTIST and SONGWRITER myself. So trust me on this one. </p>
<p>YOU NEED TO LISTEN TO OTHER WRITERS’S SONGS, AND HOPEFULLY INTERACT WITH THEM TO FURTHER YOUR CAREER. <br>Over the past 10 years, we have seen a precipitous drop off in the early talent of people coming into this town and into this business. The songs all sound the same, just parroting other songs and singers. The subject matter is clichéd’ and redundant, the styles are all cookie cutter, the messages the same, melodies go nowhere. And with more and more artists coming ONTO THE SCENE the competition is even fiercer. Writers and artists feel ENTITLED that because they do something, write songs, put them on a camera phone video and pop them the Internet, they are ENTITILED TO GET FANS, AND MAKE MONEY. <br>NOPE! <br>You first have to create something that MAKE PEOPLE INTERESTED ENOUGH IN YOU TO INVEST THEIR TIME AND MONEY THAT WILL CREATE SALES!!!! Many people forget that word. SALES!!!!!! </p>
<p>So often, artists, who by definition tend to be younger (under 25-30) have limited life experiences. THAT is why they need people who HAVE life experiences. They also need people with a better grasp of craft. There are still ways to write what you want, but having someone to bounce things off of, taking you in a different direction, having different flavors and palettes that you might have yourself, can only help you find different avenues. <br>also it helps INCREASE YOUR AUDIENCE. Performing songs you wrote with someone who can bring all their friends and relatives to your show is a good way to build your fan base. And everyone knows someone you might not know. </p>
<p>Artists, these days tend to cut their noses off to spite their faces. They only want to do WHAT THEY WANT TO DO. <br>But no matter what you do, unless you are AMAZING, (and many times even if you are), you are going to have to build relationships, friendships, teams, and by WRITING songs with some of those people, it increases your visibility and viability. </p>
<p>And here is another “rubber meets the road” analogy. Many times, people who are primarily writers, might have more disposable income, thereby being able to shoulder more of the financial burden of recordings. They get a pitch on their songs with an artist and the artist gets help with the recording process. <br>WIN-WIN right? </p>
<p>There are ups and downs of any situation. Sometimes you find people that don’t work out. People that don’t see eye to eye creatively or personally. <br>Sometimes the songs work out well, but the overall personal relationship doesn’t. </p>
<p>But sometimes they DO WORK OUT. <br>You might MEET other people through someone you work with. That might be the perfect relationship. </p>
<p>And you can always write by yourself. You never have to quit that. This is just about opening up your mind to outside things. And guess what, they might have OTHER songs you really find that fit’s your own perspective. </p>
<p>So it’s always about assessing what YOU do, and trying to include what OTHER PEOPLE DO. </p>
<p>Keep your eyes and ears open. Work with others. And try very hard not to suck. </p>
<p>MAB www.marcalanbarnette.com</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/48286452017-08-28T12:40:16-05:002022-02-17T12:13:01-06:00RECRUITING ARTISTS<p><strong>MAB'S MUSINGS" 8-28-17 </strong></p>
<p><strong>"RECRUITING ARTISTS" </strong></p>
<p><strong>This is for the people who consider themselves primarily "writers' as opposed to "Artist/Writers." In other words, people who are writing for other people to do their songs. There was a time when this was very prevalent, there were “Songwriters” and then “Artists. This blurred in the 60’s with the advent of groups like the BEATLES, who wrote all their own material (except quite a few of existing hit songs, which at that time were STANDARDS.) With the 70’s singer/songwriter era, with James Taylor, Carol King, Harry Chapin, most artists WERE THE WRITERS. In country, the SONGWRITER continued until the early 2000’s, where more and more artists either wrote their own songs or were part of smaller teams and publishers, keeping the entire process INSIDE their writer’s circles. </strong></p>
<p><strong>There are still cuts, but fewer and farther between, and usually the artist has a connection (RELATIONSHIP) with the entity, the hit or established writers, inside publishers, producers, or physically are writers for others, themselves, and are signed to record deals on the strength of having songs recorded by other artists. It is a VERY INSIDE GAME, and if you are not interacting with those companies or artists themselves, you are simply not in the game. </strong></p>
<p><strong>So for someone who is NOT an artist, WHAT TO DO? <br>Well, you keep trying to pitch, you are ALWAYS trying to do that. Having well written songs with a great sounding recording, and building a lot of networking relationships always UPS THE LEVEL OF YOUR ODDS. But if you REALLY want to be participating, you HAVE TO RECRUIT YOUR OWN ARTISTS. </strong></p>
<p><strong>And in this day and age, you will do yourself great favors if you GET THAT ARTISTS INVOLVED IN THE WRITING PROCESS. </strong></p>
<p><strong>Think about it. What if you made the time investment, once a month to visit a local writer’s night, open mic, even karaoke night. Searched the Internet and web sites and find local and regional artists and then SPENT SOME TIME GETTING TO KNOW THOSE PEOPLE. Who are that? What are they doing? What can YOU do to help them? </strong></p>
<p><strong>You have your songs. You have your recordings. What if you also have your own ARTISTS? That allows you to pitch both the song and the artist at the same time. If it gets attention and helps you to a cut, so be it. But having something out there ACTUALLY being performed, beats something sitting on a computer or going to a web site seen by nobody any day. </strong></p>
<p><strong>Some people don’t like CO-WRITING. Fine. You don’t have to. But you also will probably have a lot of songs sitting on your computer doing nothing. And there are things about CO-WRITING, particularly WITH ARTIST’S, that will teach you something about yourself. Dealing with actual people. Finding ways to say things you might not have thought of by yourself. Doing types of songs you didn’t think you were capable of. </strong></p>
<p><strong>And if you have MULTIPLE songs with MULTIPLE artists, you UP THE LEVEL OF YOUR ODDS. <br>ACTIVITY=PROXIMATY=OPPORTUNITIES. Works every time it’s tried. </strong></p>
<p><strong>You have to challenge yourself to get inside someone’s head and see things from their point of view. To say what you want to say “in their voice.” </strong></p>
<p><strong>Now be aware, it is not as easy as just finding an artist. Artists today, don’t want people to put words in their mouths. They want to be in the process. They have their own emotions, realities, experiences. They want to sing about THAT, not someone ELSE’S emotions, realities, experiences. <br>You will find people who personalities don’t gibe. Who don’t get along well with others. Who simply don’t want to be a part of what you are doing. Fine. That is LIFE. </strong></p>
<p><strong>But there is nothing like hitting that “sweet spot” of a song, and the person you are working with LOVES IT. Wants to perform it EVERYWHERE. Records it. Puts it on their web site and SPOTIFY, I TUNES, PANDORA sites. <br>It has a cumulative effect. And today, you really don’t have a choice. Part of the modern era of music. Now go find some artists. </strong></p>
<p><strong>MAB www.marcalanbarnette.com</strong></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/46999222017-05-07T13:49:43-05:002017-05-07T13:49:43-05:00"I'VE GOT SONGS , WHAT NEXT"<b>One of the things that pretty much consistently I get is "I've been writing songs, now what do I do with them?" Many people "think" they are writing songs, only to find out they have only poetry (lyrics only) or have songs that totally don't fit a format, don't have any allies within the industry, are too long, negative, personal statements, out of date or time, or just plain not good enough to go forward. Most people that have only written a few songs don't know this, and even though their families, significant others, friends, tell them "that is as good as anything on the radio," that is usually just an opinion. Takes a lot more than that to move up the ladder. Most people are trying to get to the following steps. Here are some of the road blocks you encounter:<br><br>SOMEONE TO HEAR YOUR SONGS.<br>Get evaulations. Join songwriter groups like NSAI (Nashville Songwriters Association International) join writer's web sites. Hire private teachers to do critiques. Make a trip to a music center. <br><br>ARTISTS.<br>This is the first thing you have to realize. If you are NOT an artist, you are going to have to have one. Songs are not disembodied elements just floating around and played on the radio. They have to have ARTISTS, who sing them, record them, are attached to them. So you have got to get songs to ARTISTS. And this can be much harder than it seems. <br>ARTISTS in this day and age, write a majority of their own music. They have THEIR own emotions, THEIR own experiences, THEIR own relationships. They don't really care for OTHER PEOPLE'S emotions, experiences, relationships. It is a "ME, ME, ME" world, with people putting every detail of their lives on the Internet, and absorbing themselves into their own experiences. So finding a way to PAIR UP with artists is a key. That requires BUILDING PERSONAL RELATIONSHIPS.<br>Many artists are not as good writers as they are artists. They might spend more time on being artists. They do NEED songs, but many times their own egos cloud their judgment. <br><br>ONCE THEY ARE SIGNED to a record label or even publishing companies, they are usually paired up with experienced or hit writers to write or pitch songs to them. If they are with major labels and companies those are the top writers in the business. Major companies have HUNDREDS AND THOUSANDS OR MILLIONS OF SONGS so getting to an established artist is to say the least, very difficult if not impossible.<br><br>SOLUTION. <br>Finding new and up coming artists. Building relationships. Becoming FRIENDS, and ACTUAL SUPPORTERS of the artists. Helping THEM achieve their goals. Hopefully with YOUR SONGS.<br><br>APPROACH:<br>Do a GOOGLE SEARCH for "SONGWRITING" in your area. Go to coffee houses, music stores, bullitein boards, pubs, clubs, bars, places where music is shared.Even on Karaoke nights, you might find singers looking for allies.<br><br>Join SONGWRITER RELATED WEB SITES. <br>Just plain Folks, BMI's Songwriter 101 site, MUSIC STARTS HERE, SONGRAMP.NET, there are many. Usually one will lead to others.<br><br>PUBLISHERS:<br>Publishers now have split into two camps. Fee for service, "song pluggers" or "song services" That charge to pitch songs or place songs.<br>OR<br>LEGITIMATE publishers who promote writers and songs.</b><br><br> Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/46822442017-04-23T16:24:52-05:002022-01-01T09:48:00-06:00ROUND AND ROUND AND ROUND (Rules for writers rounds)<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>
<p>"MAB'S MUSINGS" </p>
<p>AND IT GOES ROUND AND ROUND AND ROUND <br>THE ETIQUETTE on songwriter’s rounds." </p>
<p>Over the past 20 years or so, we have seen more and more of the "Nashville style" songwriter rounds when it comes to songwriter shows. This typically is three-four writer/artists on stage at the same time, each playing one song at a time, going "AROUND" until 3, 4, or five "rounds" have been completed. Started at the BLUEBIRD in the 90's, it was a way to showcase multiple artists, have them do harmonies, lend instrumentation, and present songs in a listening room environment. It is now the standard for songwriter venues. Brings more people in and helps people get comfortable representing (performing) their songs, without the pressure of a solo performance. It can be a LOT of fun, but there are some rules of etiquette to follow so you make a good first impression and make strong musical friends. </p>
<p>Here are a few strong suggestions to make your round the best it can be: </p>
<p>#1 CHECK IN WITH THE HOST AT LEAST 30 MINUTES BEFORE YOU ARE SCHEDULED TO PLAY <br>Make sure the host, or whoever booked you as part of their round, as well as your team members, and LET THEM KNOW YOU ARE THERE. Don't just expect them to know and wait till two minutes before you go onstage. Remember, it is an honor to be asked to perform and invited to play in a round. BE AWARE OF OTHER PEOPLE! </p>
<p>#2 YOU ARE PART OF A SHOW <br>We all want to put our best foot forward. You have to watch your TIME on songs, including too much time talking (don’t give a 10 minute intro for a 3 minute song). You have a strict time limit and the extra time you spend talking is cutting into someone else's time (and yours). Also you might be setting the NEXT rounds behind time. TIME YOUR SONGS!!!! Know when you are up. </p>
<p>#3 BE IN TUNE BEFORE YOU GO ON <br>Make sure you tune up and know your time slot! You don’t want to be the one that the host has to keep announcing to get on stage. If you have special equipment (e.g. keyboards, pedals, charts, extra players) GET ON FIRST and BE SET UP! Have everything unpacked, in tune and ready to go. Set up time cuts into your round time. You don’t get extra time to set up. </p>
<p>#4 PERFORMING ORDER <br>This is a REALLY big one. </p>
<p>Going at the end of the round is a pecking order to be worked up to. If you are the junior writer, newer to the area or invited to join in someone else’s round, you do not go last. You might be nervous about going first, but it isn’t about that. The more senior or hit writers close out the round. The writer who has asked you to play in THEIR round, has the honor of closing out the show. They will also introduce the guests in their rounds. It’s important for you to understand this one so you make a good and respectful impression and continue to be asked to join in on rounds. </p>
<p>#5. PRACTICE YOUR ONSTAGE BANTER / TALK, TUNING, ETC. <br>Rounds typically last between ½ to 1 ½ hours, allowing 3-4 songs each. Time your songs AND your intros. If you talk too long, it cuts into everyone’s time. Your total time per song, which includes set up and the song, should be no more than FIVE MINUTES. Skip instrumental solos (or use sparingly if it is critical to the song), skip long intros and turn-arounds. DON'T BORE US, GET TO THE CHORUS! If you do it right, people will want to hear more and know more about you later. </p>
<p>During your round, tuning should be done without distracting from the others playing. I recommend and use a INLINE TUNER that allows the guitar to be muted from the system and stay in tune. Be courteous and don’t distract while others are performing in your round. </p>
<p>#6. DON'T DISTRACT! <br>Talking while someone else is performing, tuning too loud, getting drinks, getting up and off stage, are distracting to the overall show. Believe it or not, I have seen someone on a CELL PHONE while a show was going on. DON'T DO THAT!!!! </p>
<p>EXCESSIVE "NOODLING!!!" Playing guitar or other solos when you really don't know someone else's song, singing BAD HARMONIES, or whatever without being asked can be a big distraction and make you look bad. It also can throw off the tempo for the other performer. Basically, if you don’t know the other songwriter and / or they haven’t asked you to be part of their song, don’t do it. </p>
<p>#7 ALWAYS BE HUMBLE AND KIND <br>If someone is nice enough and believes in you enough to invite you to play in a round, BE NICE! It is truly an honor. Thank them for the opportunity. Because that's just what it is. This is an opportunity test out your material and your abilities with other artists in front of a variety of people. </p>
<p>#8 PUTTING YOUR OWN ROUND TOGETHER <br>Start keeping a list of people you might want to invite to play in your own rounds when you get to that point. This list should include people you’ve played with in other rounds, Co-writers, people you admire, hit writers, artists, etc. </p>
<p>Don’t be offended if you ask someone and they decline the offer. Sometimes people are not comfortable playing with other people, they have their own group they play with, etc. Also, be aware that some writers have obligations with publishers or other business reasons they won’t play. Be respectful and thank them for considering. </p>
<p>(MAB TIP!): If you invite your co-writers, and they do songs you are a writer on, you can go from 3 or 4 songs to 5, 6 or more. And if you perform regularly, you can get into harmonies, solos, featuring songs that might be from the opposite gender, duets, etc. </p>
<p>#9 DON'T GHERM <br>Nashville is ground zero for songwriters. You will find yourself surrounded by hit songwriters at some point. It’s also not unusual to find yourself playing in a round with a hit writer at some time. Resist the temptation to “gherm” them. This means to not attach yourself to them by prematurely asking them to write or play in a round…or giving them a CD. It’s best to not put them in an uncomfortable position or embarrass yourself. Again, there may be business / legal reasons they cannot accept certain invitations. It is acceptable to complement them (always welcome) and to offer your business card. <br>BE RESPECTFUL! </p>
<p>#1. ALWAYS KEEP YOUR MATERIAL FRESH <br>We can all fall into a rut with our songs and doing them the same way every time and in the same order. If you play out a lot, you’ll start seeing some of the same people out. It’s a critical balance of knowing it is always opening night for someone and introducing new material. You’ll find some songs will be requested, which is a huge complement! Know your songs so you can avoid using lyric sheets and can maintain eye contact with your audience. You can also use this time to try performing your songs a little differently. </p>
<p>A round can be a great way to get out there. But don't waste it. It is always someone's first time to hear you. <br>TRY NOT TO SUCK!!!! </p>
<p>MAB</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/45737112017-02-02T12:13:09-06:002017-02-02T12:13:09-06:00ONE CHANCE TO MAKE A BAD FIRST IMPRESSION<p> <span class="font_regular"><strong> ONE CHANCE TO MAKE A BAD FIRST IMPRESSIONS </strong></span><br> <strong><span class="font_small"> BEING PREPARED FOR NASHVILLE STYLE WRITERS NIGHTS,OPEN MICS, AND AUDITIONS By MAB </span></strong><br> <br><span class="font_regular"><strong>In the current era of music, one of the most common events for performer and writer wanna be’s are OPEN STAGES, OPEN MICS, SONGWRITER’S NIGHTS OR SHOWCASES, as well as the dreaded AUDITION process, for everything from reality shows, contests, and the first and continuous steps of a performing music career. And you get ONE CHANCE TO MAKE A BAD FIRST IMPRESSION. So best to prepare. Just like a sports team getting ready to go out on the field, PRACTICE, PRACTICE, PRACTICE MAKES PERFECT. <br> <br>#1. KNOW YOUR MATERIAL. <br>Practicing everything from your vocals, instrumentals, even your comments before, during and AFTER a performance is important. LEARN YOUR SONGS. While you can use lyric sheets in some instances, like new songs, you should be able to do your songs, have passion and feel. Lyric sheets take away from that. But if you must use a music stand, angle it down so it has the least amount of blockage from the audience point of view. Think about your lines, what you are saying. Live it. <br> <br>#2. THREE TIMES A CHARM. <br>Going through songs THREE times, one with the lyrics close, then one with them a little farther from you, then one without the lyric sheets, will help you MENTALLY MEMORIZE the lyrics. Do it repeatedly three times and new song, rinse, lather, repeat. <br> <br>#3. PLAY WITH DYNAMICS. <br>If you are a guitar player, vary your strum. Come down a bit volume wise in the verses, play a little louder in the choruses. Playing with a PICK helps with the percussive effect of a drum and the rhythm allows people to nod along. Keyboard players can “BLOCK” chords, and drive with the left (bass hand) on rhythm. Keeping the arpeggios to a minimum helps in this respect. <br> <br>#4. WATCH THE “B” WORD. <br>BALLADS are the most common songs done. They are slower, often laborious, and when you have 80% slow songs, it can make a night A DRUDGERY. They are easier to play and more emotional. Which is fine, until there are sixty- five of them before you play. Then they start running together. So having a BIT OF TEMPO, particularly in your choruses, (POWER BALLADS) help drive even a slow song along. Again, playing with PASSION is essential. ONE ballad for EVERY THREE SONGS. <br> <br>#5. BE ON TIME, IN TUNE, AND IN FOCUS <br>We have had a big problem in the past few years of people showing up five minutes before they play, play their songs, and leave. This is rude and self-defeating. WE are a community and if you want others to support YOU, you BETTER SUPPORT THEM. Getting to a show thirty minutes to an hour ahead of time and staying thirty minutes to an hour after is most desired. Getting to know your fellow performers and hearing what THEY do, is a way to make allies, co-writers, friends of life. And you are going to need ALL YOU CAN GET! <br>They make TUNERS VERY AFFORDABLE. Or borrow one. Be in tune BEFORE you go onstage. Very little as someone who eats up time, by doing the Chinese song “TUNE ING” There are approximately 25-30 writers PER event now. Sometimes over 60. Those are all people wanting to be HEARD. The longer each person takes, the less time, less audience there are. <br> <br>#6. DON’T MAKE SPEECHES. <br>Until you are KNOWN, NO ONE really cares about how you wrote your song about your Mother’s Hamster from Nebraska. (no offense to Hamsters). You should say who you are, where you are from, set your song up. But KEEP it limited. LET YOUR MUSIC DO YOUR TALKING. DON’T BORE US, GET TO THE CHORUS!! The more you talk, the more your AUDIENCE will talk. <br>People have around an 8 second attention span, so if you want them to tune you out, just talk away. Your entire presentation per song should be no more than 5-6 minutes. If you can’t get it in that time, you need an editor! <br> <br>#7. GET OFF THE STAGE. <br>If you are a keyboard player, having some people to give you a hand getting off the stage helps in a show. Guitar players, don’t bring too many extraneous things with you. You don’t need amps, pedals, bells and whistles for writers show. Keep it simple. <br> <br>#8. BRING SOME PEOPLE. <br>The way these places stay in business is MONEY. You need to bring 1-4 people with you to support you and others. To eat and drink. To support the craft and the people who SUPPORT YOU. If you can’t mobilize a few people to come out with you, how do you think you are going to do with publishers, record deals or getting rebooked? The days of “everyone will come” went away when we got 30 million writers and artists out there and 1 BILLION songs a month on the Internet. <br> <br> <br> <br> <br> <br> <br> <br> <br>#9. WATCH YOUR SUBJECT MATTER. <br>Far from anyone wanting to tell anyone what or how to write. Taking on “issue oriented” or “challenging subject matter” can be a tough sell. People tend not to want to be preached or vented at in a bar. As politically divided as this country is, you are taking a real chance on alienating half your audience right off the bat. And the “practical effect is usually you will find people who have the same idea or song, trying to get YOU to listen to theirs, or take THEIR cd. Or to start a fight. All depends on how you want to approach a career. You have a right to say whatever you want. But NO RIGHT TO BE HEARD! The more confrontational, the more people tend to tune out. There is a time and place for that, but your first time out or trying to build your own network, might not be that time. Doesn’t mean everyone has to be SWEET, UP TEMPO AND POSITIVE. But when you hear a constant stream of “ACSS” (Angry Chick Singer Syndrome) “DDSS” (Depressed Dude Singer Syndrome) “MY ISSUE’S BIGGER THAN YOUR ISSUE”, you have a tendency to use those songs as a time to go to the bathroom, check your emails, take phone calls or leave. <br> <br>#10. BE POLITE <br>Don Schlitz once told me “You hear the word POLITICS all the time in this business. But there is another word with the same root. POLITE. If you will just be polite you will get where you need to go. TREAT OTHERS AS YOU WANT TO BE TREATED. Common sense. <br> <br>The most important thing to remember is to think about HOW YOUR AUDIENCE VIEWS YOU. Practice with a camera phone sometimes and videotape your performance. Watch YOU TUBE for other people’s performances and see how they do well and not so well. Keep your audience in mind. What THEY would like to hear. What THEY would like to see. <br> <br>“Good luck and try not to suck!”- MAB </strong></span><br> <br><span class="font_small"><strong>Marc-Alan Barnette, or MAB, is a “FORCE OF NATURE” when it comes to a singer/songwriter/teacher/mentor. Songs recorded by GRAMMY WINNER SHELBY LYNNE, country stars DAVID BALL,JOHN BERRY and FRANKIE BALLARD. His mentoring skills have helped the careers of WARNER BROTHERS RECORDING ARTIST FRANKIE BALLARD, “THE VOICE” finalist MEGAN LINSEY and “AMERICA’S GOT TALENT ALICIA MICHILLI.” He hosts his “Songwriter and artist tours of Nashville does workshops, seminars and shows for Nashville Songwriters Association International and many others, is involved with MUSIC STARTS HERE and INDIE CONNECT, a regular performer on THE FRANK BROWN SONGWRITERS FESTIVAL, SMOKEY MOUNTAIN SONGWRITERS FESTIVAL AND MISSISSIPPI SONGWRITERS FESTIVAL AND OTHERS. <br>As one industry person, has said, “IT IS NOT NECESSARY TO KNOW EVEYRONE IN NASHVILLE. It is only necessary to know ONE PERSON WHO KNOWS EVERYONE IN NASHVILLE. That person is MARC-ALAN BARNETTE.” <br>MBarne4908@aol.com <br>www.marcalanbarnette.com</strong></span></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/45430762017-01-09T14:58:52-06:002017-01-09T17:14:47-06:00SOMETIMES YOU JUST GOTTA DO IT!!!<p> SOMETIMES YOU JUST “GOTTA DO IT” By MAB <br> <br>Question:” Do you know the difference between a six week old puppy and a songwriter/artist/anyone trying to be involved in this business?” <br>Answer: “Eventually the puppy stops whining.” <br> <br>WHINING. That is what we DO! (Ought to be a Geico commercial.). We make more excuses than Trump has detractors. We make a million reasons we can’t do something. Writers: “ I can’t finish songs…I don’t want to write QUANTITY, just QUALITY!”, I can’t find a writers night, I can’t find co-writers, I can’t find anyone to talk about music with, …”artists, “I can’t find any place to play, they don’t pay anything, they only want cover songs, nobody will let you play original songs…..” <br>Good Lord it is like that old Saturday night live skit, “THE WHINERS!!!!!” Awwwwwwww!!!!!!!!!! <br> <br>Well here is the little gentle “slap on the…A….I mean.. face…” MAN (AND WOMAN) UP!!!!! No one forced you to try and do this. No one twisted your arm. YOU wanted to create. YOU wanted people to LISTEN TO YOU….YOU wanted to spend the money for that demo, that trip, that conference. So GET OVER IT AND GET TO IT. <br> <br>You don’t have any choice. If you have been given talents, or at least the drive to have talents, you have the <br>RESPONSIBILITY TO MAKE THOSE TALENTS RELEVENT. So what to do? <br> <br>#1. BUILD YOUR OWN COMMUNITY. <br>Find a place in your area where writers and artists congregate. Might be a music store, a coffee house, a writers night or open mic, a community center, a guitar pull (where you have to PULL the guitar out of someone else’s hand so you can play) <br>Help people promote and be a part of that. <br>Do pot luck dinners, house concerts, or meetings in your home. <br>Help sponsor an event or workshop. <br> <br>#2. GET SOME PROFESSIONAL HELP. <br>Is there a local recording studio owner who might speak to a small gathering? A local entertainment writer or critic? A music store or venue owner who might have an interest in talking to like-minded people? Has anyone won or participated in a major song or talent contest? Is there a local top band or artist who might give a speech or informal talk? <br> <br>#3. HAVE REGULAR EVENTS, WORKSHOPS, SHOWS. <br>Find someone you like and see if they will come speak to your group from Nashville, New York, LA. Many do their own workshops, and you might be able to get some enormously successful hit writers to your area. You might HAVE a local writer who has some experience, cuts, hits. Do some research. <br> <br>#4. MAKE A TRIP TO A MUSIC CENTER. <br>There are three main ones in the US. New York, Los Angeles, Nashville. But there are also tons of satellites that have had musical success over the years. Memphis, Seattle, Atlanta, Cleveland, Cincinnati, New Orleans, Chicago, Macon, St. Louis, Muscle Shoals, and countless other places that have had brushes with fame and success in the musical history of this country. And many other countries have similar places, Toronto, London, Paris, Berlin, etc. there are many all over the world. Up to you to research where YOU fit in. But GO. <br> <br>#5. SEE WHAT THOSE SCENES ARE ABOUT. <br>Go to events in these cities. There are festivals, concerts, writers shows, open mics, local and regional, city wide events. Some you can submit to participate in. Some you have to just come visit. Nashville’s TIN PAN SOUTH is one of the best examples. But there are also FESTIVALS everywhere. The FRANK BROWN INTERNATIONAL SONGWRITERS FESTIVAL, KEY WEST SONGWRITERS FESTIVAL, DURANGO SONGWRITERS FESTIVAL, MISSISSIPPI SONGWRITERS FESTIVAL, SMOKEY MOUNTAINS SONGWRITERS FESTIVAL. They are all over the place and growing all the time. <br> <br>#6. JOIN AN ONLINE COMMUNITY. <br>Places like MUSIC STARTS HERE.COM, SONGRAMP.NET, JUST PLAIN FOLKS, SONGWRITER 101, NASHVILLE SONGWRITERS ASSOCIATION, BMI, ASCAP, SESAC, etc. all have some form of Internet presence. Research them and join as many as you can. Most people belong to many, and one will lead you to another. <br>Get busy. MAKE MEMORIES, NOT EXCUSES. <br>MAB www.marcalanbarnette.com</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/45383322017-01-05T11:13:18-06:002017-10-21T11:21:28-05:00Where Have All the Cuts Gone<p><strong>WHERE HAVE ALL THE CUTS GONE? <br> By: MAB <br>A common question among songwriters in today’s marketplace is “WHERE HAVE ALL THE CUTS GONE” (getting songs recorded by major and independent artists.) They run into brick walls everywhere they turn. “NO UNSOLICITED MATERIAL” with every publisher, and song plugger. “NO! NO, NO!’ being told to them when they approach artists, producers, industry people when they try to show up with their CD or draw attention to their web site or download. <br> <br>First of all, It has NEVER been THAT easy to get cuts. There has always been a hierarchy. There is an old adage, “It’s who you know.” This is not really true in the music business. It’s WHO KNOWS YOU AND HOW THEY KNOW YOU.” We all know hundreds of people, hit writers, producers, publishers, label people. We run into each other at number one parties, Holiday events, etc. Just because we share a space at the food table doesn’t mean we can “run a CD over to their office.” <br>There is a pecking order and etiquette. <br> <br>Hit artist, writers, producers, label people, have worked YEARS to build and nurture relationships, to build friendships, and EARNING their place at the table. They have worked their way up, learned the craft, the business, and BUILT lifelong FRIENDSHIPS. All of us move to town, after leaving behind family, friends, financial security, start ALL OVER IN LIFE, and work at it. They start new lives often AFTER OTHER LIVES, careers, friends, relatives. And it is one of the toughest things to do in life. The competition is incredibly fierce, the landscape constantly changes, and everything you’ve built could be brought down by a label or company folding, your contacts losing THEIR deals, in the blink of an eye. <br> <br>Think of your job and life. How long it took you to get there What you had to go through. The hard times spent barely getting by. Now how many of you, would accept someone you don’t know coming up to you and saying? “I don’t like my job, but yours looks like fun. And I don’t want to work like you did to get there. So you don’t mind moving over. Letting me take your contacts, your relationships and make YOUR money do you?” Yet, that is what people on the outside are constantly trying to say. Doesn’t work that way. <br> <br>Why is it so hard? It’s supposed to be. Most people that try to do this are NOT REALLY ANY GOOD. Also they can’t observe the RULES. So many are flakes, unpleasant people, or just not there. If you are really on your game, your reputations will precede you. If not, that will precede you too. <br> <br>In the 2000’s, when the “LAWSUIT LOTTERY” got into high gear, everyone who got a hit song was suddenly sued for copyright infringement by all kinds of people they had never heard of. Now this is a hot bone of contention, among writers. EVERYONE THINKS THEY HAVE HAD SOMETHING STOLEN. The reality is that WE ALL JUST WRITE THE SAME STUFF. My opinion is that most song theft is a myth and most is accidental or subconscious. The only real copyright cases are one major artist suing another and most are over some very strange things, and usually settled out of court. But unknowns sure think that writers and artists sit around scouring the Internet for ideas from people who barely could write their way out of a paper bag. Nonsense. <br>But the industry effect is that they simply quit listening to anybody they didn’t know. <br> <br>The other reason is that artists NOW WRITE THEIR OWN SONGS. Their inner circles, publishers, co-writers, friends, producers publishing companies, provide material. And they start writing at 13-14 years old. Putting their songs down on camera phones, putting them on the Internet. They have THEIR OWN EMOTIONS, STORIES, and EXPERIENCES. They don’t NEED OR WANT people to put words in their mouths. And these artists who come to a music center, LA, New York or Nashville are building relationships (that word again) that start from the beginning. They have people with them through loves, breakups, career and life ups and downs. And they are around for YEARS before anything tangible happens. They are climbing the ladder, learning the ropes. Most wash out. So expecting someone to take songs from someone they don’t know? Pure folly. <br> <br> WHAT TO DO <br>If you are a writer looking to get someone to record your songs, you better GET OUT OF THE LIVING ROOM. You better get support and befriend people in YOUR HOMETOWN. There are artists playing coffee houses, writers shows, open mic nights. They have web sites, but you are going to have to MEET THEM FIRST. If you are not willing to do that, WHY SHOULD THEY BE INTERESTED IN YOU? </strong></p>
<p><strong>While the Internet is a great tool, it will NEVER take the place of face to face meetings. Too many viruses, hacking, identity theft, to rely just upon the Net to do your work for you. And HOW ARE YOU GETOING TO GET KNOWN ON THE NET ALONE? There are ONE BILLION SONGS A MONTH UPLOADED. Thirty to fifty million artists. You Tube uploads SEVENTY FIVE MILES OF CONTENT AN HOUR! How is someone going to find you? Through your “Friends?” (Overestimated numbers on social media that are mostly people just “LIKING” you so you will “LIKE” them back to build their numbers.) </strong></p>
<p><strong>The “STARS OF TOMORROW” are probably in your neighborhood today. The next “The VOICE” contestant. The “NEXT BIG THING.” <br>Sure, there are “pitch and placement” services and they have various degrees of success. For me the more intermediaries you put in the middle of actually KNOWING someone, becoming their good friends and ACTUAL SUPPORTERS, the further away from reality you get. <br>If you want to GET IN THE GAME. Gonna have to GET IN THE GAME. Internet and living room in your pajamas, AIN’T IT! <br> </strong></p>
<p><strong>WHERE HAVE ALL THE CUTS GONE? <br> By: MAB <br>A common question among songwriters in today’s marketplace is “WHERE HAVE ALL THE CUTS GONE” (getting songs recorded by major and independent artists.) They run into brick walls everywhere they turn. “NO UNSOLICITED MATERIAL” with every publisher, and song plugger. “NO! NO, NO!’ being told to them when they approach artists, producers, industry people when they try to show up with their CD or draw attention to their web site or download. <br> <br>First of all, It has NEVER been THAT easy to get cuts. There has always been a hierarchy. There is an old adage, “It’s who you know.” This is not really true in the music business. It’s WHO KNOWS YOU AND HOW THEY KNOW YOU.” We all know hundreds of people, hit writers, producers, publishers, label people. We run into each other at number one parties, Holiday events, etc. Just because we share a space at the food table doesn’t mean we can “run a CD over to their office.” <br>There is a pecking order and etiquette. <br> <br>Hit artist, writers, producers, label people, have worked YEARS to build and nurture relationships, to build friendships, and EARNING their place at the table. They have worked their way up, learned the craft, the business, and BUILT lifelong FRIENDSHIPS. All of us move to town, after leaving behind family, friends, financial security, start ALL OVER IN LIFE, and work at it. They start new lives often AFTER OTHER LIVES, careers, friends, relatives. And it is one of the toughest things to do in life. The competition is incredibly fierce, the landscape constantly changes, and everything you’ve built could be brought down by a label or company folding, your contacts losing THEIR deals, in the blink of an eye. <br> <br>Think of your job and life. How long it took you to get there What you had to go through. The hard times spent barely getting by. Now how many of you, would accept someone you don’t know coming up to you and saying? “I don’t like my job, but yours looks like fun. And I don’t want to work like you did to get there. So you don’t mind moving over. Letting me take your contacts, your relationships and make YOUR money do you?” Yet, that is what people on the outside are constantly trying to say. Doesn’t work that way. <br> <br>Why is it so hard? It’s supposed to be. Most people that try to do this are NOT REALLY ANY GOOD. Also they can’t observe the RULES. So many are flakes, unpleasant people, or just not there. If you are really on your game, your reputations will precede you. If not, that will precede you too. <br> <br>In the 2000’s, when the “LAWSUIT LOTTERY” got into high gear, everyone who got a hit song was suddenly sued for copyright infringement by all kinds of people they had never heard of. Now this is a hot bone of contention, among writers. EVERYONE THINKS THEY HAVE HAD SOMETHING STOLEN. The reality is that WE ALL JUST WRITE THE SAME STUFF. My opinion is that most song theft is a myth and most is accidental or subconscious. The only real copyright cases are one major artist suing another and most are over some very strange things, and usually settled out of court. But unknowns sure think that writers and artists sit around scouring the Internet for ideas from people who barely could write their way out of a paper bag. Nonsense. <br>But the industry effect is that they simply quit listening to anybody they didn’t know. <br> <br>The other reason is that artists NOW WRITE THEIR OWN SONGS. Their inner circles, publishers, co-writers, friends, producers publishing companies, provide material. And they start writing at 13-14 years old. Putting their songs down on camera phones, putting them on the Internet. They have THEIR OWN EMOTIONS, STORIES, and EXPERIENCES. They don’t NEED OR WANT people to put words in their mouths. And these artists who come to a music center, LA, New York or Nashville are building relationships (that word again) that start from the beginning. They have people with them through loves, breakups, career and life ups and downs. And they are around for YEARS before anything tangible happens. They are climbing the ladder, learning the ropes. Most wash out. So expecting someone to take songs from someone they don’t know? Pure folly. <br> <br> WHAT TO DO <br>If you are a writer looking to get someone to record your songs, you better GET OUT OF THE LIVING ROOM. You better got support and befriend people in YOUR HOMETOWN. There are artists playing coffee houses, writers shows, open mic nights. They have web sites, but you are going to have to MEET THEM FIRST. If you are not willing to do that, WHY SHOULD THEY BE INTERESTED IN YOU? </strong></p>
<p><strong>While the Internet is a great tool, it will NEVER take the place of face to face meetings. Too many viruses, hacking, identity theft, to rely just upon the Net to do your work for you. And HOW ARE YOU GETOING TO GET KNOWN ON THE NET ALONE? There are ONE BILLION SONGS A MONTH UPLOADED. Thirty to fifty million artists. You Tube uploads SEVENTY FIVE MILES OF CONTENT AN HOUR! How is someone going to find you? Through your “Friends?” (Overestimated numbers on social media that are mostly people just “LIKING” you so you will “LIKE” them back to build their numbers.) </strong></p>
<p><strong>The “STARS OF TOMORROW” are probably in your neighborhood today. The next “The VOICE” contestant. The “NEXT BIG THING.” <br>Sure, there are “pitch and placement” services and they have various degrees of success. For me the more intermediaries you put in the middle of actually KNOWING someone, becoming their good friends and ACTUAL SUPPORTERS, the further away from reality you get. <br>If you want to GET IN THE GAME. Gonna have to GET IN THE GAME. Internet and living room in your pajamas, AIN’T IT! <br> </strong></p>
<p>MAB</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/45383312017-01-05T11:10:16-06:002017-01-05T11:10:16-06:00Santa, Can I have a Cut for Christmas<p> <strong>SANTA, CAN I HAVE A CUT FOR CHRISTMAS by MAB <br> <br>Every year, kind of like clockwork, people go through their “NEW YEAR’S RESOLUTIONS” and of course with songwriters, it always includes, “THIS IS THE YEAR TO GET MY MAJOR LABEL CUT!” I understand all the “Norman Vincent Pealeism’s” of “The power of Positive thinking, and all, and do understand the propensity to “If I put it OUT THERE in the UNIVERSE it’ll happen. Yeah, I know that one well. Every year when I used to re-sign my publishing deal, we would toast champagne and say ‘THIS IS OUR YEAR…” RIIIIIIIGGGGHHHHTTTTTT…… <br>Unfortunately, when it comes to major label cuts, or anything in the music industry, it doesn’t quite happen that way. It is a VERY INSIDE BUSINESS, and it is NEVER who YOU KNOW. It is WHO KNOWS YOU AND HOW!! And even with that, nothing is guaranteed. <br> <br>While I believe it is a good exercise, it should probably end at that. Getting a major label cut, without being on the “inside”, inside writer’s circles, working with the artists directly, their producers, or their inner teams, that pretty much is not going to happen. And this is not just being dramatic or negative, it is REALITY. <br> <br>When writers or artists are signed to deals, this comes after a LONG process of the publishers or record companies getting to know those writers and artists. They become best friends, big brothers, sisters, a place to live, lending money, etc. It is not just random getting someone off the street. They are THOUROUGHLY VETTED, are watched at how they perform, how motivated they are, what skeletons are in their closets, THEIR SOCIAL NETWORKING HABITS (artists BEWARE, FACEBOOK, TWITTER, YOU TUBE, INSTAGRAM, SNAPCHAT, etc. Will destroy more careers than alcohol or drugs ever did. That political rant you think no one will read or that smoking the bong picture you think no one will ever SEE, WILL BOTH COME BACK TO HAUNT YOU!!!! Think before you text. Just ask Hillary.) <br> <br>Writers form alliances early. And often are working with the artists YEARS before anyone else even knows they are out there. Since the 90’s, most artists have come under the wing of producers, hit writers or even other artists. Just like the JAY Z’S, 50 Cents, and Dr. Dre, all came up under some preceeding rap star, then developed their OWN labels, production companies, etc, to bring on the Beyonce’s, Rhianna’s, etc. now the hit writers develop the new artists coming up, Liz Rose with Taylor Swift, Craig Wiseman with Fla. Ga. Line, Victoria Shaw and Lady A. They are THE inside track. If you are looking for that “major label cut”, that is what YOU have to be with the “unknowns of today, for the stars of tomorrow.” <br> <br>And there is a LOT of money involved. It costs around FOUR MILLION dollars to launch a new artist. That means the companies with the money and the political capital to do so, the major labels, are going to keep as much INSIDE as they can. They have their own publishing companies and high level contacts, and they are not going to just let people cut in line in front of those. <br>Also there is PERSONAL INVOLVEMENT when it comes to writing with artists. They are not going to just let someone “put words into their mouths” any more. They want songs to be about THEIR LIFE EXPERIENCES, THEIR EMOTIONS, THEIR REALATIONSHIPS. <br> <br>And there are some REALLY good artist/writers out there now. Chris Stapleton, Kacee Musgroves, etc. got cuts on OTHER ARTISTS BEFORE they got their own record deals. These days the bar is higher and higher to get attention in the first place. You better be on your game. <br> <br>All is NOT lost. But if you are a writer looking for that cut, an artist trying to get a foothold, you better be finding the stars of tomorrow today. You better be GREAT, not GOOD, and you better do it a LOT. <br>Good luck. MAB</strong></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/45382512017-01-05T10:16:40-06:002017-01-05T10:16:40-06:00CELEBRATE EACH VICTORY<p><strong>CELEBRATE EACH VICTORY! By MAB </strong></p>
<p><strong>Over the past two days I have written on the subject of the difficulty of getting major cuts in this day and age. It is hard even for "inside" writers and publishers to get them and ESPECIALLY hard for independent, non-connected, OUTSIDE writers. There are a LOT of steps, aside from writing the songs themselves, getting them recorded, getting inside people to pay attention, being patient, building and maintaining relationships, all have to be done and have to be done CONSISTANTLY. Rarely are their "lightning strikes" where one song just ignites and the world all falls into place. Happens, but not often, and people win the lottery too. Can't bet your rent or kid's college education on it happening. <br> <br>The reason I have written these is not to paint a "It is all impossible, the business is gone, and you might as well give up" scenario, even though much sounds grim. Actually it is the OPPOSITE. Because being involved in music, has MANY MORE rewards than just getting that big hit that the whole world sings. And I see far too many people overlooking some of those. I use myself as an example. <br> <br>You see, while I think that is ONE GOAL, getting the cut, getting the hit, making money, getting recognition, etc. I look at things much differently. I live my life much differently. You see, I believe there are many smaller, yet equally rewarding victories you can claim. Writing songs that hit the target every time they are played, with people smiling, laughing, singing along, elbowing each other when they hear great lines, coming up and quoting lines, or singing melodies, weeks, months or YEARS after they have heard them. <br>Audience members claiming a song "changed their life, or got them through a terrible time." When you sit across from someone and they say "You're song got me through the death of my daughter..." it all takes on a different tone. </strong></p>
<p><strong>I get to do that. I get to work constantly with people. Writing songs and showing them things they have not seen or been able to do. Getting to subjects and things inside them they could not get out Yesterday writing with a new artist from Chicago, Breezy Love, and writing a song about her hometown. Or a song for her sister's Bat mitzvah. And watching her come back to Nashville with new skills and developing in her voice and performing. </strong></p>
<p><strong>Getting a phone call from a co-writer who wowed a bunch of people in a guitar store in San Francisco with songs we wrote. Getting texts and emails from former clients, who have had songs placed in Television shows like American Pickers, Pawn Stars, and movies. And both these guys being over 60 years old! Who says you can't make waves past the age of 25? </strong></p>
<p><strong>Having a group of people at a club in town, when you are sick, send you a video of the entire club singing your song when you are not there, to make you feel better. Attracting hit writers and people you GREW up with, like Jim Peterik who has written some of the biggest songs in history, EYE OF THE TIGER, HOLD ON LOOSELY that you have performed all your life and considering you a friend and talented enough to do it again. Becoming friends, performers and co-writers with people who have cut your songs like David Ball and John Berry. Being friends and co-writers with hit writers like JIMBEAU HINSON and WOOD NEWTON, and also those “undiscovered gems like SCOTT SOUTHWORTH AND HEINO MOELLER. </strong></p>
<p><strong>Sitting onstage next to people like RANDY BROOKS as he does GRANDMA GOT RUN OVER BY A REINDEER and watch people go crazy when they hear it. And being able to call him a friend. Being able to interact with people you respect, your peers, like Jason Blume, an amazing teacher and writer. Rick Barker, management expert extraordinaire. Being able to hang with Doak Turner, Will Carter, and Adam Melcher and be a part of a great organization like MUSIC STARTS HERE, and Vinny Ribas at Indie Connect. Contributing to Facebook, In Charge, and other periodicals, who ask you to write stuff for their publications. And bringing people to you by doing that. <br> <br>Having people like Lee Rascone Sr., Lee Rascone Jr., and Debi Champion consistently want to book you and put up with your idiocy, and messing up on dates, but keep you coming back. Being a part of the weekly “unemployed songwriters party at LIZARD’S BOBBY’S IDLE HOUR with SAM COOPER’S SAM’S JAMS. People approaching you quoting lines in songs, and reading what you write and take it to heart. Working with amazing talents like Jay Verne and many other players and friends, and an amazing soon to be seen horn band, DANGEROUS DAN AND THE FUNKTOWN HORNS with DAN EIDEM AND JD WIGGINS. </strong></p>
<p><strong>Writing songs; performing songs. Recording songs. TOUCHING LIVES! I've had one amazing run. 12 year rock career. 28 year Nashville career. Been an artist, a writer, producer, teacher, mentor, friend. Great loves in my life, kids, girlfriend, family, many, many close friends and associates. These are things I can claim. Would I like those big cuts and hits? Sure, always a cool thing. Always great to hear a major artist like FRANKIE BALLARD, do things you wrote with him in his stage show. Always good to get the accolades. That is nice. But being able to touch lives in a million ways, either directly or indirectly, that is the REAL DEAL. That is what every writer and artist can do. They can help others and share some great things. And so what if it doesn't make you a household name? There are many other victories you can claim. </strong></p>
<p><strong>Shoot for the moon, work your butt off, stay focused and be a light to others. Don’t' swim in the river of bitterness. Make the place a little better for your having been here. Make em' LOVE YA! Give them PLENTY TO LOVE! Don't quit. Do that consistently, and you'll find yourself in a great place career wise. </strong></p>
<p><strong>Remember: <br>"YOU DON'T CHOOSE MUSIC, CHOOSES YOU!" Don't make it be sorry it chose you. <br> <br>HAPPY NEW YEAR! <br>MAB <br>www.marcalanbarnette.com </strong></p>
<p><strong>CELEBRATE EACH VICTORY! By MAB </strong></p>
<p><strong>Over the past two days I have written on the subject of the difficulty of getting major cuts in this day and age. It is hard even for "inside" writers and publishers to get them and ESPECIALLY hard for independent, non-connected, OUTSIDE writers. There are a LOT of steps, aside from writing the songs themselves, getting them recorded, getting inside people to pay attention, being patient, building and maintaining relationships, all have to be done and have to be done CONSISTANTLY. Rarely are their "lightning strikes" where one song just ignites and the world all falls into place. Happens, but not often, and people win the lottery too. Can't bet your rent or kid's college education on it happening. <br> <br>The reason I have written these is not to paint a "It is all impossible, the business is gone, and you might as well give up" scenario, even though much sounds grim. Actually it is the OPPOSITE. Because being involved in music, has MANY MORE rewards than just getting that big hit that the whole world sings. And I see far too many people overlooking some of those. I use myself as an example. <br> <br>You see, while I think that is ONE GOAL, getting the cut, getting the hit, making money, getting recognition, etc. I look at things much differently. I live my life much differently. You see, I believe there are many smaller, yet equally rewarding victories you can claim. Writing songs that hit the target every time they are played, with people smiling, laughing, singing along, elbowing each other when they hear great lines, coming up and quoting lines, or singing melodies, weeks, months or YEARS after they have heard them. <br>Audience members claiming a song "changed their life, or got them through a terrible time." When you sit across from someone and they say "You're song got me through the death of my daughter..." it all takes on a different tone. </strong></p>
<p><strong>I get to do that. I get to work constantly with people. Writing songs and showing them things they have not seen or been able to do. Getting to subjects and things inside them they could not get out Yesterday writing with a new artist from Chicago, Breezy Love, and writing a song about her hometown. Or a song for her sister's Bat mitzvah. And watching her come back to Nashville with new skills and developing in her voice and performing. </strong></p>
<p><strong>Getting a phone call from a co-writer who wowed a bunch of people in a guitar store in San Francisco with songs we wrote. Getting texts and emails from former clients, who have had songs placed in Television shows like American Pickers, Pawn Stars, and movies. And both these guys being over 60 years old! Who says you can't make waves past the age of 25? </strong></p>
<p><strong>Having a group of people at a club in town, when you are sick, send you a video of the entire club singing your song when you are not there, to make you feel better. Attracting hit writers and people you GREW up with, like Jim Peterik who has written some of the biggest songs in history, EYE OF THE TIGER, HOLD ON LOOSELY that you have performed all your life and considering you a friend and talented enough to do it again. Becoming friends, performers and co-writers with people who have cut your songs like David Ball and John Berry. Being friends and co-writers with hit writers like JIMBEAU HINSON and WOOD NEWTON, and also those “undiscovered gems like SCOTT SOUTHWORTH AND HEINO MOELLER. </strong></p>
<p><strong>Sitting onstage next to people like RANDY BROOKS as he does GRANDMA GOT RUN OVER BY A REINDEER and watch people go crazy when they hear it. And being able to call him a friend. Being able to interact with people you respect, your peers, like Jason Blume, an amazing teacher and writer. Rick Barker, management expert extraordinaire. Being able to hang with Doak Turner, Will Carter, and Adam Melcher and be a part of a great organization like MUSIC STARTS HERE, and Vinny Ribas at Indie Connect. Contributing to Facebook, In Charge, and other periodicals, who ask you to write stuff for their publications. And bringing people to you by doing that. <br> <br>Having people like Lee Rascone Sr., Lee Rascone Jr., and Debi Champion consistently want to book you and put up with your idiocy, and messing up on dates, but keep you coming back. Being a part of the weekly “unemployed songwriters party at LIZARD’S BOBBY’S IDLE HOUR with SAM COOPER’S SAM’S JAMS. People approaching you quoting lines in songs, and reading what you write and take it to heart. Working with amazing talents like Jay Verne and many other players and friends, and an amazing soon to be seen horn band, DANGEROUS DAN AND THE FUNKTOWN HORNS with DAN EIDEM AND JD WIGGINS. </strong></p>
<p><strong>Writing songs; performing songs. Recording songs. TOUCHING LIVES! I've had one amazing run. 12 year rock career. 28 year Nashville career. Been an artist, a writer, producer, teacher, mentor, friend. Great loves in my life, kids, girlfriend, family, many, many close friends and associates. These are things I can claim. Would I like those big cuts and hits? Sure, always a cool thing. Always great to hear a major artist like FRANKIE BALLARD, do things you wrote with him in his stage show. Always good to get the accolades. That is nice. But being able to touch lives in a million ways, either directly or indirectly, that is the REAL DEAL. That is what every writer and artist can do. They can help others and share some great things. And so what if it doesn't make you a household name? There are many other victories you can claim. </strong></p>
<p><strong>Shoot for the moon, work your butt off, stay focused and be a light to others. Don’t' swim in the river of bitterness. Make the place a little better for your having been here. Make em' LOVE YA! Give them PLENTY TO LOVE! Don't quit. Do that consistently, and you'll find yourself in a great place career wise. </strong></p>
<p><strong>Remember: <br>"YOU DON'T CHOOSE MUSIC, CHOOSES YOU!" Don't make it be sorry it chose you. <br> <br>HAPPY NEW YEAR! <br>MAB <br>www.marcalanbarnette.com </strong></p>
<p><strong>CELEBRATE EACH VICTORY! By MAB </strong></p>
<p><strong>Over the past two days I have written on the subject of the difficulty of getting major cuts in this day and age. It is hard even for "inside" writers and publishers to get them and ESPECIALLY hard for independent, non-connected, OUTSIDE writers. There are a LOT of steps, aside from writing the songs themselves, getting them recorded, getting inside people to pay attention, being patient, building and maintaining relationships, all have to be done and have to be done CONSISTANTLY. Rarely are their "lightning strikes" where one song just ignites and the world all falls into place. Happens, but not often, and people win the lottery too. Can't bet your rent or kid's college education on it happening. <br> <br>The reason I have written these is not to paint a "It is all impossible, the business is gone, and you might as well give up" scenario, even though much sounds grim. Actually it is the OPPOSITE. Because being involved in music, has MANY MORE rewards than just getting that big hit that the whole world sings. And I see far too many people overlooking some of those. I use myself as an example. <br> <br>You see, while I think that is ONE GOAL, getting the cut, getting the hit, making money, getting recognition, etc. I look at things much differently. I live my life much differently. You see, I believe there are many smaller, yet equally rewarding victories you can claim. Writing songs that hit the target every time they are played, with people smiling, laughing, singing along, elbowing each other when they hear great lines, coming up and quoting lines, or singing melodies, weeks, months or YEARS after they have heard them. <br>Audience members claiming a song "changed their life, or got them through a terrible time." When you sit across from someone and they say "You're song got me through the death of my daughter..." it all takes on a different tone. </strong></p>
<p><strong>I get to do that. I get to work constantly with people. Writing songs and showing them things they have not seen or been able to do. Getting to subjects and things inside them they could not get out Yesterday writing with a new artist from Chicago, Breezy Love, and writing a song about her hometown. Or a song for her sister's Bat mitzvah. And watching her come back to Nashville with new skills and developing in her voice and performing. </strong></p>
<p><strong>Getting a phone call from a co-writer who wowed a bunch of people in a guitar store in San Francisco with songs we wrote. Getting texts and emails from former clients, who have had songs placed in Television shows like American Pickers, Pawn Stars, and movies. And both these guys being over 60 years old! Who says you can't make waves past the age of 25? </strong></p>
<p><strong>Having a group of people at a club in town, when you are sick, send you a video of the entire club singing your song when you are not there, to make you feel better. Attracting hit writers and people you GREW up with, like Jim Peterik who has written some of the biggest songs in history, EYE OF THE TIGER, HOLD ON LOOSELY that you have performed all your life and considering you a friend and talented enough to do it again. Becoming friends, performers and co-writers with people who have cut your songs like David Ball and John Berry. Being friends and co-writers with hit writers like JIMBEAU HINSON and WOOD NEWTON, and also those “undiscovered gems like SCOTT SOUTHWORTH AND HEINO MOELLER. </strong></p>
<p><strong>Sitting onstage next to people like RANDY BROOKS as he does GRANDMA GOT RUN OVER BY A REINDEER and watch people go crazy when they hear it. And being able to call him a friend. Being able to interact with people you respect, your peers, like Jason Blume, an amazing teacher and writer. Rick Barker, management expert extraordinaire. Being able to hang with Doak Turner, Will Carter, and Adam Melcher and be a part of a great organization like MUSIC STARTS HERE, and Vinny Ribas at Indie Connect. Contributing to Facebook, In Charge, and other periodicals, who ask you to write stuff for their publications. And bringing people to you by doing that. <br> <br>Having people like Lee Rascone Sr., Lee Rascone Jr., and Debi Champion consistently want to book you and put up with your idiocy, and messing up on dates, but keep you coming back. Being a part of the weekly “unemployed songwriters party at LIZARD’S BOBBY’S IDLE HOUR with SAM COOPER’S SAM’S JAMS. People approaching you quoting lines in songs, and reading what you write and take it to heart. Working with amazing talents like Jay Verne and many other players and friends, and an amazing soon to be seen horn band, DANGEROUS DAN AND THE FUNKTOWN HORNS with DAN EIDEM AND JD WIGGINS. </strong></p>
<p><strong>Writing songs; performing songs. Recording songs. TOUCHING LIVES! I've had one amazing run. 12 year rock career. 28 year Nashville career. Been an artist, a writer, producer, teacher, mentor, friend. Great loves in my life, kids, girlfriend, family, many, many close friends and associates. These are things I can claim. Would I like those big cuts and hits? Sure, always a cool thing. Always great to hear a major artist like FRANKIE BALLARD, do things you wrote with him in his stage show. Always good to get the accolades. That is nice. But being able to touch lives in a million ways, either directly or indirectly, that is the REAL DEAL. That is what every writer and artist can do. They can help others and share some great things. And so what if it doesn't make you a household name? There are many other victories you can claim. </strong></p>
<p><strong>Shoot for the moon, work your butt off, stay focused and be a light to others. Don’t' swim in the river of bitterness. Make the place a little better for your having been here. Make em' LOVE YA! Give them PLENTY TO LOVE! Don't quit. Do that consistently, and you'll find yourself in a great place career wise. </strong></p>
<p><strong>Remember: <br>"YOU DON'T CHOOSE MUSIC, CHOOSES YOU!" Don't make it be sorry it chose you. <br> <br>HAPPY NEW YEAR! <br>MAB <br>www.marcalanbarnette.com </strong></p>
<p> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/42377242016-06-19T08:11:15-05:002016-06-19T08:11:15-05:00THANKS DAD!<p>THANKS DAD <br>The “Dad” role in a music career. <br>By Marc-Alan Barnette <br> <br>On Father’s Day, 2016, I’d like to send a “shout out” to all those Fathers, step Fathers, Foster Fathers, Grandfathers, Uncles, or just “Father Figures” that play such a huge role in people who do and try to do music. <br> <br>I was lucky. My Dad, Grady Ross Barnette, (or “GRB”) as we called him, was incredibly supportive in my formative, and even current career. He had been a singer himself in my early years, the late 50’s and early 60’s, as a Gospel Quartet singer, singing with his own group, the “RHYTHM MASTERS” and later sitting in with many, including the original OAK RIDGE BOYS, leading my friend Rusty Golden to call him “The Pete Best of the Oak’s” by being replaced by Rusty’s Dad, Bill Golden. Was a great move on their part. <br> <br>My Dad always loved music, and lived vicariously through me. We, along with another great Father, RON MUIR, wrote my first cut, “THAT’S WHERE IT HURTS” that was recorded by SHELBY LYNNE on her SUNRISE album, and featured in the WILLIE NELSON/KRIS KRISTOFFERSON CBS TV Movie, “ANOTHER PAIR OF ACES”. For me, it was one of my three thousand plus songs, but the only one he wrote. And he used to say “I don’t know what’s so hard about writing songs.” <br> <br>But he also lived in Nashville for a while, supported me through our collector car business, always provided a place for us to rehearse, helped with money for recordings, those extra travel expenses, instruments, once kicking in to sponsor a battle of the bands, and even once getting a club for us to play for a short while. He was also a great businessman which was why we were only in the club FOR A SHORT WHILE. </p>
<p>But he was always there. My favorite advice was always “Find what you love to do, then figure out how to make it pay you.” He always did that and passed it on to me. I now pass it on to my kids, Logan and Taelor. <br> <br>But dealing as I do with Fathers who try to help their kids find their way by teaching them elements of writing, business, driving them on auditions, helping in the shows, paying those endless bills, giving the support when things don’t do well, and waiting in the wings when they do, and those people stride to the podium accepting their huge awards, turn to the cameras before millions of people and mouth the words, “THANKS MOM!” <br> <br>To all you Men, THANKS DAD!!!! We love and appreciate you!!!! <br><br>MAB</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/42083162016-06-02T10:37:53-05:002021-01-19T00:54:16-06:00REMOVING THE "DUHS"<p><strong> REMOVING THE “DUHS” <br><br> In the modern age of music, it can get very complicated. Trying to stay abreast of constantly shifting technology, dealing with enormous competition, trying to get paid anything in the era of “free music”, presents enormous challenges. It can make the head swim. But whether you are trying to create something for your own friends and family, on your social media, or just to play in a living room, trying to create a local presence in your hometown and area, or working your way up for a “shot at the brass ring”, it usually comes down to four distinct areas. And if you look at it logically, it can be pretty simple. Most of these are “<em><span class="font_large">DUHS”.</span></em> You need to remove those. <br>THE FOUR SECTIONS OF MUSIC: <br> <br>#1. CREATION OF THE SONG. <br>You want to have songs, either that you write, collaborate on, or discover for yourself, that stand out, that make people want to hear them over and over again, and tell other people about them. “DUH!!!!” <br>This starts with a melody and lyric line. They need to be REPETITIVE, yet not REDUNDANT. <br> Repetitive can reinforce the hook and central elements of the song, REDUNDANT can just be boring. <br>While many songs walk a fine line, it is best to keep the lyrics active, be responsive to your audience,<br>where they can sing or dance along. <br>Making the audience feel a connection to the song, like “you are writing THEIR lives.” <br>Having a hook that is MEMORABLE. Having a hook or chorus that is SINGABLE. Having a story that is RELATABLE. <br>Having a melody with dynamics, musical SECTIONS, becoming an ‘EARWORM” that stays with people all the time. <br><em><span class="font_large">"DUH!" </span></em><br> <br>#2. PRESENTATION OF THE SONG (Live or recorded) <br>LIVE presentation is an art unto itself. And in an age of “everyone is a writer and singer” it is even more important to have a polished, personable style. Being able to ENNUNCIATE words, so that people understand what you are saying. Not overwhelming the lyrics with music (unless it is dance or musically focused), having SECTIONS of a song, a little less volume in verses, more dynamics and infectious in choruses. Being identifiable so that people remember you. Standing out on a writer’s night or open mic. Talent audition. Small intimate shows, huge showcases, or “playing to tables and chairs, you always need to be rehearsed, professional, personable. You are a politician. “VOTE FOR ME. VOTE FOR MY SONG.” <br>Everything is presentation, presentation is everything. We are in a visual social media now. Face book, Reverb nation. </strong></p>
<p><strong> I Tunes, You Tube, and endless streaming and Internet based sites. The higher the level a “pitch”, the more complete the recording needs to be. Putting an amateur, poorly lighted or sounding recording on YOU TUBE, can sometimes be worse than having nothing. Again, you never know who is listening. The same on audio, with songs that could potentially be used in television, film and radio, we now do more complete recordings. The days of just doing a “demo” (demonstration) on a song are fading out as the more applications for songs grow. Don’t spend a fortune, but do realize that you have only one chance to make a bad first impression. Again, you never know who is tuning in. <br><em><span class="font_large">"DUH!" </span></em><br> <br>#3. NETWORKING <br>The magic word of “Networking” most of the time just means making friends. A huge amount is done online, but still where the ‘rubber hits the road” in terms of a writer, artist, is “pressing the flesh”. Getting into local songwriter’s shows and nights, “open mics”, are a great starting place to find like minded people. Assembling your own “team’ or circle of friends, for co-writing, co-promotion, sharing the work, help in publicizing, etc. For people who are primarily’ writers’, as opposed to artists, they need to find people who are extensions of them on their songs. Being able to “link up” with other people to build fan base, a crowd in local performances, social network help. All of this are done by creating a LIVE face to face relationship with the audience. <br>Making more people like you than dislike you is the key. <br><em><span class="font_large">“DUH!” </span></em></strong><br><br><strong>#4. BUSINESS </strong><br><strong>In the modern era of music, “Business’ can take many forms. As always, making money at anything is business. With less and less money being paid for songs themselves, we are now shifting to “artist branding.” The sale of merchandise, endorsements, sponsorships, etc, in addition to live gigs, sales of physical CD’s or legal downloads, are all part of “Business.” But another part of “business” is creating a presence. Being invited to higher and higher level shows, building fan base, increasing your viability, reputation with peers, advancing in the realm of publishers, managers, venues, agents, Performance rights organizations, building your own BRAND, are all parts of business. Doing one thing a day for your career can help as well as many other things. Perception is reality. Make them know you. Make them LOVE YOU.<br>Make them REMEMBER YOU.<br><span class="font_large"><em>"DUH!!!!"</em></span></strong></p>
<p> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/41985462016-05-26T16:36:46-05:002021-03-05T07:41:43-06:00THE AGE OF ENTITLEMENT<p style="text-align: center;">THE AGE OF ENTITLEMENT<br>May 26, 2016 </p>
<p> <br>Something I have always noticed about new writers and artists as they make their pilgrimages to Twang Town is that they ALL FEEL LIKE THEY HAVE BEEN DRIVEN TO DO THIS! And there is validity in that. Anyone who indulges in the creative arts, and probably anything, has to feel “compelled” to do it. Songwriting and music are among the “highest callings” according to most who do it. <br> <br>But over the past 5-8 years, there has been an even bigger wrinkle in that many feel “ENTITLED” to do this. They wake up in the mornings, come up with some new song, record it on their phones, put it on YOU TUBE, and start getting “LIKES.” They build web sites, and social networking that are “TEMPLES TO ME” and put every detail of their lives up there. In my opinion “TMI” (Too MUCH information), but that is for another day and another debate. But these people put A LOT of songs, blogs and information up there and it DOESN’T ALWAYS MEAN THEY ARE going to be accepted, when they get to the BIG TIME. <br> <br>They come to Nashville, all full of this. Show up on the writers nights and wonder “Where is my limo? Wait’ll they get a load of me!!!!”(Arms swinging all the time!) They feel that they should be able to advance to the front of the line. They think that EVERYONE JUST HAS TO HEAR THEM!!!! Many times backed up by parents, teachers, friends, relatives, significant others who claim “Your songs are as good as THAT CRAP ON THE RADIO!!!” <br> <br>Maybe sometimes it is. Most of the time IT IS NOT!!! As a word to the wise, SLOW DOWN THERE TEX!!! Takes a little more than being patted on the back to swing this. Doing anything in the music business is very difficult in the least and nearly impossible at the worst. Getting into he writer’s shows, the better slots, take stepping up a little at a time. Gaining the really good co-writes, and building relationships, take TIME! AND PATIENCE, the one thing most people have very little of. <br> <br>We are in a VERY SHORT attention span world. People are bombarded by information and getting them to put the cell phone down is an adventure in itself. And that is what you will have to do when you are trying to get and keep attention. And you are going to have to WAIT in line. Get used to it. It is designed that way. It weeds out the thousands of people that come here prematurely, that have egos that “write checks their bodies can’t cash.” And in the immortal words of my friend, manager Art Wassem, “Before one gets a ROYALTY CHECK, one music first get a REALITY CHECK!” I love that quote! <br> <br>Listen up parents. The REALITY CHECK comes. Everyone in Nashville is a writer, artist or wants to be involved with the business. They all want their songs on the radio. All want to stand in the spotlight. Publishers and P.R.O.'s are OVERWHELMED. Everyone wants a MANAGER to solve all their problems for them. WHAT HAVE YOU GOT TO MANAGE AT FIRST? What are you paying percentages of? <br> <br>Of the roughly 600 per month that move or make regular trips to Nashville per month, about 1200 a month leave, having lasted 6 months to two years. Most are completely overwhelmed, run out of money quickly, take two and three jobs, or have to go back OUT OF TOWN to make money. Many find other things to pay attention to. <br> <br>The bottom line is that there is a LOT of things to pay attention to OFF THE FIELD of writing, performing, recording. There is NETWORKING, BUSINESS, you know, LIFE! You are going to have to eat, sleep, travel and do more work than you can EVER IMAGINE, most of the time working TWO CAREERS INSTEAD OF ONE! And that is what weeds out the unwilling. <br> <br>And sometimes things JUST DON’T HAPPEN. Nashville is full of thousands and hundreds of thousands of great artists, writers, musicians, business people, that simply DIDN’T CATCH TRACTION. People with publishing and record deals, that never went anywhere. People who are beautiful, lots of money behind them, political connections, WHO DIDN’T DO IT EITHER! It is a career that is 85% OUT OF YOUR HANDS! But you can up the level of your odds. <br> <br>*Make OTHER people look good. Joining writer’s circles, doing really good shows, delivering quality music, being on time and on your game, doing charitable work, donating time and talents to others. </p>
<p>*If you get with a co-writer, make sure you know what you are doing and don’t waste time. </p>
<p>*Watch other people perform and be respectful. </p>
<p>*Doing it continually! Repeat, repeat, repeat! </p>
<p>*Be around networking groups. MUSIC STARTS HERE is one of the best there is. Many more available from here. </p>
<p>*Contact MAB (Shameless plug!) </p>
<p>*Be a FRIEND. If you WANT FRIENDS, BE A FRIEND! </p>
<p>*DON’T QUIT. </p>
<p>*BE HUMBLE!!!! (And Kind) <br> <br>Being “Driven?” Sure, we all are. Remember, “YOU DON’T CHOOSE MUSIC, MUSIC CHOOSES YOU.” (yeah I wrote that) Make sure MUSIC CHOSE WISELY! <br>MAB </p>
<p> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/41985452016-05-26T16:34:11-05:002016-05-26T16:34:11-05:00MOVING TO THE PROMISE LAND<p>Originally poste 3/31/16 MOVING TO THE PROMISE LAND by Marc-Alan Barnette <br>(FOR ARTISTS WITH DESIRES TO MOVE TO NASHVILLE) <br> <br>ARTISTS BEFORE MOVING TO NASHVILLE. <br> An artist is all about LIVE PERFORMANCE. There are Internet artists who make a big splash on the World wide web, but at some time, they have to get out of the living room and make a personal appearance. Especially in Nashville. And the more you know your audience, the better you will be. <br> Live performance is what leads to personal contact with an audience. And that is EVERYTHING when you are trying to do any of this. Building your own group of people who support you, buy your product, follow you on Facebook, Twitter, Snap chat, Instagram. The people who come to your shows. Who show up in the areas you are performing in the first time you go to a new area. So the rest really is of MINIMUM IMPORTANCE. Live is everything. 90% of a first few years in Nashville are built around live performance. <br> <br>An artist needs to be performing a MINIMUM of 8-10 times a month. This would be a couple of times during the week, open mics, writers shows, open stages. In Nashville, there are dozens of those so they are easy to find. A lot more people trying to do them, but more opportunities. But they also exist all over the country and in other countries. You just have to find them. A GOOGLE search helps direct your efforts. Once in a few of them, you meet other people who do this and can direct you to others. <br>An artist has to UP THE QUALITY of their shows at all times. Going from the OPEN MICS (anyone can play) to INVITED NIGHTS (Their own slot, invited rounds of multiple writers) to the SHOWCASE slots, which would be thirty minutes to an entire evening dedicated to them. To do that, and each step up REQUIRES PEOPLE COMING TO SEE THEM PERFORM. Without fans and an audience, the venue does not stay open, pay for the light bills, salaries, employees, food, drinks, insurance, licenses’. So they focus totally on people who will BRING in other people. <br> <br>This is what you do when you start out playing the free shows and building fan base. Those people follow you to your more exclusive shows. The more people, the better the time and night slots. <br>ONLINE PRESENCE. <br>An artist in this day and age have to spend a majority of their time online, interacting with fans, building FACEBOOK, SNAPCHAT, INSTAGRAM, and whatever THIS WEEK'S format of the minute. <br>This is all ADVERTISING. Since very few artists have deep pockets and unlimited budget, they have to make up for that in TIME DEDICATED to presenting themselves. Again, a majority of this is done AWAY from performing, recording. It is ALL NETWORKING. It is normal for mainstream entertainers to spend around 5-6 hours a day maintaining their VIRAL PRESENCE. <br>Everything should be done presently to be building up your ability to continue this in Nashville. Building a LOCAL fan base is ESSENTIAL because you will need those people in any deal conversations with publishers, managers, or record labels. The first question of those entities is always "WHERE ARE YOU PERFORMING AND HOW OFTEN DO YOUR PERFORM?" Followed by "How many people come to see you perform?" <br> <br> NASHVILLE <br>There is a PECKING ORDER when it comes to Nashville. You are known by WHO KNOWS YOU AND HOW THEY KNOW YOU? It starts with CO-WRITERS. Finding several of them, plugging into their groups, getting into THEIR writer's rounds, getting better time slots, going again from open mics, to invited rounds. It all starts over in Nashville. <br>With each step the writer/artist has to be INVITED into these groups. There is nothing they can KNOCK THE WALLS down except by being VERY GOOD AT WHAT THEY DO AND HAVING A VIABLE PRODUCT AUDIENCES EMBRACE. <br> <br>WRITING WITH "ESTABLISHED" and HIT WRITERS. <br>"Established writers" are those that have been in the community for a while, respected by their peers, known by hosts on the writer's nights, have relationships with publishers, either with active deals or former deals, have had cuts, been artists themselves. <br>HIT WRITERS are as it says, HAVE HAD HIT RECORDS. These usually either have current publishing deals or are well known in the community. More and more in today's markets, these are also the PRODUCERS, THE PUBLISHERS AND LABEL HEADS artists will have to deal with. <br> <br>The process from here, is new artist comes on the radar screen of the hit or established writer, are pulled into THEIR writing and performing circles, are talked about "behind the scenes" <br>There is a PECKING ORDER when it comes to Nashville. You are known by WHO KNOWS YOU AND HOW THEY KNOW YOU? It starts with CO-WRITERS. Finding several of them, plugging into their groups. Getting into THEIR writer's rounds. Getting better time slots. Going again from open mics, to invited rounds. It all starts over in Nashville. <br>With each step the writer/artist has to be INVITED into these groups. There is nothing they can KNOCK THE WALLS down except by being VERY GOOD AT WHAT THEY DO AND HAVING A VIABLE PRODUCT AUDIENCES EMBRACE. <br> <br>Everything is done ONE STEP AT A TIME. Just put one foot in front of another and opportunities present themselves. <br>Have some faith. And while, many of us might never become the huge stars, it is very possible to find our own pathway when it comes to this. Just keep at it. All you can do. <br> <br>MAB</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/41985202016-05-26T16:32:00-05:002016-05-26T16:32:00-05:00TRIBUTE TO KIM WILLIAMS<p>Originally posted 2/13/16 TRIBUTE TO KIM WILLIAMS by Marc-Alan Barnette<br><br>So sorry learn of Kim Williams passing away two days ago. He was a great guy and talented individual…always facing what crossed his path. As brothers in songwriting, I had the honor to share in words and music, as often happens in Nashville. One particular time that comes to mind is when we passed each other as we did separate demos one day. We passed each other as he left the studio to get his copy and I got to the studio to sing my vocal. My song was a completely forgettable nothing song. His, “IF THE DEVIL DANCED IN EMPTY POCKETS," would go on to be a number one; and a huge hit for Joe Diffie. <br> <br>I would get to see him at number one parties for GARTH BROOK'S on "AIN'T GOING DOWN TILL THE SUN COMES UP" and "PAPA LOVED MAMA." He seemingly always had a hit record out there, and was always around town. He overcame a tragic hot water heater accident that had occurred when he was very young, leaving him with health problems his entire life. <br> <br>Earlier on in my career I played in town with a band. During the show, the band would have a break while I played a short acoustic set. Being a huge fan of Les Miserables, I would throw in “BRING HIM HOME,” which is one of my favorite songs from the musical. One of those nights, Kim Williams was in the audience. Turns out he was also a huge fan of Les Miserables. The song caught his attention and he called me the next morning. Needless to say, I was thrilled to hear from such a talent. He wanted to write that type of a song to round out his catalogue. Of course, I jumped at the chance to write with him! <br> <br>We got together that following week at his office and started out by revisiting some songs from Les Miz. Then, I worked up a guitar melody as he filled in lyrics. In an hour and a half, we had our first verse, which was somber, quiet and stirring (much different from my own catalogue, as well). Kim then pipes up and says “Man, we are writing about death here!” And, he was right. But, it was very much a power ballad. We called it a day to give Kim some rest (results from his hot water accident). I was so energized from the session with Kim, I continued on with a second verse and BIG chorus. <br> <br>The next week, we got back together and Kim really liked the new verse and chorus. We made a few edits and booked studio time. A couple of weeks later, we had our song done and recorded. I played it out around town, while Kim pitched it. I still play it out and it continues to be requested. One of those heartfelt, timeless songs that will find its artist owner one day. The song is “All Alone Again.” <br> <br>Over the years I would see and hear Kim, and he would always get me to play that song. The last time was a couple years ago at the Smoky Mountain Songwriter's Festival, where I played it onstage in front of him, his wife and DOUG JOHNSON (Kim's co-writer on "THREE WOODEN CROSSES"). I was thrilled to be able to represent the song among such great talent and it was definitely a career high and honor to be able to do and receive their complements. <br> <br>So he passed on Thursday, February 11, 2016. and all the tributes are coming out. I hope to post mine and that song on Facebook. I am still very proud of it and proud of my association with Kim. As you will read from all the various postings and articles, he was an absolute jewel of a guy and a great inspiration to all who want to try to write and do something creative. He touched us all in so many ways. This was mine. <br> <br>Thanks Kim, <br>MAB </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/41985182016-05-26T16:29:13-05:002021-02-09T07:14:52-06:00TO GHERM OR NOT TO GHERM, DAT BE DE QUESTION!<p>Originally posted 2/9/16 TO GHERM OR NOT TO GHERM, DAT BE DE QUESTION! By Marc-Alan Barnette<br><br>Well it is COUNTRY RADIO SEMINAR week again, Twangtown’s biggest, dog and pony, schmooze and move moments of the year. Every major independent large medium and small labels, every publisher, every writer, every artist, every song plugger and a WHOLE LOTTA WANNA BE’S will converge on the down town area, Convention Center and Renaissance bar all trying to gain the attention of the movers and shakers.<br><br>It is a ritual that I describe as the “LAZY RIVER RIDE”. You move around rooms, shake hands, kiss babies and do all the politics needed to keep a career moving. And all those wanna be’s will have CD’s and business cards in hand JUST WAITING TO POUNCE UPON THE HIT WRITER, PUBLISHER, LABEL HEAD or ANYBODY they can come into contact with. Fame and fortune awaits. Because this is how Lana Turner was discovered. In 1937! Before you shoot yourself in the foot: DON’T DO THAT!!!!!!! “<br><br>Gherming” (Pronounced GURMING) is the biggest UNSPOKEN, UNWRITTEN and UNALLOWED rule in Nashville! It is the way to end a career before it begins and get off on the wrong foot EVERYTIME IT IS TRIED! There are real reasons for it and some you may or may not know. But you BETTER LEARN THEM. What is it? It is the process where a young (or old) writer, artist, publisher wanna- be, come up to a hit maker, label, producer, higher level writer or artist, and trying to UNSOLCITED CD business card or SWAG to that higher level person. It is a NO NO for two reasons.<br><br>FIRST, it is RUDE. They have not achieved that status yet. They are saying in effect, “Look, I know that you have taken years to establish your craft and your standing, you have gone through the ups and downs, spent enormous money and hours, building your reputation, being shot down and destroyed and yet picking yourself back up. I know that. NOW ENOUGH ABOUT YOU! What about ME? Here ARE MY SONGS, MY WORDS, MY MUSIC!!!!! You simply MUST PUT MY STUFF AHEAD OF YOUR OWN, TURN OVER YOUR CONTACTS TO ME AND MAKE ME A STAR!!!!!! ME ME ME ME ME ME!!!!! DID I TELL YOU ABOUT ME?”<br><br>And as if that was not bad enough there is the LEGAL QUESTION, In this day of the LET’S SUE SOMEBODY!” Universal lottery, anyone who takes those CD’s, have ACCESS! If they take it, and somehow write or record a song that is similar, they can be sued because THEY STOLDED MY SONGSSSSSS!!!!!!” Face it. We ALL write the same stuff. And yes, sometimes the coincidences are out there that very similar things end up on the radio and become big hits. And while I will acknowledge that sometimes there might be borrowing, (we all start from somewhere) I personally believe it is more accidental than purposeful. I could be wrong, but just don’t think I am. But that argument is for a different day.<br><br>This also covers when someone who doesn’t know those people wants an appointment to write, or play songs in private. Again this is JUMPING LINE. Can be a kiss of death. Co-writing is an intimate experience. It is dating. And you are not going to just start jumping into bed with someone you have never met before. There are even legal reasons for that as well. When someone is being PAID to write songs for a publisher or other entities, those businesses SIGN their paychecks. Therefore there is going to be control over who that person writes with. Their time and access is valuable and they have taken time, OFTEN YEARS to make those contacts, build that craft. New outsiders have not done that yet. Gotta be patient.<br><br>When you achieve your reputation, you will start getting asked. But if you develop reputation as a GHERMER, you will never be asked. This one is for NOW. DON’T DO IT. You force people to be jerks. “I can’t accept it because…” or forward you to others. Accept it and understand it. No one can be PAID while there is outstanding legal action pending. So you are not going to get people to listen to you until you are known. But you CANNOT JUMP IN LINE!!!!!<br><br>What to do? First of all, get involved. Make sure your stuff is well written. Make sure it is well recorded. Always be ready in case someone ASKS YOU FOR IT. If you are on your game and get a good reputation, you will get heard eventually. Spend your time MAKING FRIENDS, not trying to just GET SOMEONE TO LISTEN TO YOU. Have you ever been driven CRAZY by someone who is a jerk, arrogant, persistent, overbearing, Dictorial, a know it all? Well if you are trying to Gherm , THAT IS YOU!!!</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/41898942016-05-20T13:21:48-05:002020-10-16T11:13:43-05:00PECKING ORDER (From Open Mic, to Invited night, to feature)<div style="text-align: justify;"><p> <strong>PECKING ORDER <br> (From open mic, to invited rounds to features) <br> <br>I recently had someone ask me a very valid question about the progression of the writer artist in Nashville writer’s nights. He was asking “What is the progression of the pecking order? How does one get into the higher level nights?” Very good question, and while there is not one “true way” there are a few guidelines to think about when it comes to this. First, we need to analyze what the nights are: <br> <br>OPEN MICS. This is the most basic of the nights. Essentially an open cattle call. Anyone who shows up can play (within the time limits of the club.) with so many people coming to Nashville, there is physically less and less time to allow everyone on. In some venues, there is a system of phone calling or email the day before or day of, and you must get on the list. You should always contact the hosts for information and they are usually on the web sites of the venue. These are usually one song or at most two. Again, depending on time frame. <br> <br>WRITERS NIGHTS: These are invited, with the participants usually having done several open mics first. They support the hosts and venues, bring people in and buy food, drinks, leave tips for the staff. Make the club look good and you’ll look good. <br>The “WRITER’S ROUNDS” are most likely, with three or four people playing one song at a time, usually three songs in all. Usually one person is responsible for inviting people into the round. These are people they are involved with, writing, performing with or building personal relationships with. <br> <br>THE FEATURE SLOT: These are thirty minute slots where one performer showcases their songs and talents. These are usually people with industry interest, hit writers and artists, people with cuts, publishing deals, established writers and artists, or people they might be producing, people with label contacts, or those having drawing power with the public and command enough attention. These are picked by the hosts and usually only one a night exists, in the middle of the night. <br> <br>WRITERS OR ARTISTS SHOWS: These are where the main clubs in town feature artists, bands, publishing or record companies and open their clubs to those people. Usually a sound and light fee is charged, and either a door cover charge or tickets are sold. If an artist has a band or side people, he or she is responsible for paying those people. The cover might be split with the venue, and no other benefits come from the venue. Get a lot of people to pay, you make money. Don’t and you owe money. We all pay to play, so get used to it. Supply and demand. <br> <br>How do you advance? That is the big question. First of all YOU NEED TO BE GOOD! There are things to give you an edge, but all artists have to proceed at the level they can. Those that are on top of their game, do great publicity, and are embraced by the public, will do well. Those that don’t, don’t. Don’t expect to make a lot of money but you can build your brand with all of this. And most of the contacts you make, especially in the early stages of a career, are done in this fashion. <br> <br>SUGGESTIONS: <br>#1. Be in TUNE and ON TIME. <br>Arrive at least 30 minutes before your set. Pay attention to those on before you. <br> <br>#2. Be PREPARED. <br>Have your instrument, spare strings, Tuners, picks, extra chords, capos, keyboard set ups, lyric sheets all with you. If you need something special, like a music stand, make sure you bring it with you. Venues are not responsible and you can never take things for granted. They might have some but it is your responsibility to MAKE SURE they do. <br> <br>#3. KEEP IT SHORT, STUPID. <br>Some of the biggest mistakes people make are too long introductions, songs that are too long, songs that are boring, belaboring the song with extra solos, sing along parts, and other things that slow the night down.<br>YOU ARE NOT ALONE HERE, BE AWARE OF OTHER’S TIME. <br><br>#4. AVOID A SOAPBOX. <br>Everyone has an opinion, and a visit to social media, Facebook, Twitter and others will show that. But very few people want to be preached at, politically berated, or have fingers pointed at them. If you have an issue or message song, you are taking your career in your hands. If you feel strongly, go ahead, but understand you will probably alienate half your audience. Music is very subjective, and some things people feel are benign they can come off offensive to others. Subject matter is very important, and nothing has to be all light and airy.But when you have dozens of songs about depression, heartache, negative, angry, bitter things on every subject from love to politics and life, it can get overwhelming. <br> <br>#5. KEEP YOUR TEMPO MANAGEABLE<br>Songwriters tend to LOVE ballads and slower meaningful songs. That’s fine, and we should have some of that. But when you get dozens of writers doing HUNDREDS of slower tempo songs, it all becomes a dull roar that tends to be ignored. Might want to check your tempos up against what others are doing. <br> <br>#6. MAKE THE HOST LOOK GOOD. <br>Those that do all of this and support the venue, hang around AFTER they play, (at least for a little while) will be remembered in the mind of the hosts and the venue. Those that bring people in to support the venue will get favorable reviews. Those that keep the spirit moving forward will find it easier to get re-booked. <br> <br>#7. BEING “GRANDFATHERED” IN. <br>A well worn tradition is an established writer, artist, producer, publisher, will help their students, clients, co-writers, friends, by inviting them into a round or a night. This is the fastest way to advance. As always, you first have to be doing something that allows someone to put faith in you. So try not to suck. <br> <br>#8. PROMOTE, PROMOTE, PROMOTE, <br>Use your contact list, building all the time, use social media, and even the old fashioned way, hand outs, flyers, phone calls, all will help you advance. Bring in a lot of people, and you will have a great chance. <br><br>#9. USE THEM FOR THEIR INTENDED PURPOSE.<br>They are not there to DISCOVER you or MAKE YOU A STAR. They are there for you to get known, and to discover others. Use them to network, make friends, cultivate writing relationships, performing partners. Make sure you collect business cards or trade contact info. AND FOLLOW UP. Make sure you visit OTHER PEOPLE'S web sites, Facebook, find out about their music. Remember, if you want to have friends, BE A FRIEND!<br> <br>#10. BE NICE. <br>This sounds stupid, but just being nice and polite, listening to others, keeping your table conversations down, being attentive, supportive, will all help people to help you. You are judged 85% OFF THE FIELD, in the audience, how you deal with other people away from your show. It is the oldest “golden” rule, <br>TREAT OTHERS THE WAY YOU WOULD LIKE TO BE TREATED. DUH! <br> <br> <br>There are no guarantees, and doing all of these and more don’t always mean someone will advance. But they can’t hurt. <br> <br>Good luck and stay at it. <br> <br>MAB</strong></p></div>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/40293732016-02-07T10:58:09-06:002022-05-06T06:45:50-05:00Music Outsider's Insider<p style="text-align: center;">MUSIC OUTSIDER’S, INSIDER <br>By MARC-ALAN BARNETTE </p>
<p> <br>This Is going to be written for people from outside Nashville, or those trying to find out about the “inner circles” that they are going to have to be involved in to advance in their careers. Most are pretty much common sense, like “BE POLITE” but sometimes need to be reminded. Let’s go. <br> </p>
<p style="text-align: center;">HOME IS WHERE THE HEART IS </p>
<p>Most people preparing for a career in music (whatever that is these days) are always concerned about the “Big time.” All they seem to talk about is “getting deals”, being on television, getting on YOU TUBE, etc. It’s always good to be aware of all that, but most of it is like the 16 year old kid just learning to drive, wanting to immediately jump behind the wheel of the Daytona 500. <br>“SLOW DOWN THERE TEX!!!”Yeah, they’ve been in a car with four wheels and an engine, but it is a VASTLY DIFFERENT WORLD! <br> <br>There is a saying in Nashville that if someone can’t conquer their hometown, “WHY WOULD WE WANT THEM?” That is true. So you need to work at conquering your home area first. Participating in the odd contest, Karaoke night, open mic, are all fine and part of it. But don’t think that is a career. A career begins when you can command an AUDIENCE of your own. Butts in a seat. Selling food or drinks for a venue. Bringing in money. That is a career. <br> <br>Things to do before: <br>LEARN YOUR JOB. <br>Identify what it is you want to be. A singer, writer, musician. <br> <br>BE PROFICIENT AT YOUR INSTRUMENT. <br>Even if you are not trying to be a great player, learn to play something or HOOK UP WITH SOMEONE WHO CAN. Learn by DOING. <br> <br>GET OUT OF THE LIVING ROOM. <br>While Social media, the Internet, etc. can be a TOOL for what we all do, they will never take the place of actually BEING THERE. Pressing the flesh, meeting people. You are a POLITICIAN as much as ANYTHING. VOTE FOR ME. VOTE FOR MY SONGS. VOTE FOR MY PERFORMANCE. <br> <br>BE ON TIME. <br>Always let people know they can depend on you. <br> <br>WORK OFF THE STAGE. <br>A career is judged 85% away from WRITING, PERFORMING, RECORDING. <br>It is almost all NETWORKING (making friends), and doing the ground work to advance a career. <br> <br>BE UNDERSTOOD. <br>Enunciation is the number one missing element of artists. THEY understand themselves, but no one else might. Being CLEAR in the songs you write is also ESSENTIAL. Study the craft. <br> <br>FIND A MENTOR. <br>Just like music or vocal lessons, finding an adviser who knows more than you is helpful. Many are free. Finding older musicians or writers is part of COMMUNITY BUILDING. If you ARE an older writer or musician, helping guide someone younger gets YOUR OWN EFFORTS out there. Performing in a band or around others is valuable experience in this. But sometimes, if you have to PAY for certain lessons, that is fine too. Just check out who you are dealing with, find out their track record, get references and be specific in what you are looking to find out. <br> <br>ENJOY YOURSELF. But REMEMBER YOUR AUDIENCE. <br>Once you have started the ball rolling, building your following, devising some strategy’s, you can think about those brass rings. But NOT UNTIL. Now GET TO WORK!!! <br> <br>MAB (2-7-16)</p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/36775742015-04-26T09:41:30-05:002015-04-26T09:41:30-05:00MAB AND TOWNES VAN ZANDT<strong>“A NIGHT OUT and ABOUT THE TOWNES”</strong><br> <br><strong>When I first moved to town in 1988, I was pretty immediately accepted by the community. As a big performer, I found my way into the features of writers nights and got a cut my first night in town. I was known for the big, sing-able choruses that the whole crowd could sing along with, so they put me at the ends of the nights as the big finish. A lot of times that sucked because most people had gone home, but every once in a while you had those interesting things happen.</strong><br><br><strong>One night I had finished my set and made my way to the back of the room to order a beer at the bar. I was leaning over talking to the bartender, when I noticed this BIG PRESENCE standing next to me. I felt a tap on my shoulder and looked up. I mean LOOKED UP. It was TOWNES VAN ZANDT and boy was he tall!</strong><br><strong>He was slouching at the bar and was fairly three sheets to the wind. I had never met him. I’d seen him around but did not know he was there that night. It is hard to explain the conversation here but this is the best I can do.</strong><br><br><strong>Townes: "That wuzz a purty good soooonnngg."</strong><br><strong>Me: "Thanks Townes, I appreciate it."<br>Townes: "Knooow whut U need in that soooonnngg?"<br>Me: "No sir, what?"<br>Townes: "You neeed some WANK!!! WANK!!!!"<br>Me: Silence...."What?"<br>Townes:"Yooou Knooow wheeerree you get to a point in the song and go WANK!!!! WANK!!!!"</strong><br><br><strong>I really had NO IDEA what the heck he was talking about, so I paid for my beer (I think his too), thanked him for the advice and walked off. I never saw him again and he died about three months later.</strong><br><strong>Then a FEW YEARS LATER, I was playing that same song he was talking about and SUDDENLY got what he was saying!</strong><br><strong> <br>"WANK WANK" was the sound that strings make when you hit a note and then move your hands up and down the frets without actually playing anything. It is a percussive sound that it makes to push the song along, kind of a like a drum kick. It kind of makes a "whooom” sound when you do it by itself. But do it together back to back really fast it makes a “WANK WANK” sound.</strong><br><br><strong>Townes Van Zandt. Wank, Wank. Still helping writers after he died. See how this works? Learn something, use it and pass it on. That’s music.</strong><br><br><strong>MAB</strong><br> Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/32533132014-10-27T19:04:19-05:002021-04-21T07:21:52-05:00The Chili Pepper World<strong>The Chili Pepper world<br>Hello folks,</strong><br><br><strong>I thought since a lot of people here don't live in Nashville, don't care to, or even some don't make trips, it might be interesting to share an experience with you of some people that are "finding other ways" around the normal conventions in music. </strong><br><br><strong>The subject is a group of people I work with called "THE CHILI PEPPERS SONGWRITING CLUB' and they are located in Kalamazoo, Michigan. I was just up there for their 5th Anniversery, did private meetings, teachings, writing, and a show. I have been mentoring the group since the beginning and actually working with a few of them in the NSAI group that spawned it. I have done the same in several groups around the US and in Canada and see it as a very viable option in building a "Nashville type' group to their own (or your own) area. </strong><br><br><strong>In almost every NSAI group I have ever attended, (have been to 75 of the 110 chapter workshops) there are usually people that want to go "above and beyond" what NSAI does. NSAI is a wonderful orginization and does many many incredible things. But for some people, meeting once a month, getting critiques, and doing a few events, just seems to whet the appetite of some of the overacheivers. And everyone can't always be in Nashville. They can't make the trips, or be as involved as they would like to be. So they form offshoot groups IN ADDITION to the NSAI groups.<br><br>That is the Chili Peppers. Started by Rene Mauve, a Mexican American musician, writer, and all around great dude, it always features five primary 'writers' and one or two "artists." The idea was to have regular writing nights, artist showcases, community outreach and become a face of songwriting in that area. In some ways it has become a "FARM TEAM" for artists trying to make a run at Nashville, most prominately, Warner Brothers Recording Artist FRANKIE BALLARD, who started with them, and ended up working with me, on his way to becoming a number one artist this year with his song "HELLUVA LIFE." Frankie got his writing chops and connections in Nashville through this group, namely Rene.</strong><br><br><strong>They would write once a week, usually a Rene's apartment (The Chili Peppers are chili pepper Christmas lights that would stay up all year long, and give it a 'creative glow." After a few months of doing this, they expanded to a local club, where they would do a once a month 'Write night' which would feature themselves, and other writers and artists drawn to the repuation of the "brand."</strong><br><br><strong>This covers one of the things NSAI has a limitation on. Due to the Nature of the not for profit orginization of NSAI,and liability rules they have to adhere to, they can't sponsor certain events, particularly those that serve alcohol. So a "branch off group" can do this on their own without the problems.This has been true for all the events we have done together. I do my own workshops and private lessons, but am not representing NSAI soley. Of course, my pitches for NSAI are legendary, but I do have to be careful that they are not "implicated in my madness." LOL!</strong><br><br><strong>The result over 5 years is several artists have come through the blanket of the Chili Peppers group. While they don't write every week now, they still pull together to write and recruit new people. The show this past Sunday featured 8 new people to the group. Writers, artists, musicians in blues and cover bands who are trying to discover their inner talents. It was very impressive and a lot of fun. I was a proud Grandfather!!!</strong><br><strong>The idea basically fits a formula I have always tried to instruct in the people I work with:<br><br>ACTIVITY leads to PROXIMATY which leads to OPPORTUNITIES.</strong><br><strong>If people pull together to write, network, showcase, build awareness, it leads to more people knowing who they are. The more people that know about them, leads to multiple people who continue to spread the news. That puts them into PROXIMATY of others, that leads to OPPORTUNITIES.</strong><br><br><strong>The Chilli Pepper group are now being involved in local education, festivals, charity raising. They have been asked to speak at schools, perform in other clubs in the general area, and take their "brand" into multiple areas. Not everyone can be a "chili Pepper" but they can be part of the overall thrust of the group. This gives them opportunities to find and mentor new artists. Three of the people invovled this weekend were under the age of 16.</strong><br><strong>It gives people who are primarily "writers only" as opposed to "performers" the chance to build their catalogue and help others. If you are gonig to the trouble of writing something, getting recordings and promoting it, why not have an ARTIST INVOLVED IN IT at the same time? Still can pitch the song, still can use the demo, still can get it "out there."</strong><br><br><strong>Win-Win senario.</strong><br><br><strong> So I salute the Peppers and am proud to be a part of that group. Their next year to two will be very interesting because they have some artists about to do some "very big things", which will again bring more attention to them. Momentum breeds momentum.</strong><br><br><strong>I would strongly encourage all of you to reach out in your own communities. The new contestants on THE VOICE and AMERICAN IDOL don't nessasarily come from New York, LA or Nashville. They might end up coming THROUGH one of those capitals, but there is no reason they cannot get their start, working with some of you in your own area.<br><br>Be your own FARM TEAM. Get out of the living room. Never know what might be happening right down the street.</strong><br><br><strong>MAB</strong><br> <br> Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/30482042014-06-30T09:44:19-05:002014-06-30T09:44:19-05:00"Title Writers, A cautionary tale" BEWARE OF “TITLE WRITERS’, A CAUTIONARY TALE.<br><strong> JUNE 30, 2014</strong><br> <br><strong>You’ve all had it happen. Someone knows you are interested in songwriting, comes up to you at a party and says “Here’s you a title for a song…” and begins to tell you their ideas. Most are totally horrible, you are embarrised to even listen to it, others are the “water cooler conversation”, from a sit com that was on last night, some are recycled things you’ve heard a thousand times before and was a big hit 20 years before they were born. Almost none are remotely usable. Every once in a blue moon, someone actually has something that is not totally horrible. Beware of those, they can get sticky. That is this tale.</strong><br> <br><strong>I was recently “Facebooked” by a friend of mine about a title he JUST HAD TO WRITE. Someone had given it to him and he didn’t know how to write it himself. It was a regional song idea, about my home state, of ALABAMA. Being from Colorado, he had only been to Alabama a few times so needed an “expert.” The idea, BAMATIZED, was a phrase I had heard somewhere in my life. Growing up around drinkers, bars, music, boats, crazy people, you hear about everything. There is nothing new under the sun. So I turned the idea down a few times. But I liked my friend, so I offered to get together with him to see if we could write something. </strong><br> <br><strong>At our session he threw out the idea again, which I promptly turned down, again. I was just not sure I could do anything with it, making it cool, finding an approach, etc. If I can’t find a “pathway on an idea”, I don’t write it. He threw out several other ideas, which I also promptly… threw out. Happens sometimes. When you write a LOT of songs (over 2000 in the past 14 years for me) you find you have written about everything many times, and a lot of subjects just have no interest to you. I decided I had to live up to my own hyped up reputation, and so we went back to the “BAMATIZED” idea. </strong><br> <br><strong>As I started thinking, personal experience started coming into play. I have a friend and client who has been making pilgrimages to Nashville and he is from Boston. That is what jumpstarted it. Then I thought back to a few years ago where I was playing at the Florabama, a beautiful area of Perdido Key Fla/Gulf Shores Alabama, and recalled a day where a group of Northerners were in that beach club. We were all complaining because the BP Gulf oil spill, had run off tourism from the area and everything was dead. But there was NO OIL ON THE BEACHES AT ALL and it was PERFECT. But nobody came. The Northerners, from New York and Boston, all commented on how this was paradise and that we should be proud of that. Was a great time and we all ended up buying drinks and I made up songs for them all night. Was a lot of fun and part of the great thing about being me.</strong><br> <br><strong>So I put a lot of that in, including experiences from around the state. I made the character, leaving the snow of Boston, to find paradise in the Magnolia state. I put all kinds of local and regional references in and thought “This could make a cool song to play down there.” Also, in the back of my mind was a band, headed by one of my oldest friends, that play that region. He and I had been working together on his songwriting and I thought, “this could be a cool little song for them.” </strong><br> <br><strong>To make a long story as less long as I can make it, I wrote the majorty of the lines, the music, the groove, the feel, everything, with my friend providing commentary and direction on things he liked and didn’t like. We shaped it up in about thirty minutes and were pretty happy with it. Over the next few days he sent suggestions which played a big part in developing and smoothing the song, I tweaked it and we got it right in the ball park. I even slipped in a little “Sweet home Alabama” tribute three notes to drive the point home. It was cool, fun, really turned out well.<br>A few days later I was recording a guitar vocal, sent it out, and then made a little “magic pitch.” As it turned out, I was opening a concert FOR that band IN ALABAMA and went down and played it for the first time in front of them and a home town audience that loved the song. It was one of those things that got an immediate reaction and people were really into it, asking where they could get copies of it.<br>And the thing I wanted most to happen, the band approached me asking “Can we do that song?”<br>BINGO!!! THE MAB STRIKES AGAIN!!!!</strong><br> <br><strong>I let my friend know that it all went well and we would see if they will follow through. All was good. Then it happened.</strong><br> <br><strong>Another woman hits me on FACEBOOK, telling me that she is one of the writers on BAMATIZED and she had a few suggestions to make. Now I knew that someone had mentioned this title to him but had no idea they were going to claim part ownership. I didn’t know her, she was not there, and outside of the title, had nothing to do with the song. But I am IMMINENTLY FAIR and immediately included her as a writer on the song. This is where all writers need to be AWARE OF. If someone gives you a title and you write it, THEY ARE PART WRITER ON THE SONG, FOR BETTER OR WORSE. If they tell you they don’t want any part, that is fine. But I would include them anyway. Just works out better.</strong><br><strong>As far as her “suggestions went’ I didn’t really care for them, but they were small so I worked out a way to placate her. Everything seemed fine.</strong><br> <br><strong>Then it got weird. </strong><br> <br><strong>On one hand, as the band started working the song up, making some of their own changes, even to a point that I added my friend as a co-writer to ensure they would stay involved in the song. This is a fairly standard practice, where an artist is made a part of something to keep it up on their interest of involvement. A lot of hit songs have developed that way. If you are a big part of a song, I have no problem including you. This is the real world, not a perfect world.</strong><br><strong>But at the same time, the ‘other writer” suddenly was reserving domain names, web sites, copyrights, trademark registrations, etc. All kinds of the legal mumbo jumbo I HATE ABOUT THE MUSIC INDUSTRY. These are all very valid considerations, but NOT AT THIS TIME. So everything continues, but I got very gunshy of continuing involvement in this song because I see more red flags than a bull in Mexico City. I hope it will all work out, but if too much confrontation happens EARLY in a song the only result will probably be that song is dropped into the dust bin of songs in history that didn’t work out. A good idea at the time. To be totally fair with her, there were no bad intentions in any of this. She was just over excited and wanted a lot of things to happen. She is a sweet person and very well intentioned. Just a little naive about the current music business, money and how things work. No problem,just have to remain calm.</strong><br> <br><strong>The cautionary tale, is that if you discuss a song with someone, even if you don’t end up writing it, THAT IS AN IMPLIED TRUST OR CONTRACT. Make sure you are honest and direct with them. “How much do you feel involved in this?” is a great question to ask. Can save a LOT of trouble in the future.</strong><br><strong>Always be yourself, be honest, and include people that are important to the song. Even if they didn’t write the actual lines or notes, sometime creative energy takes other forms. Sometimes that performance pushes a song “over the edge” in interest. Sometimes the “people behind the scenes” are as responsible for the success as anyone up front. Never forget that. It takes a team to do music. Even if sometimes they get a little overactive.<br><br>Good luck and write some good uns'<br><br>MAB</strong><br> Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/29981522014-06-06T12:30:07-05:002015-03-30T15:17:32-05:00 "MY DESTINY"<strong>A huge repeated refrain we always here among writers, particularly, newer writers is "I feel I was destined to do this!" "I was driven to do this!" Or of course my favorite, "God has guided me to do this!" On that last one, I am pretty abivilant. I don't think God, him (or Her)self sits around worrying as to whether we are going to fulfill His(her) wishes in the Grand Design. I really feel there are a few more pressing things going on in the world than our own little hobbies or delusions.<br><br>I do feel we are all drawn to express ourselves in a number of ways. Some people cook, paint, write stories, poetry, take pictures, do crafts, etc. it is what makes us who we are creatively. And there are some who take those hobbies to higher and higher levels, sometimes actually as a main income, becoming stars, hit writers, etc. most of them feel they are driven to it too. I know that I do.<br><br>But it is another thing altogether to feel you are "annointed" to do this, and just listening to your mother who really likes you. The people who want to rachet it up to a business level, too often leap before they look and find themselves a LOT poorer, losing money, relationships, security, etc. I deal with a LOT of parents these days, all of whom seem to believe that THEIR son/daughter, is the next Justin or Taylor. A lot of times these "momangers and daddingers" are all looking more to the "retirement accounts" than they are for their children's welfare. And it is the same with people who are older and sometimes should know better. When it comes to the creative process, a lot of Common sense, goes right out the window. So in order to get a solid handle on where you or your signicant people are, do a few things:<br><br>#1. Get away from your friends/parents/grandparents/uncles/aunts/whatever's OPINIONS!!<br>They tend to think you are the greatest thing in the world and should pass EVERYONE ELSE IN LINE in order to go to the front of the AMERICAN IDOL/THE VOICE JUDGES!!!Slow down a little.<br><br>#2. Get involved in the LOCAL music scene. <br>Too many people want to "Do not pass go, go directly to STAR" and come off to Nashville, New York, LA, and forget about all that little stuff. That "little stuff" is EXACTLY WHAT THE MUSIC BUSINESS IS. If you can't master that, you have NO CHANCE at the big stuff.<br>Find other people around you who are interested in the same things.<br>Search out:<br>Coffeehouses<br>Music Stores<br>Libraries<br>Open Mics<br>Talent Shows<br>Writers nights<br>Open Stages<br>Showcases<br>college courses and events<br>Hit or pro songwriters workshop, seminar,concert<br>House concerts<br>A local songwriters group.<br>Local or regional songwriters group.<br>Get involved with online groups. Google "Songwriter's Groups."<br><br>NSAI GROUP (NASHVILLE SONGWRITERS ASSOCIATION INTERNATIONAL) this is the best worldwide. www.nashvillesongwriters.com<br><br>Just Plain Folks group.<br><br>www.songramp.com<br><br>#3. GET OUT OF THE LIVING ROOM.<br>Physically meet people. Facebook "friends' most of the time are shadowy at best. Don't depend on those people. Many are pure fantasy just to inflate numbers.<br><br>One of the best sites for open mics Nationwide is this one: </strong>dcraver@openmic.us<br><strong>He is based in Atlanta but monitors open mics and writers shows all over the US.<br><br>#4. Come to a Music Center. <br>Gotta see the compition.<br><br>#5. Take an MAB tour. <br>This is the best thing I know to do. That guy is the best and can really help you. and he's really cute too.Okay, not cute but fun.<br><br>Doing these five steps will put you into a WHOLE NEW BALLGAME.<br><br>Good luck,<br>MAB</strong><br> Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/29204562014-05-05T10:28:35-05:002021-04-21T12:14:26-05:00"I CAN'T GET STARTED"<strong>A lot of times this business and art form can just be too overwhelming to get going. Most people give up rather quickly, and never go forward in any way shape or form. Now, in some ways, that is fine. We should all be writing for ourselves, first and formost. But I have yet to meet the person who "wants to be the best writer in his/her living room. We need others to advance our craft, no matter what level they want to get to.<br>So here is a list I would use to 'get started."<br><br>#1. GET AROUND OTHER WRITERS.<br>If you look at pretty much any city, town, hamlet, there is, there are usually "open mics, open stages, talent nights, etc. in the area. Most are bars or resturants, that have varying nights, or evening shows for non-professionals to get together, play their songs, and interact with each other. There are also karaoke nights, poetry nights, talent shows. Until you find your own 'tribe' or group, you should try several of them.<br><br>Look at local entertainment listings. Most restrants and bars have them in their entry ways. Pick up a copy, keep a list of when and where they are. Go out. GET OUT OF THE LIVING ROOM.<br><br>#2. WRITERS ORGINIZATIONS.<br>NSAI, or Nashville Songwriters Associations International, has chapter workshops in most major cities and many smaller principalities. <br>Go to www.nashvillesongwriters.com and see if there is a chapter near you. Joining NSAI can be one of the best investments you can make.<br><br>Other colleges, trade schools, theater and local community centers have showcases, workshops, seminars, etc. in creative writing, music, etc. Check out the bullitien boards in:<br>#1. Coffee shops<br>#2. Libraries<br>#3. Music Stores<br><br>#3. GOOGLE and Internet searches.<br>Simply google your area, find what is going on. Usually at your fingertips.<br><br>#4. INTERNET SITES. <br>My personal favorite, www.songramp.com is a networking site. Also, SONGWRITER101, a site sponsored by BMI, Just Plain Folks, Tunesmith, etc. are all worthy of attention. Generally visiting one will lead to others.<br><br>#4. CO-WRITE OFTEN<br>You are always going to learn more being actually in the room. That is not always possible, so SKYPE, which is a computer program, has worked for many people. Sending messages, melodies, MP3's, etc are all good vehicles for this.<br><br>#5 LISTEN TO THE WORD OF MOUTH.<br>Almost all writers do these and many more vehicles. Getting in contact with one, will lead to others.<br><br>#6. Having regular schedules, doing certain things consistantly, will all help build your own network:<br><br>4 songs a month, 3 co-written. If you can't write one song a week, you are not trying hard enough.<br>2 visits to a show, coffee house, open mic.<br>1 performance per month.<br><br>Do this for three months and then expand the time you spend on networking and writing. See where it goes. You should find yourself in a much better place.<br><br>Good luck,<br>MAB</strong><br> Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/11163932013-07-12T05:00:19-05:002013-07-12T11:09:19-05:00WHY YOU CAN'T GET CUTS<b>WHY YOU CAN’T GET A CUT<br><br>
There are a lot of companies out there promising to "pitch songs" for writers.<br><br>
A lot of people don't understand what that means.<br><br>
They hear people that want to "put their poems to music".<br>
.<br>
They hear things like "Film and Television pitches"<br><br>
They've heard music in film and television and went, "That sounds like what I have!" <br><br>
They have never heard the term, "Inside Cut" in their lives.<br><br>
They don't understand the "RELATIONSHIP" word.<br><br>
They only understand themselves because people are DREAMERS. <br><br>
Dreamers are very likely to swing at the first shiny thing that comes along. <br><br>
There are over 1 BILLION SONGS A MONTH UPLOADED ON THE INTERNET. That is TWELVE BILLION SONGS A YEAR.<br><br>
Every hour, YOU TUBE uploads 75 MILES of video footage. A large part of that are SONGS that people think are GREAT!<br><br>
There are writers in Nashville, LA, New York, that churn out songs EVERY SINGLE DAY. Many of those writers have PREVIOUS HIT SONGS or TRACK RECORD.<br>
They have friends within the music business.<br>
They have people who have given them money, and vice Who versa. <br>
They have spent years and sometimes DECADES building those relationships. They have sacrificed, money, security, family, kids, everything in pursuit of their CRAFT.<br>
And they are VERY GOOD at what they do.<br><br>
Can you say that about yourself? <br>
Can you call up a hit artist, producer, record label, major publisher, and get a SIT DOWN meeting with them?<br><br>
If you CAN'T and don’t have someone working WITH you who CAN, YOU ARE NOT GOING TO GET A CUT. <br>
PERIOD, END OF STORY, LEARN IT, LOVE IT, LIVE IT.<br><br>
Those are the RULES. And NO ONE is just going to come off the street and EVEN BEND THEM,MUCH LESS BREAK THEM.<br><br><br>
The REASON:<br>
Imagine what you do for a living. Imagine the years of grammar and high school, if you went to college, Jr. College. Technical school. Remember looking for a job. Finding many that had nothing to do with your education Fast food, car washes, being a “Gofer” (Go for this, go for that) imagine the hot, dirty times, you spent studying, or working late, or just getting so tired you couldn’t see straight. Do you remember having to miss a party, going out with friends, some really great times because you had to WORK. Particularly if you had to work doing something you HATED! <br>
Now, think about when you started to find your way. Your career path, or if not found your way, started being a little easier. Then you started making a bit of money, could relax, take a day off, spend time with loved ones. Or possibly still working multiple jobs, but don’t hate it quite as much as you did. And imagine YOU ARE ONE OF THE ONLY ONE’S WITH YOUR JOB.<br>
And a LOT of people are knocking on that door to get to do what you do. In this job climate, that can be a LOT of people.<br><br>
Now, imagine, that you are in the middle of struggling to do your job, fill orders, keep up with demand for what you do, juggling schedules, making payroll, often finding yourself short, and trying to keep your head above water, every day you have to reinvent what you do and go for new successes. Yesterday is forgotten, what have you done TODAY? <br>
In the middle of this, someone you don’t know, walks up while sweat is dripping off your forehead and your body is aching from strain, and says “Hey, you know, I have always wanted to do that. But really don’t know anything about it, but I don’t like what I do for a living, so you don’t mind me stepping in front of you, doing what you do, taking your contacts, your livelihood, your ability have a family, a home, security, etc. and let ME DO THAT DO YOU?”<br><br>
What would you do?<br><br>
Yet, that is what anyone in the music industry is asked to do all the time. Anyone in the industry has started sometimes decades before. They always worked multiple jobs, and sometimes EVEN AFTER THEY HAVE ACHIEVED SUCCESS STILL HAVE OTHER FORMS OF INCOME. They have had to travel to places they didn’t know anyone, and carve out a niche for themselves. They spent years learning their trade, AND building relationships and partnerships to get the doors open just a tiny little bit. They have slept on people’s couches, gone without food and money, worked the WORST JOBS IMAGINABLE, all to just keep going while their dreams came true. And they live it, eat it, drink it, sleep it. <br><br>
They are dedicated to a point of obsession by some of their significant others. They have lost relationships, missed birthdays and anniversaries, and NEVER HAD VACATIONS. They have worked their butts off only to have the project disappear with no notice. They have been promised the moon and gotten dirt. They are rejected ALL THE TIME. They have worked and worked and seen the credit for what they do go to someone else. They have had to swallow their pride and smile and be nice to people they HATE and have mistreated them terribly. They have seen everyone around them seemingly get success and they have still gotten nothing. They have seen undeserving people shoot past them only to flame out and self-destruct. They have seen jerks get huge breaks. They have seen their entire industry suddenly be told that “most of what you do now will be FREE” and they have watched every amateur, karaoke singer, high school diva and jock, their parents, their friends, grandparents significant others, tell them HOW GREAT THEY ARE AND HOW THEY NEED TO BE “OUT THERE!”<br><br>
They have seen success get so close that they could taste it, was RIGHT WITHIN REACH, only to have it evaporate because some other company bought out the one they worked for and they are unemployed. They have seen people and events beyond their control destroy everything they have dreamed about for years in the blink of an eye. And they live this way <br>
EVERY SINGLE DAY OF THEIR LIVES.<br><br>
So before you start getting worked up because someone tells you “that song is really interesting, fun” or “That sounds like it should be in a movie, (which really means “That song is so out there, confusing and unmarketable, boring and unmarketable, that I have NO IDEA WHAT TO DO WITH IT, SO PLEASE GO TO LA OR NEW YORK AND BOTHER THEM FOR A WHILE!”) just keep in mind what the “other side of the desk” has gone through. <br><br>
And that is what YOU ARE GOING TO HAVE TO GO THROUGH. There are no shortcuts, no mailing it in, no cheap and easy way. Does that mean you are totally out of luck, nothing will EVER happen with you?<br><br>
Of course not. There are opportunities all around you. There are singers, writers and like-minded individuals everywhere. There are local and regional organizations dedicated to songwriters. There are writers nights and open mics, everywhere. There are gatherings of people. In Nashville there are dozens of songwriters nights, clubs, NSAI, Songwriters Guild, various organizations dedicated to the creative process. There are web sites and forums where discussions going on. There are FRIENDS AND CONTACTS OUT THERE FOR YOU TO BUILD. And it CAN BE DONE. But it takes a while, and doesn’t always turn into fame or money. But that is what everyone else has to do. You have to too.<br><br>
This is the real world. Got to get out of the living room and get on the field.<br><br>
You up for it? Come on down. But don’t think you can do it by REMOTE CONTROL.<br>
This is a FULL CONTACT SPORT.<br><br>
MAB<br><br><br><br><br><br><br></b><br><br>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/8257642013-05-27T07:36:22-05:002018-05-22T18:47:18-05:00"CAN'T GET ENOUGH OF THAT MAB!!!" (QUESTIONS PART II)<p><b>Since some of our guys are a little more exhuberant, and want follow ups, I thought I would post those as well:<br><br>
#1. "When you say 'relationships', MAB, I assume you mean writing songs about past relationships, and 'love songs gone wrong' songs. That makes sense because that is mostly what I hear when I listen to someone performiong in a coffee shop or a show at a writers room during a visit to Nashville."<br><br>
A. Not, exactly. I am talking writing, performing, networking 'RELATIONSHIPS." Those are with other people who share similar interests. Could be a potential co-writer and artist to record a song, a producer, publisher, or people already established, or the "up and coming" person that might be a partner somewhere down the road. Songwriters, artists, and the like are nearly every where. Most towns and cities have open mic or talent nights. Writers nights in coffee houses, karaoke nights. You need to search them out and find associates. They all are driven by the same forces. Belief in themselves and their talents. Just like you.<br>
In the "poor poor pitiful me" style of songwriting, that is what EVERYONE SEEMS TO DO. Do you really want to be just like everyone else? <br><br>
#2. When you say "research" what exactly am I supposed to be researching? Artists, songwriters, former hit songs? How will that help me?<br><br>
A. Yes. All of that. Finding out how a writer became a hit writer, an artist became a hit artist, songs became HIT songs are the way to find out how to get there yourself. All of those have their own stories, career paths. How did they go from where you are to where they are? It starts with your own favorite songs. GOOGLE is a great research tool. Then finding out how the song was writen, when was it written. Where did the idea come from? How was it pitched? How was the artist developed? Studying the format of the song, the structure, how it's message is delivered. "Elbow moments, musical hooks, pacing and phrasing." All of these tell the back story of the song. You need to learn how it and they got to where they are now. That will alwsy help you to fill in your own blanks.<br><br>
#3. "I'm confused about 'conversational." I still listen to classic rock, R&B, pop, and even some hip hop, even hear all those styles in some of today's country music. What exactly do you mean about 'conversational' in today's writing?<br><br>
A. For every "rule" there are going to be execptions. But many of the "rule breakers' are established writers or the artist themselves. For those trying to begin that road, you have to learn the rules in order to bend or break them. "Conversational is how most, particularly all of contemporary countr is written. If you can't 'speak it' you best not 'write it.' Again, research can show you on most current hit country songs. Read the lyrics aloud and you will see they are like two people talking.<br><br>
#4. MAB when you say the key is to write to a "radio" audience. I don't always feel they are. Why don't they write more traditional country songs that older folks can relate to. Don't they care what older folks, like me, want to hear? <br><br>
A. One of the main steps is to attract and keep attention. "writing for radio" means keeping it short, within a three- three and half minute format" having easily to sing melodies and easily memorable hooks. This is what is going to attract the attention of listeners, pubilshers, and other co-writers. IT gives your songs the best possible chance. <br>
"Traditional" has changed in meaning over the years. Today's country singers might mean "traditional" is the mid 80's songs of George Strait and Alan Jackson. That might be different than the "traditional" of the 50's and 60's songs of Hank Williams Sr., Johnny Cash or Buck Owens.<br>
For those who enjoy those types of songs, there are millions out there. Again, Google searches can help in that. But as times change, so does music and the main focus of music is for a younger audience, who buy in a more effective "voting bloc." Those are the ones who go to concerts, buy t-shirts, CDs, hats, join fan clubs. "Older people" have more uses for their money. So they are not catered to as a main part of the music industry.<br><br>
#5. I get it about the chorus being the most memorable and melodic part of the song. I have noticed that. What about the bridge you spoke about earlier? Is a bridge nessasary? Does it too need a different melody, or can it sound like another verse"?<br><br>
A. For the most part, due to time constraints now, less and less songs have bridges. Most country songs are verse chorus verse chorus. A bridge is there to wrap up the story and most hit writers tend to do that before they need a bridge. But Bridges can be usefull to fill in the blanks of a story. But it should be short, probably two to four lines, and sound different than other parts of a song. Some can use a "half verse" or a modulation as a bridge and their are musical bridges. It 'bridges" back to the last chorus.<br><br>
More to come later.<br>
MAB<br></b></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/8249022013-05-27T03:59:29-05:002022-04-28T12:16:18-05:00Writing What you Know<b>WRITE WHAT YOU KNOW, WHAT YOU SEE, AND FIND THE TWIST<br><br>
Since we are on the subject of writing, I would like to answer to Matt’s comment on “writing what you know” and Jimmy’s “conversational, and in addition, the “paying attention to small articles In the news on television and in papers as well as “writing for artists. I am going to break down the surrounding issues of all of these in one of my favorite songs written with Allen Shervelle, and Bonnie Lee Panda. I believe It demonstrates all four of these. <br><br>
In one of my incarnations of my Father’s businesses, was a part ownership of a comic book store in the 80’s in Birmingham. We traveled to comic conventions and I developed a bit of knowledge about the genre of collectables. WE did collector cars, records, and many examples of “one man’s trash is another man’s treasure.” I was always trying to be a musician but building knowledge for a lot of reasons. This is how it comes in. I was also a huge fan of the Christopher Reeve SUPERMAN movies. So that subject was one I knew quite well.<br><br>
Fast forward about twenty or so years and I am mentoring Allen Shervelle, who is one of the biggest Superman freaks there is. He was inspired by the comic book hero, to help him get through his alcohol problems, and has become a big fan. He wears Superman t-shits and has a lot of “Smallville” and other memorabilia. <br>
One day we both saw the same news report and seized upon it as subject matter for a song. A family had received their third eviction notice to lose their home. Stuck in the economic morass we have had. As they were preparing to move out, they were organizing a yard sale and came across some boxes in the basement they did not even know were there. It had belonged to a Grandfather and inside were lots of magazines, books and some comics. They called a local comic vendor to find out if they were worth anything. He was amazed when in the middle of the box there was a Superman comic but it was not named Superman. It was an ACTION Number one, which was the first appearance of Superman in 1938. During World War II most of the comics and other books and magazines were destroyed due to the war drive for paper. So very few exist and almost none in rare condition. This one was in plastic magazine bags, and probably bought in the 60’s or 70’s before comics got valuable. <br><br>
They ended up running it in an auction and sold for something like $2.7 MILLION dollars. It was in perfect condition and the family was saved. <br><br>
So the idea was how to how to approach the subject in an interesting idea. I decided to go with the “Saved by Superman” motif and started writing from the first line down. Allen and Bonnie Lee Panda, and I put it together and they fine tuned it. It has become one of Allen’s top songs and I really love the way it fell together. Here are the lyrics: <br><br><span style="font-size: larger">SAVED BY SUPERMAN</span><br><span style="font-size: smaller">MAB/ALLEN SHEREVELLE/BONNIE LEE PANDA<br>
8-26-10 </span><br><br>
Was like a shot of Kryptonite<br>
They’d lose the house they’d owned for life<br>
Sorry but one more, economic casualty <br>
(trying to keep it conversational, a narration, sets up the scene)<br>
Little Andy kept the faith (bring in a kid is always a good thing)<br>
In that big “S” on his PJ’s<br>
Staring at the sky every night before sleep<br>
In the basement were the boxes of Grandpa’s cast off junk. <br>
In their darkest moment, they found that said Action Number one <br><br>
Chorus<br><br>
IN A FLASH CAME THE MAN OF STEEL <br>
(throw in another comic character)<br>
A LOCOMOTIVE COMING UP THE HILL<br>
(speeding locomotive)<br>
JUST LIKE HE’S DONE SINCE NINTEEN THIRTY-EIGHT (Ist year)<br>
FASTER THAN A 45 (speeding bullet) <br>
CHALK UP ONE MORE SET OF LIVES <br><br><br>
PROVING THERE’S STILL JUSTICE IN THE AMERICAN WAY<br>
ONCE AGAIN STOPPING EVIL PLANS<br>
ANOTHER FAMILY SAVED BY SUPERMAN <br>
(BOOM! HIT EM WITH THE HOOK!)<br><br>
Didn’t know where Grandpa got it<br>
Or that he collected comics<br>
But happy tears fell when they found what it was worth (all true)<br>
And was the fact that it was saved<br>
Was the old man reaching from the grave.<br>
To help his family left behind on Earth <br>
(this is a nod to my own Dad. Story to follow)<br>
The man at the auction house had a shocked look on his face<br>
When he called up the bank and said ‘The money’s on the way” <br><br><br>
Bridge<br>
The rarest of collectables in near mint condition<br>
Was a hero, for the family, in the very last minute <br><br><br>
All true, wrap it up, redeliver the hook! End of song!<br><br>
Now, the “nod to my Father” is that a few years back I got a letter from Sony music saying they were withholding royalties but couldn’t send them to me because they didn’t have my address. Yeah. You heard it right. Sent me a LETTER saying they DIDN’T HAVE MY ADDRESS! Welcome to Nashville! I found out that they were not just my royalties, but those of my Father, who had passed away about 7 years before. It was literally “reaching beyond the grave to help his family.”<br>
So there you are. Finding a “twist on a tale” that really happened. Use conversational language and understanding the subject from a variety of angles. Then, couple that with an artist who can inhabit the subject matter. <br><br>
Hope that all makes sense. <br><br>
MAB<br></b>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/8248512013-05-27T03:53:38-05:002022-01-27T07:56:39-06:0015 questions from "OD"<b>MAB’S SONGWRITNG 101<br>
A friend and client of mine, Mr. Steve Harris, of Columbus Ohio, asked a few questions he wanted to know when he started this songwriter’s journey. I thought his questions summed up what most newbies need to know. Hope they help. Thank you OD. (Steve)<br><br><u>1. I have some poems that my friends think are pretty good and my family thinks are GREAT! What should I do with them?<br><br></u>Everyone has a parent, grandparent. Teacher, friend, who love them and think everything is BETTER THAN THAT CRAP ON THE RADIO! But that is not the best arbiter of things, particularly when it comes to songs. And poetry are NOT SONGS. They are poems. There doesn’t have to be a meter, structure, rhyme scheme, time constraints, melody, or anything. They can just be whatever they are. Songs have to have a structure, verses, choruses, hooks, a cogent story line. Poetry doesn’t. <br><br><u>2. Should I buy books and begin to learn there? If so, what kind?<br></u><br>
There are books on the subject, primarily Jason Blume’s Six Steps to Songwriting Success and John Brahany’s “Craft and Business of Songwriting.” Personally, I like reading biographies of artists, writers, actors, to separate fact from theory. At the end of the day, hit songs don’t come out of books. They come from doing. Just like reading source material in High School and College, getting a supply of information and knowledge is always a good thing. But most of songwriting is a contact sport. Have to get into the game. By doing.<br>
3. Should I spend money on workshops and seminars? If so, what kind?<br>
Again, all knowledge is a good thing. Workshops and seminars are good at getting face to face answers to questions. But they have another important element. Getting writers together in one area to meet, share information, and network. And at the end of the day, RELATIONSHIPS account for 85% of a career.<br><br><u>4. Should I join an organization? IF so, what kind? How about online?<br></u><br>
NSAI, or Nashville Songwriter’s Association International, is the only Nationwide organization with chapter workshops nearly everywhere. A visit to nashvillesongwriters.com can take you to the information on that. Other organizations like Song U, TAXI, Songwriter’s Guild, have similar and different purposes, from instruction, information, networking opportunities, etc. Some, like Taxi, also are involved in song plugging. But you should do investigation with other writers, to find their experiences first before committing resources. <br>
There are many sites online, www.songramp.com is one of my favorites and the one I participate in most often. It provides talk rooms, opportunities to post songs, and make like- minded friends for life. There are many others. But writers and artists should spend as much time doing research as they do writing.<br><br><u>5. What do they mean by SONG STRUCTURE?<br></u><br>
Songs have very distinct patterns to them. There are verses, which usually tell the story of the song, choruses, which are the “sing a long” part that has the “hook” which is the theme or title of the song, bridges, which are the “moral of the story” or the “wrap up” <br>
These can come in different structures. Verse, verse, Chorus, verse, verse, bridge, and many variations. The most popular, particularly in contemporary country music, is “Verse, chorus, verse, chorus, bridge, chorus, out. The verses also feature a “Channel, pre-chorus, or lift, which are places where the music lifts up the tension into the chorus and melodically lifts the song. These are usually two-four lines and build until the chorus.<br><br><br><br><br><u>6. What are perfect rhymes and sound alike rhymes? Should you avoid one or the other?<br></u><br>
Perfect rhymes are just as they say. Perfect. TRUE AND BLUE, EYES AND REALIZE, HEART AND APART.<br>
The problem with these is in this day and age, many can sound sophomoric and Dr. Suess-like. So we use “Near”, or “sound alike” rhymes. HEART and SHORT, TIME and RIGHT, LOVE AND ROUGH”. There are a lot of variations on this and again, many books and online references are offered. But the most essential element of today’s writing is CONVERSATIONAL. Singers sing like they are SPEAKING. So if it sounds forced or contrived, most singers won’t sing it.<br>
<br><u>7. My songs have three or four verses. Is that bad?<br></u><br>
We are in a “30 second attention span” world now. If a song takes much longer to get into the “meat: of the song, close to a chorus, listeners will most assuredly tune out. People are bombarded by information, television, the internet, movies, books, live entertainment, there are images coming in all the time. So our attention spans are very short. Most commercial songs are not much longer than three minutes and thirty seconds. The key is to try and write for a “RADIO” audience. That is what interests publishers and artists. IF you get much past two verses you are going to be getting pretty long. Three can work but they need to be very lean and get to the point. DON’T BORE US, GET TO THE CHORUS!”<br><br><u>8. Not sure if my verses sound different from my chorus. What is a chorus exactly?<br></u><br>
The chorus, is the “Sing along” part. It is where the audience gets to sing along, and usually delivers the “hook” of the song. Usually having longer, held out vowel sounds, it should be easily memorable and hum-able. The verses usually have more realistic images, or furniture, and the choruses are more emotion driven. This is not always the case, but most often so. There should be melody, rhythm differences in the two. Or it can get VERY BORING.<br><br><u>9. I don’t play an instrument. Is that necessary?<br></u><br>
While there are people who are primarily LYRICISTS, it is very difficult to crawl inside someone’s head to hear what they are thinking when it comes to music and melody. So being able to at least play a few chords is very helpful when it comes to writing. And the lack of doing so can make it much harder than it needs to be. Since an instrument like guitar can be fairly easy and pretty inexpensive, having some abilities can make a huge difference in writing abilities.<br><br><u>10. I’m pretty shy and would never play onstage. How do I find someone to do my songs?<br><br></u>While not all writers have to be performing artists, again, it can make things much easier if they can at least perform a little bit. Writer’s nights and open mics are ways to get known by others quickly. It is somewhat akin to “pledging the fraternity” Being able to overcome stage fright, and do what everyone else has to do is part of the process. But if you absolutely CAN NOT perform, you need to attend writers nights or open mics, to support others and meet people. If you have decent recordings of songs, you can have a CD or direct someone to a web site. NEVER give a CD to someone without first asking permission. That can lead to enormous legal issues and has a name called “GHERMING” which is trying to move too fast in a relationship. Be polite and things usually come your way.<br><br><u>11. I write from the heart sharing my feelings. Isn’t that what we’re supposed to do?<br></u><br>
Emotions have to be in songs. It is what separates things for music. But there are only so many emotions available. And people have heard them over and over again. So we have to “illustrate” emotions by “showing” not “telling.” You could say “He loved her forever” or “He Said “I’ll Love You Till I DIE.” The word “DIE” is so much more final and real. And in George Jones, immortal, “He Stopped Loving Her Today”, it is the entire point of the song. He does DIE in the end.<br><br><br><br><u>12. I write alone and never had a co-writer. Why would I want a co-writer?<br><br></u>Solo writing is fine and some people only want to do that. But if you want to participate in the music business, you will have to bring other people into your world. Co-writing is the way to not only do that, but to increase your abilities, working with a more experienced writer is THE way to go. And even the greatest of solo writers usually learn at the “feet of the masters.” There were LENNON AND McCartney, Rogers AND Hammerstein,<br>
Elton John AND Bernie Taupin. <br>
But it doesn’t mean you can’t write by yourself. You always can do that. But co-writing can lead to artists, publishers, producers, labels. Solo writing almost never does that. <br><br><u>13. I’ve gotten all my songs copy written. I also have gotten a lot of letters from people claiming to want to help me pitch my songs and agencies wanting to help me. WOW! How do I pick which one to go with and which one will be worth the money they want?<br><br></u>The Library of Congress is fertile ground for people wanting to offer scams and schemes. There are many services and web sites that are going to pitch songs, record songs, and MAKE YOU A STAR. In reality they usually over promise and under deliver. They are mostly studios looking for business or someone who USED to be in the business trying to stay in the business. Until you really get to know someone personally, it is best to take it very slow and methodical. Everyone in this business knows other people. Not hard to get references or complaints. Be careful.<br><u><br>
14. I have a friend of a friend who does his own recording. But he is not a very good singer. Will that be okay with the labels?<br></u><br>
Today with the higher and higher quality of recordings and expectations of the average listeners, it is harder and harder to be able to “hear through” a poor quality demo. Songs go in many areas now. Web sites, CD’s, I Tunes, Reverbnation, they pitch everything, from the singer, to the studio, to the musicians. If you get weak on a singer, it can very poorly represent your song. WE can no longer take chances. It is your baby. Give it every chance to live. Always ask for a “track mix: which is the music with no vocals. That way if you need to re-record with another, more appropriate vocalist, you can do so without having to re-record the entire song. <br><br><u>15. Once I get my songs recorded, do I mail my songs to everyone in Nashville? What is the next step?<br></u><br>
You never “mail in” anything unless it is asked for. IT will all be passed on. Right into the garbage can. There are legal issues and until you know people inside the business, they are not going to take a chance on a lawsuit by listening to something from someone they don’t know. <br>
You would be better served, to meet other writers, other artists, writer’s nights, seminars, workshops, and making a focused, Nashville trip. It is a very friendly city with a lot of all of it on display. Come on down!<br>
A Marc-Alan Barnette customized songwriter or artist “TOUR” of Nashville can answer all of these questions and more. <br><br><u>16. I am so excited about my new life as a songwriter. Should I quit my job and move to Nashville?<br></u><br>
Or, equally exciting would to be to take your life savings, cash it from the bank in $100 bills, go to your toilet and flush it all down. IT would have about the same effect.<br>
The music business is expensive, tricky, challenging and a lot of fun. But very few will ever make enough money to even support themselves, much less get rich, It is not to be taken lightly. Before even considering moving, some advanuce trips should be made, meeting other people, sharing experiences, scoutng locations, making plans, and getting a realistic approach to the town. Again, an MAB tour can help in many of this. Several trips should be made before any considerations to moving are done. For now, many things can be done outside of Nashville. Do that first. <br><br>
Good luck and have a good time.<br>
MAB</b>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/6813592013-05-06T04:15:29-05:002013-05-06T04:15:29-05:00The "NASHVILLE BAR" <span style="font-size: larger"><b> "The NASHVILLE BAR."<br><br><br>
When writers and artists start getting into songwriting in a more realistic and competitive way, traveling to Nashville, getting on web sites, learning the realities, they start to hear a term, "the Nashville Bar." What does that mean? Well aside from the clubs and bars that us writers hang out in, there is a very real term that speaks to the QUALITY OF SONGS AND SONGWRITERS. But what does that mean?<br><br>
When you hear songs like <i>"House that Built Me", "Live Like You Were Dying", "I had Moments." "I Drive your Truck."</i><br>
What was it that set those songs above other songs written about the same subjects? What would "Pros" write verses "Amateurs or new writers?"<br><br>
Probably that most amateur writers would write:<br><br><i>"I miss that house I grew up in, I visted there and everything had changed and it is all terrible!"</i><br><i>"Oh no, I am dying!!! I have so much to live for.... poor poor pitiful me...."</i><br><i>"The poor homeless man on the corner is so sad and was caused by corporate greed and the Evil MAN! Who came after him..."<br>
"The evil American politicians sent my brother to war and he got killed BRING DOWN THE MAN!!!!!!"</i><br><br>
That is the difference in the average song, and the NASHVILLE BAR. The really great songs will state what we know or have seen before a million times but express it in a totally different way. It will find something ELEVATING out of even the hardest subject. And it will be something that EVERYONE who hears it, every time it is performed, will have people remembering and talking about it. It will transcend time. Many of those songs were around for years before getting cut. But they persevered and fought their way to the top of the heap.<br>
We hear the phrases "Up Tempo and Positive" all the time but it is really more, "Mid tempo and NOT SO NEGATIVE!!!!"<br><br>
Pro writers will find the "Rope of Hope" in it, whereas amateurs, who are usually only thinking about themselves, will focus on the negative. They will find the darker side in everything. The problem with that is two fold. First, people ALREADY have the DARK SIDE. They live in a world with bad economies, broken hearts and relationships, never enough money, never having enough time, life often going against them. Even those who have reasonably happy lives, established businesses, happy family lives, realatively stable existances, seem to think they need to write the DEPRESSING stuff to "be taken seriously. NONSENSE. IF everyone has their OWN PAIN and SUFFERING, they DON'T NEED YOURS!!!!!<br><br>
It is because amateurs and newer writers WRITE FOR THEMSELVES. To hear themselves talk. To hear what THEY HAVE TO SAY.<br>
Professionals write songs THE WORLD WANTS TO HEAR. They write for the benefit of others. Be it artists, producers, labels, publishers, or the GENERAL LISTENING PUBLIC.<br><br>
"Nashville written" songs like those, stand out in any crowd and make people say "THAT IS THE WAY A SONG SHOULD HAVE BEEN WRITTEN!"<br>
Now every song can't be those. And every song doesn't have to be about weighty subjects, they can be about fun. "PONTOON" would be a great idea. Again. something probably everyone has seen, those Pontoon boats, lulling around the river. But Little Big Town turned into a floating party barge, that everyone wants to be on. The musical groove, is moving just like those motors,just cruising along.<br>
That is the Nashville bar also. Something that totally mesmerizes the audience, keeping them interested and wanting to hear it over and over again. <br><br>
That is the "Nashville bar."<br><br>
Essentially it is a song that just hits you hard. Well written, incredibly visual, that makes it's point and pulls you along. Every line has "meat" in it, that has the listener seeing the video in their mind's eye. <br>
THEN, it has to do that to people who have competing songs. Far from the "Someone's stealing my song" nonsense, those songs are so well written, so well developed, so engaging, that EVERYONE admits it. Other writers, who can quote lines to you and want to come up to find out more about you. That introduce you to people and say "This is the guy who wrote that song I was telling you about.." The standouts on artists, that make people applaud and give amazing deference to. It's the song everyone wishes they had written.<br>
It's the song that illustrates everything that sets Nashville apart from every other place as the repository of SONGWRITING. <br>
It is above the normal song. And above the NORMAL WRITER. There are HIT SONGS for a REASON. <br><br>
The duty of every wanna be, newbie and amateur is to FIND THOSE REASONS AND WRITE TO THAT.<br><br>
THAT IS THE NASHVILLE BAR.<br><br>
MAB<br><br></b></span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/6713462013-05-03T16:54:55-05:002020-12-18T00:35:20-06:00SEARCHING FOR SUBJECTSThere is nothing quite as deflating in songwriting as working for months on some song, writing, re-writing, tweaking it, getting critiques, playing it out, showing your family, and getting it PERFECT, and then going to a writers night, and hearing five to eight people do virtually the SAME SONG, with the same point of view, same rhymes, same message, similar melodies. Or sitting down with some industry pro, BMI, ASCAP, SESAC, NSAI, publisher, private appointments, and having them calmly turn it off in the first verse, saying “Already heard this a thousand times, we have twenty of these in our catalogue, this was just a hit on the radio, or this is a really lame, overdone idea.”<br><br>
How does that happen? Is it an International CONSPIRACY of people scanning our brains, and stealing our ideas? Is the Government behind this? Are we all gunie pigs in some evil conspiracy? The answer? NOPE. We just all write the same stuff.<br><br>
We can’t help it. We are bombarded by information all day long every day. Talk show and news junkies like me see it in front of us endlessly. If you are emmersed in it all day, every day, you have a little better sense. If you are physically around other writers, artists, web sites, forums, music, you get a sense of it. But if you are kind of isolated, in your own corner of the world, or don’t spend a lot of time listening to others, you are going to run into it. Trust me. If you can think of it, with billions of people on this planet and 100 plus years of recorded music history, it has probably been done.<br><br>
We can’t avoid that. But we can avoid running into the “topic of the moment”, the trends, subject matter that is out there all the time.<br>
Here are a few “rules of thumb.”<br><br>
TOPICAL ISSUE OF THE MOMENTS:<br>
Right now, we are immersed in the Boston Marathon bombing. It is fresh on our minds, and overwhelming our television and computer screens. A few days ago we were in the “Govt. takeover of guns. Before that it was Sandy Hook, before that the elections, before that Katrina, 9-11, black helicopters, the economy (always a favorite), and whatever issue there is. Writers see that and write it. All the time.<br>
And while that doesn’t mean you shouldn’t clearly state your opinion on it, understand you are going to have a lot of company. You will hear them continuously and they overwhelm you. Most are very preachy, finger pointing, isolating, and not very good. Some are syrupy, built to pull on the heart strings. And most of those are not very good either.<br>
Issues are a tough sell to the industry and artists because most alienate audiences. And no one wants to do that. Even well intentioned, witness the current Brad Paisley/LL Cool J “Accidental Rascist” controversy. Even though Brad had the best intentions, is a big star and is trying to do what everyone claims they want, have a dialogue, he has been pilloried in the press, with people standing up calling him naïve, stupid and LL COOL J an “Uncle Tom” for going along with it.<br>
When it comes to controversial subjects, no matter how well intentioned, it reminds me of a saying my Father had. “No Good deed goes unpunished.”<br><br>
ANGELS AND OTHER HEAVENLY BODIES.<br>
We all feel (or a lot of us feel) like there is “someone up there” looking over us. Angels are a huge part of the culture, just like Devils, Heaven, Hell, God, Demons, etc. They are out there, real and imagined. Which lead a lot of songwriters to put them in songs. And they go in cycles. After 9-11, we went through a “collective group hug” in this country. Everyone wanted to believe in a higher power. So they started, and four about five years, they were everywhere. In television, movies, random phrases in the culture. And in songs. They were everywhere, particularly in country music. Concrete Angels, Ten Thousand Angels, Angels in the outfield, Devils and angels, man they were EVERYWHERE. Led Songwriting Guru, Ralph Murphy to declare at one point “The era of the ANGELS IS OVER!” To a packed NSAI event. To collective groans and gasps. To me,applause.<br>
Again, it is not that you should or should not write them. Do what you feel drawn to. But understand the “other side of the desk” from a producer, label exect, publisher, who probably has a drawer full of them that personally THEY love but couldn’t get them cut with a thousand dollar bill attached. We’ve got plenty.<br><br>
DRINKING, (MYBUDDIES JACK,JOHNNY, JIM BEAM, MILLER, BUD, ) WHATEVER.<br>
While a LOT of these make it to the big time, (these artists are playing to a lot of weekends, parties, lakes, oceans, etc. where alcohol is VERY involved, again, they are something that everyone seems to do and they are VERY predictable. Of course, this is coming from a guy who had a major cut called “I’VE GOT TOO MUCH BLOOD IN MY ALCOHOL LEVEL.”, Of course, having taken 13 years from writing to having that one recorded, I know the difficulty involved with those types of songs. They better be VERY well written and VERY different than what is out there.<br>
And you have to keep in mind things like “MADD (Mothers Against Drunk Driving) the cultural pressures of an alcoholic aware public, that might be likely to suggest seminars from alcohol abuse.<br><br>
This can also be said about the other side of the coin, the reformed alcoholic, substance abuser, etc. These can come off as preachy or self-serving, and have to be approached with their own sensibilities. You never want to preach in songs. And if you think about songs being played in bars, lakes and places that people are imbibing, they can very easily come off preachy and for someone into his third beer floating on a raft in the middle of a lake, the LAST thing they want to have is someone preaching at them. Approach with caution.<br><br>
So much has to be discounted when you consider the songs that make the radio in these subjects are usually written with the artist or their inside teams. If you work yourself into those inside teams, you are in good shape. But you are going to have a LOT OF COMPANY in them.<br><br>
So what do you do? I have no idea. Write what you want. But always keep an ear to what is going on OUT THERE. Listen to music, be around other writers. Find out what the pulse is. It helps to be around a town like Nashville where it is all over the place. But without that, attend the Internet, go to public songwriter related events. Immerse yourself in the craft. Might save you some embarrassment in one of those very rare publisher appointments.<br>
You need every edge you can get.<br><br>
MAB<br>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/5668252013-04-19T07:28:26-05:002013-04-19T07:28:26-05:00The Way to the 'Deal'<b>THE WAY TO THE DEAL<br>
(HOW DO PEOPLE GET “DEALS” ANYWAY?)<br>
As people start their journeys in the music business, they always want to know about the people at the top of the pyramid, and “how did they get there?” Or “How did that song get on the radio?” Usually those are about as interesting stories as the songs or people themselves. I have kind of a general outline of how these things work. Not always true, but more often than not they are.<br><br>
We call Nashville a “Ten Year Town.” Mostly, because that is the average for most people. That doesn’t mean that some people don’t get there faster, there are tons of examples of people that just screw up and fall into luck like lottery winners, and the twenty and thirty year overnight successes, and of course those that seem to have done very thing right and never “make it.” And of course, everything in between.<br>
I call Nashville High School and College. FRESHMAN, SOPHOMORE, JUNIOR AND SENIOR all over again. Except this time, they ALL last about three years.<br>
FRESHMAN:<br>
It takes about three years to learn what NOT TO DO, realize how unprepared you are, to make your mistakes and start all the relationships you are going to need in the future. At the end of that, the most common comment most people have is “I CAN’T BELIEVE I ACTUALLY THOUGHT THESE SONGS WERE WORTH A CRAP AND I ACTUALLY PLAYED THESE FOR ANYONE!” Embarrassment is the most common trait here.<br>
OF the people who move here every day, or week, about 70% are gone by this point.<br>
SOPHOMORE:<br>
Starting to realize how futile most of this is, most people have long quit by this time. Those remaining have started writing some pretty decent songs, starting to get their reputation out there. Have gotten not only a more realistic view of things, but borderline depression setting in. There are a few single song deals at this time. But no real tangible results aside from some independent cuts here and there. Most definitely no money. By this point, 85% gone.<br>
JUNIOR:<br>
Actually a “Someone just shoot me NOW” feeling permeates everything. But they now have a pattern down. They have enough people they write with, get demos done, do writers nights, are featured on most of them. They have generally signed several single song deals. Now, this is where publishers tend to take a little more interest. Often go from the “open door” policy, to the “come to this party, let me introduce you to this writer, go check out that artist” type of things. By this point 98% gone.<br>
SENIOR:<br>
Now very realistic, the reputation is cemented, usually have had one or two full deals (for the really good ones) or at least gotten a good deal of attention. They are spoken about as credible people, they are on a good role. And inside, they no longer care for the “big deal.” They just appreciate what they have and have settled down to a more realistic role. <br><br>
PUBLISHERS.<br>
Most publishers started out as writers or artists. Along their journey, they get into publishing, often by default. They might be a writer who has had a hit or more, who has gone through two or three deals, and then they get on the other side of the desk. They work for other publishers, or get outside investors.<br>
Usually a minimum of 10-15 years. AS their success grows, most of the time they are also “piecing” out their companies to other people, larger companies, outside investors in other forums, such as motion picture companies. So while they have a larger presence, they might not be making more money since they have to part it out. <br><br>
ARTISTS:<br>
Most usually start out building fan base in their areas. They come to Nashville a little at a time, or jump out right after high school or college. They usually come into contact with these publishers, producers, hit writers along this way if they are worth their salt. Most get attention fast and then drop off the face of the earth as they give up, financial problems or relationships take over and move them away from music. <br><br>
In each case, it is the people AHEAD of them in line, that invites them to the next level. One gig builds to another, which builds to another and so forth. Same with songs, relationships, recordings, raising money, building and maintaining connections. It is all related.<br><br>
The down side is that in almost all cases, the deals are over before they even really get going. It is why you have to be very careful in expectations of any deal. Expect little, be constantly moving forward, never put all eggs in one basket. Good luck.<br>
MAB<br></b>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/3018982013-02-07T04:56:25-06:002013-02-07T04:56:25-06:00Avoiding "Short Shelf Life" syndrome<b>Here is the senario.<br><br>
Someone sends you a link to a song, video, etc. The song is really cool, well recorded, but for some certain television show that is out there currently. Or for a cause, National calmity, emergency, (Hurricanes, Global Warming, 9-11, War, am starting to see the "SANDY HOOK" School shooting" songs). Now remember, it is a cool song, well written, good melody, nice video. They ask "WHAT's NEXT?"<br><br>
The answer is "Maybe nothing." If they are promoting it, getting it on YOU TUBE, FACEBOOK, MYSPACE, REVERB NATION, etc. going to local and regional outlets, performing it at every opportunity, that might be ALL that they can do. There might not be a "NEXT" unless great fan demand (going VIRAL), or someone else, music director of a television show, motion picture, major artist, publisher, label, picks it up, you might be doing the "NEXT." <br><br>
With television, shows are produced all the time. Mostly pilots that never see the light of day. Motion pictures are the same. There are music directors, who control what is on those, and trust me, they don't have time to go looking for a needle in a haystack of some film or television library. They need what they want NOW. So they are going to go with publishsers, writers, pluggers they personally KNOW, long before they go to some obscure site they don't know. In a lot of television, it is months or sometimes years before they actually air. And if they are like the current rash of "Reality shows" they may either not get shown, or get so hot that EVERYONE is trying to get to them, OR, the entire theme burns out quickly and the fickle public is on to something else. Just the way it goes.<br><br>
In the world of "topical" or "Issue" oriented songs, it is much worse. Writers and artists write what is going on around them. What they see. If you have a "Machine" like Alan Jackson did on his earth shattering "Where Were You When the World Stopped Turning", that came on the heels of the 9-11 catastrophe, was right time, right place, right song. It hit the airwaves during a major television awards show, he didn't even plan on doing it as a single, just his tribute to that terrible day. <br>
But it was an amazingly written, perfectly timed song, and it filled a need that many wanted. Alan, had a big hit on it deservedly so. <br><br>
But at the same time, thousands of writers and artists (probably ALL of them) were coming out with their OWN version of the song. Mine came on the 17th, In French Lick Indiana, where I was playing that weekend after the Towers came down. Mine was called "AMERICA 9-11" and really embodied what I was feeling. I was PISSED OFF! And ready to kick some ass! I performed it, and actually recorded a killer version of it that I put on my "The NEXT BIG THING" CD. Was really cool, and I got a lot of interest in it. "You have to get that too...." was the general statement from everyone. <br>
Then, things start to change. About 3 or 4 months later, I noticed the reaction wasn't the same. People had gotten through their anger and were dealing with the healing. Toby Keith and the Dixie Chicks had their little war of words with his "Courtesy of the Red White and Blue", Darryl Worley had his "Have you Forgotten" and the anger songs started to recede. That was about it for the anger stuff. We moved on.<br><br>
It don't think we forgot, but I do think we overloaded the emotional bandwidth and people moved on to other things. You can stay pissed, cry, remorseful forever, and while certain movies, tv shows, songs, documentaries, continued, even to this day, the mood shifted. Soon we were in the IRAQ and Afganistan wars and EVERYTHING changed. NOBODY wanted to even talk about war or this any more. Move on.<br><br>
So these things had their time and "shelf life" and then it was time to move on. Artists and writers have to do that too. You have to understand that people's attention spans are very short, now much more so due to the Internet, 24 hour news cycles, etc. <br><br>
The industry,who gets bombarded by all of this, is even more fickle and are on to something else very quickly. And when it comes to "issue" songs, you are going to get most people in the industry say "Pass", because they know that most songs that take sides are going to alienate half an audience. They are not going to run off fans and potential dollars for anyone's soap box.<br><br>
So you need to think of this if you are writing your "easily expiration date:" songs. Like anything, if you feel compelled to write it, record it, perform it, then DO IT! It is your right and responsibility to do so. But there is no right to be heard, and you need to keep in mind the feelings of your potential listeners. You might be bringing them something they have just had too much of.<br><br>
If you write things that are "on the radio" or televison" you will find that those were written quite a while back, and if you are following the leader, you are probably going to be left out.<br><br>
Just don't put all your eggs in one basket. Write more songs.<br><br>
MAB</b>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2971232013-02-03T04:39:32-06:002017-02-01T19:17:12-06:00WRITING THE "TRUTH"THE TRUTH<br><br><br>
Since we've kind of swerved into a subject here, and I need a new blog post, I thought I would post one of my long one's on a subject that can address a lot these other posts. Writing the truth.<br><br><br>
The past few pages all can touch on this. From Matt H's observations on why it is so hard for him to focus on what he wants to and the desire of so many to "write for the cut or the hit," Matt C's list of songs and artists he really admires, my own mention of Sir Mac, the efforts Dana mentions about how hard it is now and how "on our own" we all are, John Westwood's overseas observations down to mine and Ott's musings, Ott on the "Pants on the Ground" phenomenon, to mine on the horrid state of American Idol contestants, and the overall decline in talent and perspective of today's writers. <br><br><br>
It all relates to "Getting at the Truth." Everytime I have to sit down with some 12-16 year old singer, like one in Canada week before last, and hear them talk about how rough things are, how difficult life is, how their relationships from "so long ago" just didn't work out, I want to laugh out loud. <br>
And that is the inherent problem with young people. They emulate what other people say and the "been there, done that" factor that most listeners have, takes over. That is why it is so imperetive to "say the same thing, only differently." And they don't have the experience to do that.<br><br><br>
"Older writers" (anyone over 30) lose contact with the language. Their truth may be more universal, but they don't know how to say in the language of the young or make it relatable to current situations. The "What do you know about it old man?" attitude takes over. Which frustrates those of us who are actually trying to integrate with the industry in some form or fashion, as there is nothing more hard headed than a teen ager, but we HAVE to write or work with those teen agers, to really stand a chance of getting what we want out there.<br><br><br>
Younger artists have a problem with it because frankly they don't know it. Their truth is only theirs, and usually doesn't filter down to others.<br><br><br>
The current "TSUNAMI of MEDIOCRITY" that we are experiencing are symptoms to that. Writers and artists simply write what other people are already doing, sounds the same, feels the same, covering the same ground, which leads to the difficulty of "cream rising to the top" or building a "REAL" fan base for singers outside their families or friends, which lead to the "artificial friends" on Facebook and other places, and therefore, the main listeners find nothing they can relate to in most writers and artists. So downloading and "free music" ensues, most of which is because it is simply artifical and same old same old."<br><br><br>
It's the "Circle of bad life!"<br><br><br>
So what do we do? Write the TRUTH.<br><br><br>
Look for things around us. Things we actually live. Writing what WE KNOW. <br><br><br>
But, there is a trick to this as well. You have to write what you know but also that OTHER people care about. <br><br><br>
That is why I always will ask the "WHY" question, when starting to write with someone. WHY are we writing this song? WHY is it meaning something to you? WHY should other people care about it?<br><br><br>
This is the most important question you can ask. And one everyone needs to ask themselves and their co-writers, artists, etc. WHY ARE WE DOING THIS?<br><br><br>
That doesn't mean that every song has to be "About something hefty!" It doesn't. There is far too many songs about "SOMETHING." Most of the time they are issue oriented or "Can't You See How Serious I take myself" songs. <br><br><br>
That is not what I mean either.<br><br><br>
In the immortal words of my mentor, SIR JAMES BEAU Of HINSON, We are trying to "TAG, TOUCH, or TICKLE," in writing. <br><br><br>
"TAG". To get someone's attention. This can be with different subject matter. This can be about something we didn't see coming. Twist's on the tale, Rope of hope" different rhymes and lines. Grabbing people every time it's heard.<br><br><br>
"2 Point seven seconds on a bull named Fu Manchu" in Live like you Were Dying."<br><br><br>
"TUG". Pulling the heartstrings. Starting relationships, ending relationships, different kinds or relationships, but whenever someone hears it there is the "AWWW factor." Getting sympathy.<br>
"You Should have Seen it in color." By Jamie Johnson.<br><br><br>
"TICKLE." Making them laugh, party, dance, ROCK!!" When people want to blow off steam. "Tonight I'm Looking for a PARTY CROWD!!!!!" When someone hears that, you just want to party, have a good time, forget about all that crap that goes on.<br><br><br>
If you search through Matt's list a page back, most of your own favorites, and my own mention, "It's My Job" by Mac McAnalley, I am willing to bet every one of them have some of these if not all of these features. <br><br><br>
In "It's My Job", it makes a very simple statement. That everyone has a job to do and to be happy and satisfied in that is truly one of the best things you can experience in life. It makes you look at yourself and think, "you know, things are not so bad, there is always someone better and worse than me. I should concentrate on that."<br><br><br>
Very simple. And most of the great songs are just that. Simple.<br><br><br>
In Matt's list many of the newer writers, some I know, and some I don't, I would be willing to bet you that they are influenced by Mac. Someone asked if Mac was influenced by James Taylor. Of course. Mac came along in the 80's. James was a decade ahead of him in the 70's. Mac was influenced by him, Carol King, Jim Croce, those singer/songwriters of the late 60's and 70's. I was too. <br><br><br>
And then I was influenced by Mac as well. I have a lot of connections to him. When I started to really think about music, he was on the FM radio at night. They had open formats and played a lot of music all the time. Mac was known mostly around the South because he was from the Muscle Shoals area about an hour up the road from me in Birmingham. But not many people knew about him. In the late 80's, he began a partnership with Jimmy Buffet, started getting a ton of cuts, and became a worldwide legend. <br>
I actually opened a show for him in 1986. He didn't see me, but I saw him and was mesmerized. And that song always meant a lot to me. <br><br><br>
The more I deal with songs and songwriters, the more something like that stands out. And that is where a lot of my desire to pass that along comes from.<br><br><br>
The hardest thing to do is "Say the same thing, yet different." But that does it. <br><br><br>
As we have discussed, I tend to avoid negativity in any way shape and form in songwriting. The reason is that most negativity is highly redundant. No one needs to be told how bad the economy is. How bad it feels to lose or not be able to get jobs, to lose a relationship, having too much month at the end of the money, etc. People already know that. <br><br><br>
So when someone puts something out there as simple as "It's my Job," and making you look at your own status, it is something we didn't see quite as clearly before. <br><br><br>
That's what I like about Mac and what I like about the writers and artists who do something different. That's what I like about writing the truth. Always something that is around everyone and always a challenge to say differently.<br><br><br>
The truth. That is what you should be writing. Put it out there. Make it interesting. Then make it where other people care about it. <br><br><br>
Do that and everything else will take care of itself.<br><br><br>
MAB<br><br>
And THIS would be THE SONG I wish I would have written and the standard I would hold myself up to:<br><br><br>
The writer:<br><br><br>
https://www.youtube.com/watch?v=n4LaCPf9GiA<br><br><br>
Or recorded by some amatuer.<br><br><br>
https://www.youtube.com/watch?v=6d2wCIRTsxQ<br><br><br>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2868342013-01-23T04:48:15-06:002013-01-23T04:48:15-06:00THE "TAYLOR EFFECT"<b>The biggest thing we hear in the music business these days are the effects of what I call "The Taylor Effect." These are the amazing things that artist phenom Taylor Swift has created in the music industry.<br>
Since she came to the forground five years ago, she has become the standard all young, female artists are judged by and who they all emulate at this point. I can't go anywhere without encountering some 13-17 year old, with her "Momager" in tow, trying to impress me as to how they are the "Next Taylor." I recently responded to a post on another forum that went something like this: (from the Father (Dadager) of a 13 year old newbie artist.:<br><br><br>
Dad/Manager = Daddager<br><br><i>First of all, it's great to be involved with the local songwriting community. <br>
My name is Rodney. I'm the "Daddager" of a young, inspired songwriter. My daughter, Kinsey, recently joined NSAI. We're looking forward to networking with you!<br>
We've met with and worked with quite a few people on Music Row over the last 6 months - demo studios, NSAI, workshops, publishers, mentors, etc..<br>
As an outsider, it's been surprising to me that in every, single conversation we've had, the person we've talked to has used the phrase "like Taylor Swift" at some point in our conversations. <br>
I guess that's the verbage to expect when introducing a young, guitar/songwriting female. But, just curious if the legend of Taylor Swift is bigger in Nashville than I thought??<br><br>
Daddager - Rodney ...<br></i><br></b><span style="font-size: x-small"><b>The MAB answer to parents:<br><br>
Rodney, welcome to the insane asylum. <br><br>
Yes, as in any industry, the leaders are always going to be the ones quoted as to what is needed. It is very common and has always been that way. In my era, the 90’s, it led to interesting senarios. That developed into a joke which goes like this:<br><br>
“WHO is Garth Brooks?”<br>
“Get me someone like Garth Brooks.”<br>
“Find me the NEXT Garth Brooks.”<br>
WHO is Garth Brooks?”<br><br>
It is a revolving cycle that happens in any industry. And will continue till that entity runs out of gas. They set the standard and are what everything else is measured by. Taylor, like Garth before her, reset the boundries on younger artists. Younger artists in music are nothing new. Rock and pop have always featured the younger acts, primarily in their focus. The Beatles and Elvis were really teenagers when they started. And since rock and pop were about rebelling against the parents it played well. <br>
Country was traditionally an older format, with artists focusing on the life experiences in their songs. They were more “real.”<br><br>
So it created a delimma for younger artists, particularly female, who either came off too saccharine, Disney esque, or age inappropriate. An older listener, 19-25-30 years old are simply not going to be lectured about relationships or hardships in life but someone 8-10 years older than them. <br>
But Taylor did something in her songwriting that most of us hear about but never did. She said the same thing differently. <br>
In songs like “OUR SONG”, one of her first big hits, she took a long standing clichéd’ title, “Our Song”, (that had always been written like “our song was playing when we got married, our song was there when out children were born….blah, blah, blah) Taylor made it about SOUNDS. (A slamming door, talking low so your Mama don’t know”) she did it differently than most of us had thought of and it not only resonated with her target audiences, but EXPANDED her audience. <br>
The Country audience had traditionally been over 18 up around 45, 70% female. She expanded that DOWN, her age group, 14, to 16, and then expanded it UP to 50 and 60 year olds. Her age group and slightly above, thought “That is ME!!!” Those women’s Mother’s, said “THAT IS YOU!!!!” to their daughters and the Grandmothers said “THAT WAS BOTH OF YOU!!!!” So she was embraced by a HUGE demographic.<br><br>
Just like Garth, a decade before, revolutionized the country industry by bringing huge effects centered, rock live shows and technical energy, Taylor brought the tech savy Internet and was able to use it to her advantage like all younger people do. Being ahead of the curve, she was able to engineer a huge fan base before she got her deals and then expand it exponentially. She now runs a multi million dollar entertainment empire. Her tours and record still sell HUGE where most artists are reduced to giving away their music for free just to get people interested. Her record label (THAT SHE OWNS) is the “BIG MACHINE” that is the envy of every industry person. She employs the stalwarts, Tim McGraw, Reba McEntyre, Martina McBride, she was able to relaunch Rascal Flatts, when DISNEY closed their label down. She is entrenched in publishing, merchandising, and “behind the scenes” industries . Now she is expanding into acting, producing, directing. Watch her to have major films to her credit down the line. She is pretty hot in Hollywood too.<br><br>
And unlike Rock, that uses the Brittany Spears, Lindsey Lohan, Miley Cyrus, celebrity drug addled and rehab meltdowns as a resume’ BUILDER for TMZ and Entertainment tonight,country doesn’t do that, so Taylor’s image tends to stay above that aside from her well-publicized romantic adventures. And of course she uses that to her benefit by channeling it into songs. And unlike the songs most female artists do, the ACSS (Angry Chick Singer Syndrome) her’s are fun, tongue in cheek, and bouncy monster melodies. So it is engaging. <br><br>
So yes, any younger female singer is going to get the “You need to be just like Taylor.” Just like every young male artist hears “You need to be just like Justin Bieber.” In any industry the leaders are who are emulated. If you are wanting to be in the tech industries, you need to be “Like APPLE”, in the Internet, “Like Facebook or GOOGLE” and NFL quarterbacks, Like Tom Brady or Joe Flacco.” Those are who sets the tone and the industry standard.<br>
But it has the opposite effect as well. What we have now is an enormous glut of EVERYONE who is trying to do this at a young age, are sounding EXACTLY like Taylor.<br><br>
I had one artist I work with ni Atlanta who had everything. 16. Great looks, GREAT voice, very good songs. But they all sound like Taylor. The first thing I did was get her away from that. I had her stop wearing her hair curley (of course then Taylor went to straight hair) and started getting songs away from those types. It is a start.<br><br>
Right now I am in Winnipeg Canada, doing two workshops and meeting privately with artists and writers. I am a consulant to those people and help them learn about the ups and downs of the industry, particularly as it involved songwriting craft. Yesterday, my first appointment was a 16 year old girl and her Momager. <br>
She was EXACTLY LIKE TAYLOR. Same hair, and same sounding songs. Rapid fire lyrics, too much musical movement and all the subjects were the same thing, boys, boys boys, and said the exact same way. <br>
That is the problem. The first thing they are going to be told is “WE ALREADY HAVE ONE.” And they will tell you to be different.<br>
And younger people don’t have enough life experiences to be different. They have no boundries or experience to know that. They will write hundreds of songs which all sound exactly the same the same way because that is who they emulate. And they see others just like them and think that is the way to go. It is not.<br><br>
You have to find your own way. And emulating someone else is not it. It takes time to develop that, which is why most people burn out. You know how younger people are. They are very interested in EVERYTHING. For a little while. Then, it is on to something else. The Industry likes younger people because it will take years to develop them, and by the time they get into their peak opportunity years, 19-23, they will be ready. Many more young ones are signed but almost none of them survive for very long. This business is very harsh, and if you were to tell them the truth (“Hey, you are going to work day and night for 7-10 years, miss holidays, work on your birthday, give up any semblance of a real life, live on the road, miss meals, be bullied by venue owners, be pulled in fifty different directions FAR away from what YOU want, have all your personality changed, be “re-imaged” dozens of times, people not paying you, standing in line for days to perform for no one, spend money you don’t have, run up enormous credit card bills, end up with possible substance abuse and alcohol problems, AND then you may not get anything from it”,) they tend to look at things differently.<br><br>
But that is what it is. Some are able to manage it and stay with it long enough for things to happen. Most are very interested for about 2-3 years. Then fade out. The Nashvillians, go to writers nights and open mics, trying to get heard, attend seminars, workshops, write and record songs, try to work with people who don’t want to work with them, and fight for attention always wondering “What’s next?” only to find out, THIS IS NEXT. This is what you do. And it goes on forever. It never stops. There is no “resting on laurels. It is all onto the next song, the next show, the next interview. <br><br>
What I would suggest to you for your daughter is to get out of the living room. Start going to writers nights in Nashville. See the hundreds and thousands of others that are coming to this town every week and month. See what they are doing. See where they are failing. Constantly update what you are doing. Expect the months and years to go by with very little results. But you will find your own victories. When she is performing out, when she gets better opportunities, when she is talked about in circles as “The next big thing.” Mostly let her grow up and experience this life and business. Don’t take it too seriously. Never let your highs be too high, or lows be too low. <br><br>
The Taylor’s come and go. They always do. There will be someone else. You would like that someone to be you. But remember there are a LOT of people out there trying to do this. There are an estimated 30 million artists on the net and one billion songs a month uploaded. So it is INCREDIBLY HARD to get and keep attention which is the name of the game. And it is much harder in a town that has such continuous oversaturation. I actually tell the artists I work with NOT to move to Nashville until they have a reason to move to Nashville. Stay out there and build fan base. Nashville doesn’t need more writers or artists. <br>
But you have to keep working your way, moving forward and working within the industry. At first she will be way too young and sound like everyone else. That will change as she grows, changes physically, vocally and emotionally. <br><br>
Be patient. This is a long distance marathon relay. Not a sprint. Patience is everything.<br><br>
Good luck. I’m always around if you need me.<br><br>
Marc-Alan Barnette<br></b></span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2677262012-12-17T08:27:08-06:002012-12-17T08:27:08-06:00"CO-WRITING, WHO owns WHAT?<b>I have recently gone through a situation where a writer I have worked with wanted me to take down "HER" songs off of my web site. Now, we wrote these songs together, and while I won't go into particulars, let's just say that a co-write of any type is an equal partnership. There are NO MINE, YOURS... they are "OURS."<br><br>
A lot of confusion can be on this subject. There are times that one co-writer or another may be very fast, very accurate and write the majority of a song. I have been in situations where I have written every line, every note, and they have done very little and I have been in situations where I get barely a line in. This is all part of it and it all tends to equal out. We all have good days and bad days and sometimes you do a lot, sometimes you do little. <br><br>
Co-writing is very inexact and never quite the 50/50 proposition. As a matter of fact, up until the 60's, very writers wrote everything. There was usually someone who did music (composer) and someone who did lyrics (Lyricist). In the case of something like Broadway or musical plays, there were a third, called a "Librettist" who did the script or story of the musical play. So there is a lot to go around.<br><br>
In the modern age of writing where co-writing is the "Nashville handshake" people bring in various experiences, strengths and weaknesses. Newer writers usually will bring in the idea, and more experienced writers will take the lead in development of the idea. At some points it can be more 50/50, but in my experience it is good to let people who are "on fire" run with an idea and stay out of the way. There are ways that it always comes around,. and more songs are "Re-written" than written, with some of the most important efforts being done afterward, as one writer or another exposes a song to critiques, publishers, artists, etc. Everyone plays a part.<br><br>
Often, with artists, they might offer experiences or senarios, and not so much actual lines or melodies. But without that artist's involvement bringing a song to life, nothing might have gotten done. It is why some people cut Elvis into publishing and writing on songs. Elvis wrote nothing, but his involvement with a song guarenteed that song was going to get attention.<br>
Granted, the perfect co-write would be a 50/50 proposition with all parties included, but this is not a perfect world. So you have to take it on a case by case basis.<br><br>
Ownership.<br><br>
Now, this brings me to the point here. Ownership of a song. While there may be some people who want to adjust percentages in songs, (even the Beatles sometimes had different percentages in songs) for the most part, it is an EQUALLY SPLIT proposition. If there are two writers, 1/2 each in the writing and publishing, three writers 1/3, 1/3, 1/3, more writers one quarter. etc. as it goes. There are equal parts of PUBLISHING, which is assigned. If the writers have their own publishing they are entitled to their fair share, or can assign it to others. It is not unusual now to have four or more writers on a song as well as four or more publishers. With music done "by committee" and every one with their hands out, it is not surpising to have more people involved. What is amusing to me is how there is less and less money being paid out on songs now (FREEE MUSIC) and songs make less overall, even while sometimes getting more exposure (Going viral on the net.) People are fighting for percentages when there is nothing to divide percentages out of.<br><br>
So songs are routinely split up. If writer "A" writers with Writer "B" and Writer "B" writes for a reputable publishing company, chances are "Writer "A's" publishing would be assigned to Writer B's company. Just gives more incentive for publishers to work the song. If Writer "A" needs to get in a door, he or she needs to allow someone else to help them get there. <br><br>
Everyone shares equally and should talk these issues out at the proper time.<br><br>
Having said all that, like any business venture, it is about compromise. One writer can't just say "Hey, you can't do such and such with "MY SONG!" That doesn't work. Aside from being very ego filled, it is very rude. Most professional writers would say "Hey, take YOUR song and SHOVE IT! "I've got hundreds more.." the lesser known writer would be advised to calm down and take a deep breath. <br>
Now they can ask nicely if they have interest in the song for someone interested in recording it as a major artist. Or if one of the writers wants it to be on their personal project and doesn't want a lot of competition until they "get their shot" Everyone can ask to be kept aware of any activity on a song. But "demanding" that someone NOT use a song for promotion of themselves or their talents is not just ridiculous, it is stupid. Everyone should be promoting the song. That is the point of co-writing, to have more people help in the promotion of a song. In the case of an experienced writer with connections, it could prematurely end a career before it gets started.<br><br>
So, be RESPECTFUL in your dealings with co-writers. This is a PARTNERSHIP. Need to remember that.<br><br>
MAB</b>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2655062012-12-12T11:15:00-06:002020-11-14T04:03:05-06:00THE EVIL "C" WORD<b>THE EVIL "C" WORD.<br><br>I'd like to take a minute and talk about one of the most misunderstood processes in all of songwriting. COPYRIGHTS.<br><br>Copyrighting is a process that protects creative works, particlarly songs, magazine articles, books, and other creative works against theft and make sure creators are paid money they deserve. In theory that works. Not always in reality. These days, in the Internet age, it seems nothing is protectable. With millions of communications an hour, and everyone putting everything out into cyberspace, it is very hard to track, protect anyone from anything. With identity theft at and all time high, to think that anyone is going to be deterred from using something anyway they want by some piece of paper is somewhat conveluted thinking in the first place.<br>And there are some in legislative bodies around the world that believe that ALL copyrights, registrations are outdated. They will tell you that once you put it out there you don't own it anymore. That is nonsense as well, but we are in a long term battle.<br><br>But that is really not what I want to talk about here. This is not a legal forum. It is an opinion forum based upon my observations. And this is the primary observation:<br><br>MOST WRITERS ARE TRYING TO COPYRIGHT SOMETHING THAT IS NOT COPYRIGHTABLE.<br><br>You can not copyright a title, a phrase, a name. You can TRADEMARK certain phrases as "Have a Coke and a smile" but you can't keep people from using it in every day speech. Have a coke and a smile, dude. Anybody could say that. But you can't use it in an advertisement for your own uses.<br><br>The majority of songs that I see in critiques, evalutaions, on shows, demos, etc. are something I have heard a million times before. They use similar subject matter, rhymes, tone, same thing over and over. And melodically it is even worse.There are only twelve notes. We've all heard songs on the radio that sound like something else, usually a song from many years ago.<br><br>I was in Canada working with an artist and she started singing a melody that she had been working on for years. She even had lyrics that followed the melody. She had never sang this to ANYBODY and sat waiting for me to be blown away. I very quietly typed up some words on my lap top and pulled up You Tube. I found what I was looking for very quickly, and turned the screen around. "Like this?" I asked and played the video. It was IDENTICAL to a song from the 70's band GRAND FUNK RAILROAD, called "BAD TIME TO BE IN LOVE." . I had played the song many times before and knew it well. She was shocked. She thought she had never heard it. She was 4 years old when it was out. How could she have known it?<br>The truth is that she had heard it. It is played all the time, classic rock radio, television commercials, background in music in films. That song has been around. Good foir Mark, Don and Mel, of Grand Funk. Not so good for my artist.<br><br>And it happens all the time. I myself have had people come up to me upon hearing some song of mine and say "have you ever heard?..." and I go and listen to that song and BOOM! I can't believe it but it sounds just like the other song. What to do? Make changes or live with it. It happes and you might as well expect it.<br><br>My comments here are on the process of copyrighting. In Nashville, songs are not copyritten until they are ready to be released commercially. Songwriters write HUNDREDS of songs a year and you simply can't go spending $40 per song to do that unless you think it is going to have legs and have a shot at things.<br><br>But, people say, you can't play songs out unless they are copyritten! Someone will steal them."<br>Nonsense. I say. After all, how is anyone going to hear what you are doing if you don't play it out, and in my personal experience people don't concously steal songs. It is a myth. We do pick things up all the time, and we might write similar or the same ideas. Again, I don't think you can avoid it. I believe you will always write songs, and then write better songs. Play them out.<br><br>For the most part, most writers never have ACCESS to major artists, producers, publishers, labels, etc. So how could they HEAR your song? Are they scanning the one billion songs a month on the Internet for new ideas? Very doubtful.<br><br>There are going to be times that things just don't go your way. Several years ago I had a song that I closed all my shows with. It was a sweet song about wishing people hope and love, basically a wish to songwriters. I played it everywhere for years. It was my finale. One day I started getting phone calls and emails, congratulationg me on my giant new hit on a major country group. The only problem was it wasn't my song. It was written by two friends of mine, who I had played many shows with. Both were VERY successful writers and we all had been around each other for years. And theirs had several things that sounded VERY MUCH like mine. So did I rush out getting a lawyer and suing? Nope. Because they didn't steal anything. Neither did I. I am sure mine sounded like something else as well.<br>These things just happen. Did they get any inkling from mine? Have no idea and tend to doubt it. The gold and platinum on their walls tend to show they don't need my goofy ideas.<br><br>But this does happen. Just expect it and write more songs.<br><br>But if you feel you have to get protected, whatever that means, and will feel more comfortable doing it, file with the Library of Congress and do what makes you feel better. I would do a few things first. I would play the song and get feedback. I would have a decent recording of the song because you will need that no matter what.<br>THEN WRITE MORE SONGS.<br><br>There is a symatry to this. Most writers write a ton of songs, just getting a few that rise to the top. If they are worth their salt, they usually come into contact with publishers or people who will do the copyright or participate in the process. Why worry about something you don't have to until you need to be worried about it.<br><br>WRITE MORE SONGS! Maybe someone will steal from you, you can sue them and win a big ol' settlement. LOL!<br><br>Good luck.<br><br>MAB</b>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2630862012-12-07T05:40:00-06:002022-08-31T12:56:39-05:00I WROTE A SONG. NOW WHAT?<p><b><span style="font-size: x-small">Hello and Happy Holidays.<br><br>Have been away. Sorry about that but I am back. Here goes.<br><br>The most prominate question that seems to be in the songwriting/entertainment community is always "I have written songs, now WHAT do I do with them?<br><br>That is a very good question and doesn't have an easy answer. But I will do my best as some explinations.<br><br>Before you start this entire discussion you have to understand some basic realities.<br><br>#1. EVERYBODY IS DOING THE SAME THING.<br>Everybody is a writer or singer now. If you have watched any of those obnoxious auditions for American Idol or "THE Voice" you see thousands upon thousands of people, all dressed up, all standing in lines to stand in lines, all thinking or their relatives, signifiant other, friends, whatever, claiming that THEY have WHAT it takes, and that EVERYONE HAS TO LOVE THEM! The majority are total wastes of space. When is the last time you saw an opportunity for a singer dressed up like the Cowardly Lion in the Wizard of Oz, on mainstream radio? Okay, I'll grant you with Lady Ga Ga, and Katy Perry, but aside from that....<br><br>The reality is that most artists, writers, actors, etc. are not nessasarily good, not nessasarily bad, just very very average. Okay, yeah, there is some TERRIBLE ones out there.<br>In songwriting, you don't see those same people but they are out there none the less. There are approximately 30 million artists on the Internet, one billion songs A MONTH uploaded on the Net. By the time I finish writing this, thousands and thousands of songs, videos, slide shows will be added to YOU TUBE. Multiply that by Reverbnation, Spotify, Pandora, you name whatever the "next big thing" in Search engine groups and you get the idea.<br><br>#2. THERE IS NOT A LOT OF MONEY IN IT ANYMORE.<br>Once upon a time, there were people making tons of money in music. There weren't as many people involved, it took more money and effort to release a project, and people tended to rise to the top. Not as much anymore. Oh there is still a LOT of money involved, billions actually. But so much of that goes to advertisers, Internet Service providers, Google, Spotify, all those things. They are making a ton. But they are paying out almost nothing. Unless you have a HUGE collection apparatus behind you, the chances you will make anything is almost non-existant. Just accept it.<br><br>#3. FREE MUSIC.<br>If you have seen over and over the new ways that people are getting music, free downloads, file sharing through phones you put together and spread your music files, artists giving away music to build their fan base, everywhere you look is FREE MUSIC. You can't collect on FREE. And if you view or download continuous free music without paying, yeah, you are part of the problem. I have never downloaded a song, and only view music when I am asked to for review or certain elements. Or visit the promotional sites of artists to find out what is going on. Most of the time hit songs on the radio are things I have heard months or years before through my songwriter efforts in Nashville and around the world, on shows, showcases, etc.<br><br>So in all your thought processes in what you are doing, keep all of this in mind, because it these are some of the main reasons that in a lot of cases, there is no "NEXT."<br><br>Let's say you or someone you care about has a really great song. What do you do?<br><br>Well, in the old days, (anything past about two or three years ago), you would try to get those to, artists, record labels, etc. Anything to "get it out there." There would be intermediaries, or "gatekeepers" who intercepted any attempts to get an "end around" for songs. And you have to understand them. Those people paid tons of money to "be in the game. To build their businesses and reputations, to develop songs and artists. How many people would you promote past yourself in your own business and way you make a living? Especially if someone asking you to help them were not as good as you, didn't understand the business, and were not known or tested at all?<br>Can we all say, "ONE!?"<br><br>And that is the deal. Everyone out there are writing their OWN songs, with their OWN emotions. Their OWN experiences. They don't NEED or WANT yours. They have their own that they can't get anywhere.<br><br>So what do you do?<br><br>Well, the first thing is that you have to "get out of your living room."<br>The second is you are going to have to physically pair up with someone that can help you get the next step.<br>And in most cases, have to convince those people you are WORTH their time. That is never done by remote control. And while the Internet is a good tool, it is just that, a tool. Very few total careers are created on the Net. They quite often are furthered on the Net, but there is always a personal involvement in them.<br><br>Nowadays there are open mics, karaoke nights, talent shows in every large, medium and small city town and hamlet around. Just have to look through the paper, the local entertainment listings, or the Internet.<br><br>The second is that you have to show what you can do. Your existing catalogue can do that as everyone checks out each other through GOOGLE, Facebook, you know the drill.<br><br>But MAB, you say, this doesn't help me on my EXISTING SONGS. What do I DO next?<br><br>Actually, yes it does. But until someone is actually friends and interested in you as a friend and writer, it is doubtful they are seriously going to consider your existing material.<br>YOU WRITE YOUR WAY IN.<br><br>In my capacity as a singer/songwriter/teacher/coach, based in Nashville, part of my entire motus operiedi is constantly trying to pair up writers and artists. ALL ARTISTS are now writers, so you have to take that into consideration and adjust your thinking accordingly.<br><br>The days of some outside writer just lucking into a cut are LONG gone if they ever exhisted. I have been around the music business in one way or another for over thirty years and I have never seen it. Everyone had some personal connection, some friend, some motivating force that brought them into the party. Once they were known those opportunities increased expotentially. And it is more so now.<br><br>With all those millions and billions of songs out there bouncing around, unless someone knows you, the chances of getting heard are nearly impossible, even for the most amazing songs. You HAVE to have an artist.<br><br>ARTISTS.<br>Having said that, you know going in that artists, particularly those of the young variety, are some of the hardest to convince to be involved with you. Anyone that has ever been around a 16-17 year old teenage can tell you that.<br>But artists NEED experienced writers to help them get past the same old "been there. done that" way that they write songs.<br>I have been around thousands of artists, and almost none of them have that insight and instinct that fuels a Taylor Swift. That is so rare, and almost never happens without a more experiened writer helping them along.<br><br>So you want to pair up with artists.<br>Publishers have become artist development companies as well as developing songs, and so you are going to find most doors there closed as well. But with unsigned artists, you have more of a chance. Just got to link up with them.<br><br> STEPS TO HOOK UP WITH ARTISTS<br>#1. Go where they congregate.<br>Become part of THEIR world. Find out there likes and dislikes. If they are young meet their families. Make sure they know you are SAFE.<br>DON'T start a conversation with LET ME SHOW YOU WHAT I HAVE. Find out what THEY HAVE. Estabilsh the relationship. Worry about all that other stuff later.<br><br>#2. Find ways to help them.<br>If you show up at their shows, their causes,. help them in their career, they will help you.<br><br>#3. Co-write with them.<br>With every artist, you will potentially meet three other artists or writers. By multiplying your chances, writing with a variety of people, your chances improve.<br><br>#4. Show your wares.<br>Once you have established that you are not out to rip someone off, usually you can casually start playing your existing material. If you are a performer, be out there yourself. Shw them you are willing to do what they do.<br><br>#5. Be prepared.<br>Always have your music well presented. If you perform it yourself, or have it recorded, make sure it sounds good. Don't have to apologize for a poor recording. If you have a master recording with missing vocal tracks, giving an artist a chance to sing to your tracks increases the chances of that song. More than a few cuts have come from artists recording someone else's song and it being heard by someone listening to the artist but liking the song instead.<br><br>UP THE LEVEL OF YOUR ODDS.<br><br>When all of this comes together it can be something like this.<br><br>A writer from Green Bay Wisconsin, makes multiple trips to Nahville. All the time while in Green Bay, she is also out in clubs and meets many artists. She uses experiences with them to tighten her focus up so that when she gets to Nashvlle she is prepared. By using her time and money well, she writes very good songs. She meets many people and constantly co-writes. In the course of her travels she meets a new singer in town and becomes best friends with that singer. She hires the singer to do her demos, writes with her, constantly supports that singer.<br>The singer ends up combining with a boyfriend for a duo act and wind up participating and winning a contest television show. Out of that they win a National recording contract.<br>The cumlative songs they had written together becomce the basis of not only material based on the act, but also gets the writer from Green Bay her own publishing deal.<br><br>The singer was Meghan Linsey. The duo act was STEEL MAGNOLIA. Their first song, KEEP ON LOVING YOU, went to number four on the country charts. They went on tour with Brad Paisley.<br>The writer from Wisconsin was Julie Moriva, who got a publishing deal with TAYLOR SWIFT'S company. Many of the songs she has written with the duo are involved in their career, including on their first CD. That led to other cuts by other artists.<br><br>Meeting the right artist at the right time, writing the right types of songs. Having that artist represent their songs, led to meeting the right people.<br><br>You have to put yourself in PROXIMATY of the right people.<br><br>It starts with the song. But you have to have other people involved in that song. Writing songs with those people are one of the surest steps. No guarantees but better than wondering "What do I do now?"<br><br>Pitching, promoting, songs are all still happening. But the rates of getting anything without writing with others are diminishing. There is no one way to do this but there are some ways that don't work very well anymore.<br>Having the "random outside song" is one of those ways that are not really working that well anymore.<br><br>Be prepared.<br>MAB</span></b><br><br><br> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/525892012-10-31T11:18:07-05:002012-10-31T11:18:07-05:00GO GET SOME BOYYYYYYEEEEEEEE!!!!<span style="font-size: xx-small"></span><span style="font-size: x-small"><strong>Go get Some, Al Cooper.<br><br>
Okay, all of this had come over two weeks and 8 writing days. Eleven songs, nine people involved. Back to the guys. Another person out of Montana was AL COOPER. Al, is over 35, lived in Nashville a while several years back, and has been trying to find a way to get back to town. He feels he never did much when he was here and wasted his time. He never went out, never plugged into the town. He feels isolated and needs to touch base with his creative side. He currently sells Insurance. <br><br>
One of the first steps was getting rid of some preconseptions about the STAFF writing deal. Most of those don't exist anymore, taken away by downloading and the artist inside cut. Just a fact of life. There used to be a lot of horse and buggy's too. Now is a different dynamic. But it is all about finding reality and writing very solid songs.<br><br></strong></span><strong><font size="2">As I listened to his songs they sounded kind of dated, like 80's country. Not bad but never really took off. He needed an updated feel and some lyrics that reflected today's artists. We took kind of the Eric Church/Bruce Springsteen approach to a subject of fighting against the odds. The title, one I have heard many times, was one he really wanted to write a long time. Again. my job is to try to help them write what they want. So we stuck with the title:<br><br><span style="font-size: small">GO GET SOME.</span><br></font></strong><span style="font-size: xx-small"><i><b>MAB/Al Cooper<br>
10-24-12<br><br></b></i></span><i><span style="font-size: small"><b>Hundred twenty five pounds soaking wet<br>
Last game of the season and I hadn’t played yet<br>
Smallest linebacker our school had ever seen<br>
Playing a team twice our size <br>
Ten minutes to go three touchdowns behind<br>
Nearly peed in my pants when Coach Mars pointed to me<br>
He said, Boy you’ve been wanting to prove yourself<br>
Well here’s your chance<br>
Might not win this one tonight <br>
But you gotta give it all you can<br><br>
Chorus<br>
GO GET SOME, LAY IT ALL ON THE LINE<br>
GO GET SOME, DON’T WORRY IF IT ALL DON’T TURN OUT RIGHT<br>
GOTTA RISE TO THE CHALLENGE<br>
IF YOU WANT REWARDS<br>
NOTHING’S IMPOSSIBLE, JUST WORK SOME </b></span>MORE<br><span style="font-size: small"><b>GET OUT THERE AND GET SOME<br><br></b></span></i><span style="font-size: x-small"><b>Football analogies work well in this genre and I had not had one of those in a while. The movie "Rudy" popped in my mind. People wonder why I watch so many movies and television shows. This is why. You can extrapolate and use it in your songwriting. </b></span><span style="font-size: small"></span><span style="font-size: small"><b><br><br></b></span><i><span style="font-size: small"><b>Eight years later, and it’s ten till five<br>
With the presentation of my life<br>
Bosses plane is snowed in in Kalamazoo<br>
Talking every ten minutes on the phone<br>
He finally say’s you’re gonna have to go it alone<br>
This whole deal depends on you<br>
I see my life flashing back in time,<br>
To that final football game<br>
That was the night we came back at the very last minute<br>
So now I’ve gotta do the same<br><br></b></span></i><span style="font-size: small"></span>Chorus<br>
Bridge<br><i><span style="font-size: small"><b>You can look at it as half full or half empty<br>
This big ol’ world’s right in your face, <br>
Saying go on and hit me<br><br></b></span></i><span style="font-size: x-small"><b>What you have to do on these is find something that fits in several situations. Then wrap it all up. I think we did it.</b></span><span style="font-size: small"><b> </b></span><br>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2439922012-10-31T11:00:00-05:002024-02-12T13:01:08-06:00ENOUGH ENOUGH ENOUGH<p><span><strong>Okay, so I have described several songs, the situations they came together in, and how I try to look at all of this. In each situation, I try to bring some reality to it, and overall have a good time. I hope I will have many of these recorded and up in the future, and we can all enjoy them. I sure have. </strong></span><br><br><span><strong>I hope it doesn't seem like I am just running on and on to hear myself talk. People ask me about this and many times I have new people coming around asking about the process. I hope it has given you some things to think about and I always welcome questions or comments.</strong></span><br><br><span><strong>Thanks for reading and I'll see you soon.</strong></span><br><br><span><strong>MAB</strong></span></p><p> </p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2439612012-10-31T10:51:51-05:002012-10-31T10:51:51-05:00NOW, TO THE 18 YEAR OLD ARTIST<p><b><span style="font-size: small"> NICOLE WILD<br>
I talk a lot about the need to write with younger artists, and the difficulties inherent in that. Nichol Wild is an 18 year old VERY cute big voiced female singer our of Montanna. She has been singing since she was 8, and her voice can tell it. She has as much stuff as you want in a singer and is a joy to be around. Very adaptable and very polite, she is a joy to be around. On this tour, I invited her Grandparents along. I like people to know what I do, and they were very helpful. <br>
Her Grandfather, invented a cart that is used in the coal industry so he is retired and travels all the time with his wife. They are often joined by his kids, Nichol's parents and Nichole. They love Nashivlle and country music. Actually her Grandfather used to play music and one of the things he has done on his farm in Montanna is build a LARGE barn that they have converted into a concert venue. They have shows there all during the summer. I hope I get to go there sometime.<br><br>
Nichol is new to actual writing and her songs were what happens a lot with younger people. Very emotional, all about breaking up with boys. Very cute. But we needed to expand her subject matter. Also she doesn't have too many songs, so we have to work on that as well. <br>
In the stories that she told me, she had been a victim of what we hear all too often in today's world. Bullying. She was really treated badly by people in her school so much to a point she had to do her last two years online. But she felt she was getting through that and that became the basis of the song. Again, WOMAN EMPOWERMENT.<br><br><i><span style="font-size: small">LOVE HELPED HER RISE ABOVE IT<br>
MAB/Nicole Wild<br>
10-23-12 <br><br>
She did her last two years of high school totally online<br>
To escape the crushing blows of those who tried to control her mind<br>
They say sticks and stones can’t break bones <br>
But they can kill a willing spirit<br>
And if wasn’t for her family <br>
There’d be no way to get through it<br>
Wondering when that nightmare finally would end <br>
She found bullies sometimes look a lot like friends<br><br>
Chorus<br>
SHE…. FINALLY ROSE ABOVE IT<br>
FOUND OUT LOVE…. COULD GIVE HER WINGS<br>
THE POWER THAT SHE FELT<br>
WAS INNER STRENGTH WITHIN HERSELF<br>
NOW SHE KNOWS SHE CAN DO ANYTHING<br>
SHE’S IN THE LIGHT, OUT OF THE DARKNESS<br>
CAUSE LOVE…. HELPED HER RISE ABOVE IT<br><br></span></i>This is almost verbatem her story. She said most every single line. I just wrote it down. But you get feeling sorry because someone had to go through that. Again, with a 21 year old daughter I feel it acutely. She is so cute and sweet, you find it hard to understand how people could do that, but they do. AFter I played it, her Grandmother and her teared up, her Grandfather was right there. I think I hit the mark. The music, was very Carrie Underwood/Martina McBride, which works good for that age.<br><br></span><span style="font-size: small"><i>1800 Miles divided her from family and home<br>
As she sat in that new dorm room on the first night alone<br>
She wondered what awaited her when tomorrow came around<br>
Was this a brand new start or would history repeat again right now<br>
At first she never felt more by herself<br>
But all those fears were conquered when she took that first step<br><br>
Bridge<br>
Chorus<br>
She wouldn’t take back the challenges she faced<br>
Cause they brought her right to where she is today<br></i><br></span><span style="font-size: small">Most everything in this was her life verbatum, although she is just looking at colleges now. She wants to go to Belmont, where my daughter goes. I hope to introduce her to my daughter on subsequent tours. A great experience. Hope to see them all again soon.<br><br><br><br>
MBarne4908@aol.com<br>
Nicole@nicole-wild.com<br><br></span></b></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2439562012-10-31T10:33:14-05:002012-10-31T10:33:14-05:00More estrogen....<b><span style="font-size: x-small"> ANOTHER GREAT MISTAKE<br><br>
My next Monday was another one of those "collisions" that I didn't see coming. My tour was with Shelly Duboise" another Canadian, from Edmonton. She is a wonderfully funny housewife and mother, who has wanted to come to Nashville for many years. She is a local artist who plays shows, up there and wants to expand her knowledge of songwriting. So she met Doak Turner in Montana at a songwriter's conference, and in turn, found me.<br><br>
Our first part of the day, as usual listened to her songs, which kind of sounded like you might think. A little devoid of details and more emotional output. So I had to find ways to put her emotions into real details.<br><br>
In the middle of our morning session, a knowck on the door came. It was Dianne Kelly, a newer Nashville writer/artist I have known in town for the past two or three years. I have really watched her develop and she is doing great. She has one song, in particular, that tells the story of a break up letter. The song describes what else that could have been, a set of rafters for a house, a great bed, several wonderful, useful products, but has ended up only as a "Waste of a Good Old Tree." Great title and great song. <br>
I actually already had booked a writer's session with Dianne and forgot about this tour date. But as many things I do, it all works out. To have Shelly write with a current artist, with a record and publishing deal, was about as cool as it can come. Why I call it a tour. Never know what is going to happen.<br><br>
The conversation went for a while as they both talked about their experiences. They actually are remarkably similar. From small farm towns, both very much same experiences growing up. Was interesting listening to them. A theme they both had was "working in a man's world." Shelly in Canada, which can be a very testostorone filled place, and Dianne, performing and being in Nashville, which sometimes is known as a "Good old boy's club", can be very daunting. There are some great female writer artists, but always outnumbered by men. That brought up a phrase we hear a lot. THE GLASS CIELING. Dianne mentioned it first and everyone seemed to hook into it. I got them to talk about that and list some things that related to it. I, of course, was taking notes the whole time. <br>
In the middle of this, Tina, my self motivated girlfriend came in with Brenda, who owns the company doing renovations on our house. Brenda runs this company better than any man and is pretty funny about it. She said "Sfcrew the glass ceiling, I OWN the company!" That pretty much sealed it for me. <br><br>
WOMAN EMPOWERMENT SONG!!!!<br>
I went into my "zone" and they continued to talk. I wrote it all down. One thing that Dianne mentioned was that when growing up, she rode around in an old pick up truck with her father. She noted a rusted out hole in the floor that she always looked at and saw the road pass underneath. The funny thing about that is that an uncle of mine had pretty much the exact same truck and I used to do the same thing. REALITY.<br><br><i><span style="font-size: small">WATCH THE GLASS CEILING SHATTER<br>
MAB/Dianne Kelly/Shelly Dubois<br><br>
He had a 65 Ford with a hole in the floor, we used to ride around on weekends<br>
Those Daddy Daughter dries were my favorite times, evry' memories worth keeping<br>
I was a metal mouth teenage tomboy, wanting to play the big boy games<br>
Helped me deal with my frustrations, when I'd hear my Dad explain.<br><br></span></i>CHORUS<br><i><span style="font-size: small">CAN'T WORRY ABOUT WHAT OTHER GUYS DO<br>
ONLY ONE YOU CAN DEPEND ON'S YOU<br>
IT'S A MAN'S WORLD NOW, BUT THAT'LL CHANGE<br>
IT'S WHO YOU ARE INSIDE THAT MATTERS<br>
ONE DAY YOU'LL SEE THAT GLASS CEILING SHATTER<br><br><br></span></i>This was really cool I felt and both of them hooked into it IMMEDIATELY. As a matter of fact, Dianne started singing it really quickly and her voice fit PERFECTLY. Being in Nashville, she is a little faster at catching on, but pretty soon we had Shelly and her singing it, and Shelly adding harmony. It was really taking off. Time for the second verse.:<br><br><span style="font-size: small"><i>Today my life's a nine to five, on my feet in this local factory<br>
Some of these guys might get paid twice what I do but that won't break me<br>
Cause I got a part time, on the side, I do three nights a week<br>
My Daddy's words stay in my ear, who knows where this ladder leads</i></span><br><br>
Chorus.<br>
This is VERY representative of women these days. We all seem to have several jobs, raising families, regular job then something on the side that we love or hope one day will pay off. (songwriting anyone?) Shelly had the same thing. So it was a no brainer. And now they were both really singing this great. Wonderful. It was WAY too high for me and to keep me from blowing out my voice, they took over. Also they really put the bridge together:<br><br>
Bridge<br><i>Ain't no rush making my way up, Oh I plan to enjoy the ride<br>
Someday soon, we're gonna all break through, see ourselves on the other side<br><br></i>That did it. Great job from the girls. They don't have to depend on ANY men, myself included, to kick some major songwriting butt! Was very proud of this one. Love the message and when you have not just one but TWO artists singing it, you multiply your chances to get it heard.<br><br>
Love this town!<br>
MAB<br></span></b>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2439312012-10-31T10:03:21-05:002012-10-31T10:03:21-05:00JUST CHECKING IN<span style="font-size: x-small"><b>The next song was a bit more somber. Stacy had a lot of more humerous, flirty, girl songs. Now was time to give her a bit more substance to her catalogue. Something was on her mind, and I knew by probing a bit I could bring it out. She has several kids now, and spending more time in Nashville is not as close as she would like to be. They are all more or less grown so it is not the "Mama missing the nest" syndrome as much as just feeling far away. Also she wanted to get closer to her own Father,. who again, is far away when she is in Nashville.<br><br>
HAving a similar problem, my two kids live in town, but one is about to graduate college, the other about to start college and have their own lives. Never get to see them enough. My Mother, who still lives in Alabama, is oiut of touch because she is nearly deaf and hard to communicate with. All my aunts and uncles are getting older so all of that came out in this song. At first we took some lines from Stacy's intitial idea *(actually Tina, listening in the other room would contribute to this one) and put it into the point of view of something that is very prevelant in today's world. The single Mom.<br><br><i>JUST CHECKING IN<br>
MAB/Stacy Young<br>
10-18-12<br><br><span style="font-size: small">She was an only child, but not a lonely child, growing up just her and Mom<br>
Always seemed to be scraping by, but they didn’t miss a lot<br>
When she turned thirteen, her best friend asked if she could spend the night away<br>
As she walked out the door, Mama pulled her close and said call me tonight and say<br><br>
Chorus<br>
I’M JUST CHECKING IN, WITH YOU NOW<br>
EVERYTHINGS FINE AND SOMEHOW<br>
I SEND YOU MY LOVE, MISS YOU SO MUCH<br>
AND TILL I SEE YOU AGAIN<br>
I’M JUST CHECKING IN</span><br><br></i>In this senario we wanted to paint the early part of a girl's life. Girl's sometimes bond very tightly with their Mom, even if they have a Dad in the family. Again, my daughter is very much like this. So it came together easily from real life. Then we got to where I have been not long ago:<br><br><span style="font-size: small"><i>19 years go by, like a flash of light, barely time to breathe<br>
They were at the door of the admission hall of that University<br>
As tears rolled down at the thought of being far away from home<br>
Mama said you know what to do with this and handed her a new cell phone<br><br>
Trying to keep the chorus consistant as the meaning changes is a good Nashville trick. Sometimes hard to pull off but I think works here. Now to the bridge:<br><br></i></span><br></b><i><span style="font-size: small"><b>Now she’s thinking of those days, as she’s standing at the grave<br>
As she turns to go, says Mama if you hear my thoughts you know<br><br>
Just checking in. Means something totally new. Yeah. Every once in a while, you gotta kill somebody off.<br><br>
MAB<br><br></b></span></i><span style="font-size: small"></span></span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2439142012-10-31T09:52:29-05:002012-10-31T09:52:29-05:00Time for the GIRL'S DRESS RELIEF<b><span style="font-size: small"> STACY YOUNG-SUGAR AND ESTROGEN<br><br>
After several days of all male (and one woman spectator) tours, I was ready to back off on the testostorone. Time for the girl's to move in. <br><br>
Stacy Young is a long term client I have been working with for about 8 years. She is a very attractive housewife, mother,(actually grandmother), and Sugar Broker, who lives in Kansas City Mo. Again, not a singer or performer, we have written many songs over the years and she is always a joy to write with. Huge smile and great attitude, over the past year she has had some health problems following a car wreck that has severly caused her pain. So writing, in my opinion, gets her through some of that pain. She is wonderful. And recently met her husband who is a great guy as well.<br><br>
Stacy is staying in Nashville for extended periods and kind of pops up unexpectedly. I have been trying to get her around more artists, and the purpose of a lot of our writing is to give her ammunition to do just that. So we have.<br><br>
She writes mostly "woman" based songs. And so I have to get in touch with my feminine side. And Stacy has a lot of feminimity. It is fun.<br><br>
On this day, the first song (we usually go for two in a four hour period) was a fairly superficial title. She wanted to envision a woman who has a lot of crap going on in her day, everything seemingly going wrong. Traffic, bad job, one thing hitting her after another. And like a lot of women, the answer is easy.<br>
SHOPPING!!<br>
So we went from her title. DRESS RELIEF.<br><br><i>DRESS RELIEF<br>
MAB/Stacy Young<br><br>
S'posed to be in, at 8:00 am, today made it by 10:30<br>
9 car pile up, jacknifed cattle truck <br>
Looked like the rodeo came early<br>
Stack of work on the desk, staring at me<br>
Boss is yelling, yeah, I know what I need<br><br>
chorus<br>
DRESS RELIEF<br>
SOUTHSIDE MALL IS CALLING ME<br>
THAT LITTLE BLACK RACY, DOWN AT MACY'S<br>
COULD SAVE MY SANITY<br>
LET MY HAIR DOWN, WHAT I WANT RIGHT NOW<br>
COULD MELT AWAY THIS GRIEF<br>
IS DRESS RELIEF</i><br><br>
So I wanted to portray a lot of things happening BEFORE she got to work, things going on WHILE she was at work and what would be the overall theme in the chorus.<br><i><br>
Downstairs neighbor, calls me later, say's my toilet has exploded<br>
Swimming in her living room without a boat<br>
Whole place has flooded<br>
There's a half price sale at the store<br>
That gives me one more reason for:<br></i><br>
Now up until this point, this has portrayed a very superficial girl. I have to soften that tone up a bit in the bridge. I take it head on:<br><br></span><i><span style="font-size: small">Bridge<br>
You know I hate to be so superficial, with all the trouble the world's going through<br>
But if it somehow cheers me up a little, you know a girl's gotta do what a girl's gotta do<br><br>
So we wrapped this one up. Fit her catalogue and there is an artist we both know and work with that this would fit perfectly. Would bring us to the next one: Just checking In.<br></span></i></b>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2438722012-10-31T08:55:53-05:002012-10-31T08:55:53-05:00Taking a break. Notes to NEW ARTISTS<p><b><span style="font-size: small"><span style="font-size: x-small">Thought I would break from the song diagramming to speak a moment to new (younger) artists. I constantly run into these people everywhere I go, their parents, grandparents, friends, co-writers, you name it. Everyone these days is trying to do music and many don't have any clue how to really proceed. So this blog is for some of you newcomers that might help you.<br><br>
Being an artist.<br>
In this day and age, almost everyone is an artist. They sing karaoke, they do talent shows, they have web sites, you tube, etc. They are everywhere. If you are going to do it, do it well. Try to represent yourself well. Remember there are four things to music:<br><br>
CREATION OF THE SONG<br>
PRESENTATION OF THE SONG<br>
NETWORKING<br>
BUSINESS<br><br>
These are some things TO DO!<br><br>
#1. Write or find a LOT OF SONGS. Have a variety of things to work with.<br>
#2. Get OUT THERE as much as possible. Perform when you can. Any where you can.<br>
#3. Have a good online presence.<br>
#4. BUILD A SOLID FAN BASE. (this is the most important thing you can do)<br>
#5. Learn as much as you can from people around you. Find experience when you can.<br><br>
These are things NOT to do.<br>
#1. Don't put badly recorded demos or videos on your web site. Make sure you and your music is presented well.<br>
#2. Don't try to go too fast. Everything takes a while. Expect it.<br>
#3. Don't put your eggs in one basket. Most of what you do will fail. Just a nature of the business. Keep a lot going on.<br>
#4. Make EVERY performance the best you can do it. Rehearse a lot.<br>
#5. Don't depend on others for things you can do. You are your own agent, manager, publsher, writer, roady, until you can get someone to take the job.<br><br>
Keep your expectations realistic and acheivable. Take baby steps.<br><br>
Good luck.<br>
MAB</span></span></b></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2438452012-10-31T08:00:00-05:002012-10-31T08:00:00-05:00Kiss and Make Up<span style="font-size: small"><strong>The last song we got into was something Bob had had for a while. I normally don't like to work on existing songs, as they are already done and I am trying to teach new processes. But when they keep mentioning it, I have to give it a shot. This song seemed to mean a lot to Bob and so I needed to do what I could. Plus, we had already written four songs and I felt like it was time to show another aspect of writing, the re-write. The idea, Hot Kisses and cool cool nights, took us back to high school.<br>
He had written it, but again, without enough details to bring it all together. I gave it a shot from my own experiences and got into the story.</strong><br><br></span><br><span style="font-size: small"><b>HOT KISSES COOL, COOL, NIGHTS<br>
MAB/Bob Marshall<br>
10-16-12<br><br>
Friday nights, October skies, football team dressed in white<br>
She was 17, so was I, very first taste of love<br>
Homecoming, half time walk, trembling hands, sweaty palms<br>
Scoring fast was my only thought<br>
Big full Moon above<br>
Memories of me and her<br>
Nervous boys and giggling girls<br><br>
HOT KISSES, COOL, COOL NIGHTS<br>
UNDERNEATH THOSE STADIUM LIGHTS<br>
BEHIND THE BLEACHERS PARADISE<br>
WITH HOT KISSES, AND COOL, COOL NIGHTS<br><br>
I wanted to paint the fall picture first. Getting the high school football team in there, the ages, homecoming, half time walk, etc. I even used a "full moon" which goes against my "moon" things and I used "Love and above". So sue me. I go weak every once in a while too The second verse:<br><br></b><i><b>That was, 18 years ago, funny how, time has flown<br>
She and me, here again another homecoming game<br>
Hard to say, how I feel, watch our son, take the field<br>
Sometimes just doesn’t seem real<br>
What brought us to today.<br>
I look up at a moon so bright<br>
And it all started with that night<br><br></b></i></span><span style="font-size: small"><b>So that was it. I felt like we had visited the subject matter, broken it down with details and then gave it the right feel. We were all pretty pleased. Ah young high school love. Or lust. Same thing sometimes. LOL!</b></span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2438422012-10-31T07:52:07-05:002021-11-30T17:23:24-06:00SEEING RED<span style="font-size: x-small"><b>Sometimes they let me write what I want to. LOL! While working with my cowboy Bob Marshall, his girlfriend Lori, said that what he needed was a “sexy song.” This is right up my alley because I have been doing this type of music for a long time. I call it “In your face, country soul” and is what has been embodied in today’s artists, like James Otto, Josh Turner, and Trace Adkins. They are slow to mid tempo, that groove along, and make your head bob up and down to the music. The messages are about the opposite sex and are really there to provide a “belly rubber” dance tempo. This is to bring people together in a lot of different ways. If it was a horse, it would be a slow “lope” groove. <br><br>
As I got into my “zone” Bob did the same thing. He had described a really hot looking girl, and put her into a bar, and threw out details of how she was dressed, what she looked like and the most important thing, her red hair. He had the title “I’m seeing red.” I took the details and started on my own version he did the same. Mine went:<br><br><br>
SEEING RED<br>
MAB/Bob Marshall<br>
10-17-12<br><br><i>She’s got Fiery red lipstick that matches her manicured nails<br>
Auburn hair falling over her shoulders right down to there<br>
Must have poured herself into that Fire Engine dress<br>
Four inch stilettos round out two perfect legs<br>
I’m feeling a rise in temperature<br>
Is it hot in here, or is it her<br><br>
Chorus<br>
I’M SEEING RED, LIKE A FLASHING STOP SIGN<br>
TELLS ME I’M IN A DANGER ZONE<br>
IT’S LIKE I’M DRAWN TO A FLAME <br>
AND I JUST OUGHT TO GO HOME, ALONE<br>
I KNOW PLAYING WITH FIRE, CAN FUEL A MAN’S DESIRE<br>
TILL THERE AIN’T NOTHING LEFT<br>
BUT TONIGHT THE ONLY THING I KNOW IS <br>
I’M SEEING RED<br></i><br>
He had played his version which was not bad, and then I did mine. He and Lori looked at me, then he said “I HATE YOU!” I get that a lot. Hey guys, you don’t do this for 35 years and not have some kind of stuff. I wanted to make every line have something about being hot in it. Firey Red lips and nails, Auburn hair, fire engine dress, stilettos, rise in temperature, flashing stop sign, danger zone, flame fire, desire, all these things reflect the hook, “Seeing Red.”<br><br>
My groove had fit his low baritone voice and I think hit the vein we were going for. Time for second verse hell:<br><br><br><br><i>She must come from a long line of women from history<br>
Like Cleopatra and Delilah, making men fall down at her feet<br>
Trying hard not to show that I want her<br>
Feel like a lamb being led to slaughter<br>
If she comes over, that’s all she wrote<br>
I’m going up in a pile of smoke</i><br><br>
I admit I will go for Cleo and Delilah in a heartbeat. Those two reflect the image of the hot, devil woman. So instead of saying “Devil hot babe” I list a couple. The rest I hope reflects today. And Bob had used the phrase “Lamb to slaughter” which I loved. Time for the bridge:<br><br>
chorus<br>
bridge<br>
If I’d have known what tonight was leading to <br>
I’d’ve dressed in a fireproof suit<br><br>
So that was it. I think it came off as the best song of the session and I can’t wait to do it live. I was going to do it that night, but was not able to pull it off because I don’t like doing songs that are so new. One chance to make a bad first impression. But I really love this one and I think Bob and I will do good jobs on it. I hope to get a demo on it and most of these very soon. SHOW, DON'T TELL.<br></b></span><span style="font-size: small"></span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2437582012-10-31T06:34:01-05:002012-10-31T06:34:01-05:00TIME FOR DA SWAMP PEOPLE<p><b><span style="font-size: medium">Continuing along with my break down of recent songs:<br><br>
Working with my cowboy, Bob Marshall, we had started a cajun song that I entitled "Gator Bait." He had never worked on a Cajun song before and since I had a few I tried to come up with something interesting. I see these commercials for "SWAMP PEOPLE" (and have seen the show a few times to torture Julie Moriva) which is basically those people who live back in the swamps of Lousiana and hunt Aligators for a living. Kind of a quirky show but entertaining. I thought back to one of my favorite songs growing up, "Amos Moses" by Jerry Reid.<br><br>
I don't know why "Gator Bait" came into my mind but it did. I thought about a guy who was out hunting gators and had a little piece of him eaten from time to time. That made me laugh. Then I decided to make him a cook:<br><br>
GATOR BAIT<br>
MAB/BOB MARSHALL<br><br></span><i><span style="font-size: medium">Somewhere down in South Lousiana is a little bitty Bayou bar<br>
A pile of airboats tied to the pier cause you can't get there by car<br>
Dey' don't like outsiders so better be wise if you come to this place<br>
Cooking in back is the man named Gator Bait<br><br>
Chorus<br>
HE CAN THROW DEM GATORS FROM SWAMP TO THE PLATE<br>
FRY EM UP A HUNDRED WAYS<br>
GOT SOME SECRET CREOLE MAGIC, YOU WON'T BELIEVE THE TASTE<br>
EVERYBODY KNOWS HOW HE GOT THAT NAME<br>
PUTS ALL THE OTHER CAJUN COOKS TO SHAME<br>
HE'LL CATCH EM AND HE'LL COOK EM, YOU'LL BE AMAZED<br>
BY THE ONE THE CALL GATOR BAIT<br><br></span></i><span style="font-size: medium">I had given it that mid tempo zydaco beat that you hear with the squeeze box and a lot of "yeaheee!!!!" kind of stuff. Again, mostly to make me laugh. When I played it Bob, didn't see it and so I dropped it. This is why I write the way I do. If it doesn't work we go on to another song that song was the previous one, THINGS THAT MAMA'S SAY. <br>
I was ready to move on to another one, when Lori, Bob's girlfriend said "I like the Gator Bait song." So back to the Gator song. I revisited it, got my groove back and back into the moment. Much of writing to me is like being a method actor. You have to be able to call it up in a moment's notice. The second verse went like this:<br><br><i>Don't ask about the way he lost his leg back in 1982<br>
Or how he lost two fingers on his right hand just to get himself a pair of boots<br>
How last year lost a piece of his ear to dat Gator who was nice and fat<br>
He says if you want the big one's, gotta be willin' to give a bit of you back<span id="fck_dom_range_temp_1351700975564_120"></span><br><br></i>So that was it. I wanted more of a break than anything else. Some songs are meant as a diversion and to give a little different approach. Some are there to tighten up skills and some are written to totally be silly. This was one of those. But the next one was going to be really cool.<br><br></span></b></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/565192012-10-26T11:52:04-05:002012-10-26T11:52:04-05:00Day Two: MAMA'S DON'T LET YOUR BABIES GROW UP TO BE COWBOY SONGWRITERS<p><b><span style="font-size: small">Day Two, Cowboy Bob Marshall.<br><br>
Sometimes everything all happens at once or nothing happens at all. This was one of those days. Bob Marshall is a REAL Live cowboy from Michigan. He has been in rodeos, Ridden bulls, pretty much everything and now raises horses and cattle. I met him and his girlfriend, Lori, about three months ago on a songwriter's festival in town. Liked them very much from the beginning.<br><br>
The thing with Big Bob (AND HE IS HUGE!) you have to be careful about how you tell him things. Don't want this guy mad at you. But like a lot of really large people, he is a puppy dog and a real softie. I can see why Lori loves him. They are both a blast.<br><br>
The first part of any tour is to go through the PAST. That way we can get to the PRESENT. Then the FUTURE. Which is why it is a TOUR. Many people come to me for many reasons. Sometimes it is that they can't break out of certain habits. That can include writing the same song over and over. <br>
Bob had done that with COWBOY SONGS. Every song had a cowboy componant to it. Cowboys, horses, cowgirls, honky tonks, swinging baroom doors, cattle, all filled up every song. Many were good, but you can only go so far with certain subjects. If this was the Southwest, Arizona, New Mexico, Texas, etc. that would be very cool. Campfire, story songs, are the norm there, and the fact that he is authentically a cowboy figures in great. But the fact is, he wants to go to more subjects and that was the reason he came to me. To broaden his musical experiences and abilities. <br>
HISTORICAL SIDEBAR<br>
A side note, while a lot of people have heard the term, COUNTRY WESTERN and still use it when they come to Nashville, they really show themselves to ignore where that came from. That really has never been Nashville. The Country-WESTERN designation, came from HOLLYWOOD, where the Western movie serials, of Gene Autry, Roy Rodgers and the Sons of the Pioneers, were out among the cacti and the range, singing songs around the campfire in perfect harmony. <br>
While there were Nashville artists who embodied the clothes, and some of the styles, Roy Acuff, Lefty Frizell, and others, the "Western" designation really never connected with Nashville. And that designation today kind of will cause an insider to know that someone doesn't know their history. There are a LOT of hyphenated versions of country now, contemporary country, country blues, country soul, country rock, alternative country, cap act country, etc. It is all really COUNTRY.<br><br>
So we get through Bob's songs, make some suggestions, fix a few and then it is his turn to say what he wants. Lori was involved and offering insights on him he doesn't see. Most of it was to <br>
Turn the horses loose and get out of the barn. No more cowboy songs. For now.<br><br>
One of the things I do in these sessions is determine what types of music they like but have never written. Or what they would really LIKE TO WRITE. One of the things he liked was cajun music. I have written a few of those, understand the format, and can do that. I've spent quite a bit of time in New Orleans and have worked with a lot of writers and artists (not always the same thing) from that area, so I have some background. <br><br>
In my sessions, I will apply an old hit writers trick of taking notes on a yellow legal pad of things people say. Kind of a running dictation. My Father, Grady Barnette, used to write thousands of things on yellow pads, business ideas, private notes, book notes, (was always writing a book) and song ideas. I have continued that habit. It is kind of a random word search and I am trying to find different phrases, rhymes, words, whatever. When I get something really rolling, I transfer it to my lap top for a more cohesive version that I can read and work from. <br><br>
I write from the first line down, and try to get a verse/chorus pattern. I simultaneous have an idea for melody's and rhythms going on. Sometimes they work, sometimes they don't. I try to keep about a 20 minute time limit on it, then pick up my guitar and play what is in my head, to see if that is the direction, or not. If it is not, we can shift to something else. If it is in the ball park, we can continue on. The idea is to get as much on the page as possible, so that if the session has to break up, there will be a road map to work from. Many Nashville songs are written in TWOS. The first to get things going, the second, after the writers work individually, to tweak it out and finish it.<br><br>
On this occassion, I came up with an idea, GATOR BAIT, about a guy named oddly enough Gator Bait. I had the verse and chorus, thought it was pretty funny and played it. But I could tell that Bob was not quite into it. That was fine. We could try something else. But I had the verse and chorus there if we went back to it. If he was not into it, I might finish it later and run it by him. Never wait on someone else to work on something if you like it.<br><br>
He started talking about other things and we found another idea that I really liked.<br><br>
"Things Your Mother Said" had potential to be something really funny. And Bob had a whole list of things all Mother;s have said throughout history. I wrote several of them down, "Ben Franklin get out of that rain, you'll get struck by lightning", "Mona Lisa, wipe that smile off your face".. and things like that. THAT made me laugh. And so it was time to put that into practical application. I changed the wording and started to put the things he had listed into an order, and getting rid of some that really didn't work. First, the story:<br><br>
THINGS THAT MAMA'S SAY<br>
MAB/Bob Marshall<br><br><i>They're universal, everybody's heard em'<br>
From the time that we are born<br>
Every Generation, in every single nation<br>
Have heard a million times before<br>
They're supposed to make you think, You can take them to the bank<br>
Like a stopped clock twice a day, <br>
It's three chords and the truth, the Undisputed proof<br>
It's the things that Mama's say</i><br><br>
Okay. This is a universal verse. Portraying what the song is about. Now we need to fill in some details about WHAT Mama's always say. This is different than I usually do. I am usually specific in the verse, general in the chorus. But I like to drift out of my own comfort zone now and then, and wanted to try something different. Time for the chorus:<br><br><i>LIKE BEN FRANKLIN'S MAMA TOLD HIM<br>
BENNIE BOY COME ON OUT OF THE RAIN<br>
LADY GODIVA, DON'T GO OUT UNDRESSED LIKE THAT<br>
MONA LISA WIPE THAT SMILE OFF YOUR FACE<br>
VINCENT VAN GOGH, YOU BETTER WASH YOUR EARS<br>
OR YOU'RE GONNA LOSE ONE SOME DAY<br>
MIGHT NOT ALWAYS BE THE RIGHT THING<br>
BUT THEY KEEP ON TALKING<br>
THEY'RE THE THINGS THAT MAMA'S SAY<br><br></i>Okay, this is going to be a different song. But you gotta admit, it has some humerous elbow moments. I gave it a bit of a "lope groove" which is mid tempo kind of sexy type thing. Needs to be fairly slow to get all the words in. But I think we did it. Into the second verse, I have to find something to tie it in to make it more than just a song about sayings. I wanted to personalize it and bring it home, with the second verse being about something else. Again, I used some of my own past examples tied up with some things Bob said about his rough and tumble past:<br><br><i>Well I must admit, I never listened<br>
To my Mom growing up<br>
But I have to say she was right when she talked about<br>
All of that safety stuff<br>
I broke my leg, cut my head<br>
Had a lifetime of bumps and bruise<br>
But there was once when she wasn't right<br>
She couldn't keep me home that time<br>
On the night that I met you</i><br><br>
Now we have it turned into a love song. I am breaking my own rules all over the place. Really different second verse and now even going to do a different chorus. I egven change my pattern by having the second verse end differently than the rest. Gotta know the rules and when you can change them. Sue me. The overall thing is the examples Bob had were too good not to use:<br><br><i>LIKE EINSTIEN'S MAMA SAID IF YOU'RE SO SMART<br>
AL FIGURE IT OUT FOR YOURSELF<br>
OR YOU BETTER WATCH OUT WHERE YOU SWING THAT STICK<br>
LITTLE TEDDY ROSEVELT<br>
MOZART QUIT PLAYING THAT PIANO EVERY DAY<br>
BILLY GATES , WHY DON'T YOU GO OUTSIDE AND PLAY<br>
WIN SOME AND YOU LOSE SOME<br>
BUT THERE'S LOTS THAT YOU CAN USE<br>
IN THE THINGS THAT MAMA'S SAY<br><br></i>Okay. This is a different animal all together. But sometimes that is the point. To get away from formula, find different things and have a good time. And being able to work within the things other people bring in. Part of tthe whole co-writing process is to include others, find elements of you, elements of them, and find some ways to have a good time. That is the real deal. Finding ways to go in and out of a story, finding ways to pull a twist that nobody saw coming, and making each other laugh. <br><br>
That is the key for me. <br><br>
MAB<i><br></i><br><br><br><br><br><br><br><br><br><br></span></b></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2411592012-10-26T10:35:00-05:002012-10-26T10:35:00-05:00ROUND TWO: THE BUTLER DID IT<p><span style="font-size: small"><b>Round II, Sal, Dave and Pat,<br><br>
With the first song down, we looked around to other ideas the three guys had. This is where it gets hard. When you are working with three people, (and I also had two others who had booked me for the same day, but I messed up, so just let them sit in. Get to them in a minute) you have to give everyone a shot at throwing out ideas. In this day and age, you are likely to get three people into a song writing session. Doesn't mean that it takes that many people, it doesn't. But appointments get compiled, people get added and subtracted. You might be called to write with a band or duo, trio, and have to adapt to include everyone.<br><br>
In this case, Pat had an idea that I couldn't really hook into. It was a very close story about a death of someone he knew, and I felt I could not do justice to the story since he already had written it a couple of times. Sometimes you have to turn down ideas just because you are not there that particular day. Also, my job is to get them a couple of songs they had not done before, and I needed to move to something a little more accessable.<br>
Since I write these in a pretty tight time table, about an hour or two each, I have to teach what I am doing as I go. This requires explanations to everyone in the room, like a classroom. Show by doing.<br><br>
Dave, the most vocal and experienced of the three, had always wanted to write a song with the old title "The Butler did it." Now when it comes to cliches', I usually run for the hills. But when they are really wanting to do something with that, I have to find a way. On this day, they didn't really have a lot of ideas. They were here all week and this was the first day so they needed to compile a bit more. But my job is to take what they are thinking about. So I started thinking about applications of "BUTLER" that might work. Since most of us don't have servants anymore, and I didn't really want to turn this into a murder mystery, I needed to find a different use.<br><br>
The name of a person I was lucky to know, and work with, came to me. Grammy Award winning writer and producer Larry Butler, who recently passed away. I don't know why his name came to me, but I am going to the Frank Brown Festival in a few weeks, which is where he lived. So that name stuck out. How could I turn something out of the name itself:<br><br>
THE BUTLER DID IT<br><br><i>Jackie Butler dated Katie, and always kept her waiting, through all those many long years<br>
She decided to get tough, cause she'd finally had enough, and said she was out of here<br>
He had tickets to the game, perfect courtside seats, <br>
She was about to break it off, grab her coat and leave<br>
Had her look on that thirty foot screen<br>
It said "Katie Will You Marry Me?"<br><br></i>We've all seen these over the past few years. Some big basketball, football, baseball, hockey, game, giant Jumbotron screen, some guy proposes and makes all the rest of us guys look bad. Of course, if she says "NO!" it can embarris you in front of millions of television fans. Big gambles, big rewards, LOL! Now the chorus:<br><br></b><i><b>THE BUTLER DID IT<br>
MIGHT AS WELL ADMIT IT<br>
SHE WANTED BIG, HE MADE IT BIGGER<br>
WHEN HE FINALLY PULLED THE TRIGGER<br>
HAD THE WHOLE TOWN TALKING BOUT THE EVENT<br>
I GUESS THE BUTLER DID IT<br><br></b></i><b>Okay. So now we have the guy Jackie BUTLER, doing something big. The Butler did it. As usual, I check with my co-writers to find out if I am in the ballpark. When we all stopped laughing they let me know I was hitting the right vein. Time to move on. What can Jackie do BIGGER?<br><br><i>Two years went by and Katie, was dying for a baby, but nothing ever seemed to work<br>
They tried every position, every expert and physician, every DVD and book they could afford<br>
At the end of the rope, just about to give up<br>
Mrs. B started taking, fertility drugs<br>
Be careful what you wish for, you might just get it<br>
Now they're walking down the street, with their new Quadruplets<br><br>
Chorus: The Butler did it....<br></i><br>
So we have the fertility drug angle. The Butler did it, get it? Yeah, I go for some pretty mindless stuff. But it advances the story line I think. Again, they all liked it and much of it was stuff they had been talking about. I just put it in order. Time for the bridge. This time, since this song moved along pretty quickly, I had a chance to have four lines instead of two. A little more info. Now it had to be EVEN BIGGER! What can that Butler devil get into NEXT?<br><br><i>They said that Jack was crazy, his mind was going off<br>
When he invested in a brand new company called Microsoft<br>
Now he's heavy into Tech stocks, and for their anniversery<br>
He went back and bought that basketball team<br><br></i>BOOM!! Takes it right back to the first verse. Twist on the tale. The bridge can also bring you back around to the beginning of the song. Follow the yellow brick road. Usually you find you end up right where you started.<br><br>
After five or six song critiques, catching up on a year of work, laughing our butts off, and dealing with five people, I was shot on the writing thing. We had a show that night, so we went to eat and they all went home. <br><br>
That was day one.<br><br>
MAB</b></span></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2411382012-10-26T09:56:38-05:002022-05-10T11:24:27-05:00Sal, Dave and Pat, the New York clan<p><b><span style="font-size: small"> THE NEW YORKERS AND THE COWBOY<br><br>
The first group was Sal, Dave and Pat. They are a trio from upstate New York who have known and played music with each other for over 20 years. Dave and Pat have been coming to Nashville for about 15 years, to perform, work with publishers, and soak in the Nashville experience. They came to me last year because they had reached a point where they weren't getting as much information as they needed. They would get told their songs didn't work here but couldn't put their fingers on why things weren't working. <br><br>
Much of it was because their songs were a little same old same old. They were superficial, writing about subjects that sounded like most things out there. Yet they were missing those essential details that are so important to have. Last year we had written three songs, one of which, "KISS ME I'M IRISH" told the story of Sal and his wife, who met on a St. Patrick's day. That age old saying provided a back drop for them to sing. We wrote a very singable up tempo story about them meeting and getting married. Truth always works. <br>
They took it and two others we wrote in a day, and worked it up for their live gigs. They started playing the songs and started getting requests for their own material. Soon the songs, particularly "IRISH" was their most requested songs. Their hometown crowds loved it and it would go to be part of their current record. Like many things I write, they are not always meant to be the next Nashville pitch, but to demonstrate how to find things in your own everyday life that will be relatable to other people. With their infectious harmonies, intersting instrumentation and high energy, the songs really worked well. Having not heard them in a year, I was impressed with what they had done. They did them on some writers nights here and worked their way into writing with artist and friend, Allen "Superman" Shervelle. So all of it comes together very well.<br><br>
But it was time for this year. After hearing their progress and reviewing other songs, they started throwing out some ideas. The first was from Sid, who is the high harmony and lead singer and bass player. Sal is quite the rocker and likes the old days of Journey and my old stomping grounds of 80's rock. So that gave a basis instrumentally and groove wise of where we might go. If you fast forward from the days of Journey in the 80's, factor in groups of today who might have been influenced by Journey, you come up with people like Rascal Flatts and Lady Antibellum. So that gave me a musical framework to start with.<br><br>
Sal actually had a melody and a general outline he wanted to work on. The title would be JUST GOT TO LET HER KNOW. It would be up tempo, and have a pretty solid singable chorus. <br>
Knowing the hook line, it was my job to find where the story would go. We made it into a guy who goes into Starbucks everyday because he has a thing for the girl behind the counter. To a point where he is buying so many cakes, donuts, coffee that he is worried the girl might think he has sugar diabetes because he is just there all the time. But he can't tell her how he feels.<br><br>
The first lines started coming and I started writing as fast as I could on my computer. It was to describe the scene, putting reality in it. Sal already had some general ideas so I put them into order:<br><br>
JUST GOT TO LET HER KNOW<br><br><i>Gotta say this is nothing like me, <br>
Tongue tied up, can't say a damn thing<br>
but happens every time I run into her<br>
There's something about those dimples<br>
Or the cute way her nose wrinkles<br>
When she smiles it's the brightest light on earth<br>
Been at Starbucks here three times this week<br>
Don't know if the buzz is from her or all this caffeine<br></i><br>
We are rhyming the first and second lines, and the third and sixth lines. This gives a way to "hook" the sylables together. I try to show the scene, with him having an inner dialogue with himself. Sometimes you make the singer the narrator. If he was saying this to her, it might make him seem like a freak. So this is more "inner monologue" telling the listener what is going on inside his mind.<br><br><i>Chorus:<br>
NOW I'VE JUST GOTTA LET HER KNOWIT'S BEEN A LONG TIME, SINCE I FELT THIS WAY<br>
AND IT FEELS GREAT,<br>
NOW THERE'S JUST ONE MORE STEP TO GO<br>
IT'S A LONG TIME, NOW THERE'S ONE MORE THING<br>
IT'S A LITTLE THING<br>
I'VE JUST GOTTA LET HER KNOW</i><br><br>
See, easy. All he has to do is tell her. Or possibly jump off a bridge, which ever is easier. We've all been there. Trying to tell someone we like them without being a total nerge! That first date. first time. Man., that can SUCK! Fear of rejection, fear of the unknown. And the music, which is very much an 8th note driving rock groove, reinforces that feeling of urgency. <br>
So now, second verse HELL! <br>
What do you do? WEll, since we have set up what the scene is and what it is about, how about inserting some things that he physically did to grab her attention. For here, I used a combination of things that I actually had happen to me, and television and movies I have seen. Got to start thinking Three stooges or Jim Carey in Dumb and Dumber here:<br><br><i>I wonder if she got suspicious, <br>
When I knocked over two stacks of dishes<br>
Tripped over that rack of New York Times (yes, I actually did this)<br>
And when I brought three dozen donuts<br>
Just to get some extra moments<br>
To look at her from the check out line (guilty)<br>
Can't get a read on what she thinks of me<br></i> <i> Probably believes I've got a case of Sugar Diabetes'<br></i><br><br>
Okay, that probably won't stay in. But I go for really funny sometimes and that made me laugh. And yes, I know Starbucks doesn't sell donuts, but it was a line Dave wanted to use and hey, never let the facts get in the way of a good story. This is all subject to re-write and may change but I am laying out how we did it that day.<br><br>
Now we get to the all feared BRIDGE section. I like to use these as the "TWIST ON THE TALE" or the "MORAL OF THE STORY." Sometimes I like to deliver the "Oh God! I didn't see that coming. It is the really fun part for me when it comes together cooley. I was trying to find a way to get them together. I like happy endings:<br><br><i>As I'm headed to my car, feeling my defeat<br>
I see she wrote her number, on the back of my reciept.<br><br></i>There. The guy is essentially a goof, and thinks he is doing everything wrong. But he is swept up by this girl. He trips over himself, does dumb things, and yet, still gets the girl. If only life worked that way. Well, every once in a while, it does. Just look at my life. Kind of proof in the pudding.<br><br><br>
So this was the first song. Took about an hour and we found the type of song they didn't have any of. We took a break and then on to the next song. Next post.<br><br>
MAB<br><br><br><br><br></span></b></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2411062012-10-26T00:00:00-05:002020-01-21T11:54:39-06:00WHAT TO WRITE ABOUT- DISSECTING SONGS<p><b><span style="font-size: small">In the next few posts I am going to dissect a few of the latest songs I have written and explain about the people I wrote them with and how we arrived at what we did. You see, I am very big on trying to avoid the same old same old, cliched' tired worn out subject matter people seem to write all the time. The "Trucks, out on the farm, redneck, depressing, you name it, that just gets recycled over and over and it gets very tiring to listen to much less write.<br><br>There is a lot of subject matter out there. Life is everywhere. Reality is everywhere. We just have to find it and try to find a way to make it interesting, fresh, with a different twist or turn. Most hit songs do this. Find a way not to tell us something we don't know, but show us something we DO know, in a way we didn't see it before.<br><br>Sometimes it is musically, rhytmically. Sometimes it is lyrically. But there are reasons that hit songs and hit and established writers that write things that stand so far above other things. And yes, there are things that are nothing special out there. But you can't only try to be "as good as that crap on the radio." You have to shoot higher. That takes more effort.<br><br> MY WRITING<br>I do most of my writing in TEACHING LESSONS with a PRACTICAL APPLICATION EFFECT. I do my "write ups" songwriting lessons or in conjunction with my "Songwriter tours" of Nashville. I sit with people and analyze their existing material. Find out who they are, what they are passionate about. What is going on in their lives. Nine times out of ten, that is where songs come from. Some times they have their own ideas they HAVE to write. I might not be able to talk them out of it even though I might have heard it a million times or possibly already written it myself. My job is to help them find ways to say what they want to say in ways they didn't know how to say it.<br><br>I believe these techniques, most of which I have learned from writing with amazing hit and legendary writers, can be taught and passed on. Much is finding the "DUH!" which is something right in front of us that we simply didn't see. Finding the "BEACH" moment, where you see something literally right in front of someone but they didn't see it because they were too close to it or looking to hard or, in most cases, overthinking it.<br><br>That will be what these next subsequent posts will be about. I recently had nine people doing various tours in groups, individuals, duos, trios, over the past 7 working days of last week (Oct. 15, 2012,) up until Oct. 23rd, 2012. I will describe a bit about the other people, the reason they come to me, and talk about the songs we wrote and the process I use to get there.<br><br>I hope you will find it somewhat interesting. Let me know if you have questions or comments.<br><br>MAB </span></b></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2403782012-10-25T08:50:00-05:002012-10-25T08:50:00-05:00THAT FIRST WRITING APPOINTMENT<p><span style="font-size: small"><b>Since I just had several "Newbies" to the Nashville songwriting experience, I thought I would mention a few things that might help someone finding their way to the Nashville experience themselves that can help them be prepared. People often simply don't understand the process so maybe I can offer a few thoughts.<br>
<br>
Most Nashville writing sessions last between 2-3 hours, mostly during the day, work hours. Nashville writers, particularly the experienced or more professional writers, usually have two and sometimes three sessions a day booked, so being prepared, having speed and focus, being able to think on your feet, are of the utmost importance.<br><br>
First of all the basic tools:<br><br>
1. Pen and paper.<br>
2. Lap top or device to record on, both musically and lyrically.<br>
3. Various ideas, scenarios, melody ideas, titles, hooks.<br>
4. Representations of your existing work. CD's, MP3's, web sites, etc.<br>
5. Calendar for future writing. <br>
6. Information on how to contact you for the future.<br><br>
Pre-production:<br>
Find out who you are writing with. Visit THEIR web sites, learning about their music and personalities. Do some homework. <br>
Ideas: Everyone can have a few thoughts or ideas to lay out. You should organize them. Think about what TYPES or STYLES of music you like. Think of what you DON'T have. Are there any songs or artists out there that you LOVE? Are there any songs throughout history that mean something special to you? Do you have any "I WISH I HAD WRITTEN THAT!" moments? <br><br>
Anything can be a starting point.<br><br>
I tend to like SCENARIOS. I like when someone can tell me about their lives, and give me some ideas about WHO they are and WHAT they want to say. If they can give me a STYLE of music, I can get into it very quickly. <br><br>
Some people will have full lyrics or music patterns. I find this off putting, because it forces me to conform to places I might not be interested in. The LESS finished something is, the MORE I like it. But that is just me. Always be prepared. If you have full lyrics or music, show them to someone else. Find out how they feel. But since most Nashville writers are pretty well rounded, knowing both music AND lyrics, be ready for them to fall on deaf ears. <br><br>
Listen to some of your favorite music before you go to the session. Not to copy anything, but to get you in the mood of where you want to be. If you have a different style in mind than you are comfortable with, get some examples of that style. It is fine to play some of your favorite songs for someone. Get people in the right frame of mind.<br><br>
Recording.<br>
NEVER leave a session without some way to record what you have written. If you depend on someone who writes 5-8 songs a week to get in touch with you, you might be waiting a long time. Don't depend on anyone to give you a copy of your work.<br><br>
Some people record on phones, some on lap tops, whatever works. But make sure you have the lyrics, chord progressions, work tapes, etc.<br><br>
LAPTOPS.<br>
The current PC, APPLEs, Notebooks, smart phones and Ipad's give us tools we never have had before. We can record simple work tapes, and if we are working online we can trade lines and lyrics back and forth without having to kill trees, find a printer, etc.<br><br>
Make sure you have contact info for everyone. And they have yours.<br><br>
THE BIG DAY.<br>
You will probably get together in the morning or afternoon. A lot of time,writers (particularly me) are pretty burned in the evening, so the earlier, fresher someone is, the better. Many work other jobs as well, so dealing with schedules are a big deal. Be flexible.<br><br>
The first 10-20 minutes should be spent talking, getting to know one another. If there are three writers, it could take longer.<br><br>
The Idea PULL, is like Skeet shooting for ideas. A lot of ideas simply don't work. They might be dated, something the other writer has already written, or just not there. Be prepared for that. Then most of the time, a conversation will lead to ideas, thoughts, hooks, verses, choruses. <br><br>
There is no one way. Some people hook into it fast, some slow. Sometimes you sit around for hours with NOTHING. Sometimes nothing gets done. Don't worry about it. Happens all the time.<br><br>
VERSE AND CHORUS<br>
If you can get a verse and chorus pattern on a song, you are doing well. It gets a road map on the page. Many songs are written in TWO's. One appointment to get things started, and then the writers get alone and work on something. Then they get back together, tweak and compare, finish that song, and start another one. Ever wonder why so many of the same names pop up on CD's? Now you know.<br><br>
Be flexible. Your ideas might not be acceptable. So be willing to get out of your own way, work on other people's. Keep at it.<br><br>
It can be a great process, can be frustrating, can be challenging but it does build character. Even if you write mostly on your own, you will always benefit from co-writing. You will learn about others and most of all, about yourself.<br><br>
Good luck and go get em!<br><br>
MAB<br></b></span></p>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2305012012-10-11T06:31:08-05:002022-04-08T06:38:24-05:00WRITING FOR THE 'OTHER GUY' PART II<span style="font-size: medium">Now, for some examples. <br>
The first, is from my recent travels to New England to work with some wonderful people there. <br>
The other writer, Maddy, a very cute, woman with a pretty good life. Husband, daughter, etc. She threw out the usual ideas about trucks, and country, things. Now Maddy doesn't have an extensive catalogue, and could actually used some of those type songs in it. But I really try to avoid all the cliche's everyone gets into. I try to head off cliche's at the beginning, to avoid it in the end, only to find publishers, artists, etc. saying "we already have a million of those."<br><br>
We have to find subjects that relate to people in a myriad of way. As usual, Maddy's life provided the answer. She is not a singer, but loves to get in her car and drive and sing at the top of her lungs or in the shower. It is the place she can escape the family, the bills, the things that are happening all the time, especially with a teen age daughter. It is nice to have some "alone time." Since I usually don't make shower calls anymore, the car seemed an interesting space. She threw out a title I thought might work, "I'm a star in my car." While I didn't want to use that it provided a starting point, and something that felt real.<br>
As she talked about her life, forgetting the title she had thrown out since I didn't say anything about it, she was just talking about what she does in her life. She has to drive from time to time and loves her music. Anyone that has ever passed someone in the next lane, seen someone singing at the top of their lungs, playing "drums on the steering wheel" or air guitar, you know this one. Or if you have been caught doing it yourself, you know the deal. WE all do it. I rehearse speeches in my car. Before Bluetooth, it could be pretty embarssing. Now just looks like someone on the phone.<br><br>
So as she talked I begin writing from the first line down. In my writing I go from the first line down. I am directing a video scene in my head. How could we describe who this is in the first couple of lines. I wrote the first verse and chorus from her real life comments. I just pulled in what she said:<br><br>
The first two lines have to set the scene:<br><br><b><i>She’s a Mother and a wife, with a black and white life, feels she’s running in place<br>
Daughter’s hitting those teenage years, Index finger waving in her face<br><br></i></b>I have tried to set up who she is, hint at the age, getting in those mother/daughter conflicts.<br>
Now the next thing I am going to do is a "channel, or pre-chorus, which changes musically and gives a "lift" into the chorus:<br><br><b><i>Husband gets home, at 6:04, expects dinner on the table when he hits the door<br>
She’ll wait till later, go for a drive, only place she can free her mind is<br><br></i></b>Now here is where we diverged a bit from reality. Her husband doesn't really come home like that. Never let the facts get in a way of a good story. I felt a lot of people could relate to that, but what it is doing is SHOWING that the character lives a pretty regimented lifestyle. <br>
SHOW, don't TELL. <br>
Now we are ready for the chorus. Since you have described what she really is, now is the time to tell what she is when she gets on her own:<b><br><br></b> Chorus<br><i><b>RIGHT DOWN 95<br>
I POD BLASTING, COMES ALIVE<br>
SINGING EVERY WORD AT THE TOP OF HER LUNGS<br>
STEVIE NICKS, AEROSMITH, CLASSIC SONGS<br>
ALL BEHIND THE WHEEL OF HER CAR<br>
SHES AN EMANCIPATED, AUTOMATED, MINI-VAN DRIVING<br>
ROCK STAR<br></b></i><br>
Now you have gotten a sense of who this is. I list specifics. "95" is the Interstate number in Boston. I chose "Classic" artists because they are timeless and are always on the radio somewhere. I also had asked Maddy about her favorite artists. I actually change the artists in each chorus to broaden the perspective. She didn't even know what I was writing about. I do this on purpose. You have to get into a "zone" and if you get too many conversations going on it can be interrupted. Not much fun for the other writer but it works.<br><br>
So now I have described WHO she is, WHAT the song is about, HOW she gets there, WHEN she does it, WHY she is doing it, WHERE she is when she does it.<br><br>
Does it work? I think it does.<br>
I played it for Maddy with a groove that indicates "Car songs". up tempo, driving rhythm, and the STYLE is kind of the current Jason Aldeen, Montgomery Gentry country rock that derives so much of it's influence from Aerosmith, AC/DC, and 70's and 80's rock. Hey, just the type of people we are singing about. SHOW, DON'T TELL.<br>
Maddy was estatic and that let me know I could move on where we were. I was in the ballpark. She had said many things in the course of our thirty minute conversation, which I took notes on my yellow legal pad, which I do before getting to the computer. So I had a lot to pull from. Again. Maddy was just talking about real life, not about a song.<br><br>
Reality. Conversational. Ongoing melodic hook. <br><br>
Second verse:<br>
In this it is very easy to get into "Second verse hell. What do you say? You either advance story line or do "back story" to fill in details of who this woman is.<br><br>
She visits with friends, and wonders when<br>
The years all seemed to go<br>
When she was 17, homecoming queen<br>
She thought 30 was old<br><br>
Okay, I've heard this before, but am trying to use it in a different way. Also it continues the story by using BACKSTORY. Who she is, what made her this way? And I don't want to get into the whole "She wanted to be a star" thing, because again, that is what people do all the time. I make sure I follow the pattern of rhyming with the first verse time for the channel:<br><br><i>Now she can’t recall the past at all, but she hears that highway call<br>
Windows rolled down, van takes wings, she appreciates the little things<br><br></i>One thing I didn't want to do is paint her life as terrible. Again, that is what a lot of people do. Poor poor girl, she wanted so much now her life is crap. I hate those. Most people's lives are NOT crap. Sure they would like to be making more money, have better jobs, bigger houses, whatever. but most people are fairly happy. You just hear about the horrible ones because they make news and sell the news for papers, the Internet and TV shows.<br><br>
Repeat the chorus. I use two lines in the verse, two in the channel and then get to the chorus. The most important thing of the song. In this one, I add other names:<br><br><i><b>"DIXIE CHICKS, SPRINGSTEEN, CAN’T GO WRONG"<br><br></b></i>Now is time for the bridge. This is where you sum up the story:<br><br><br>
Bridge<br><b><i>Might not be making the big bucks<br>
But she’s on a mission<br>
Cause that spotlight always shines on her<br>
When she turns on that ignition<br></i><br></b>There. We wrapped it all up. Simple story, fun times, just like to sing and drive. Sound familiar? That is what we are shooting for. Something that rings true, something that tells a cute story, doesn't change the world, but points out some fun things about life. <br>
I think it works. <br><br>
What do you think?<br><br>
MAB<br><br><br><br><br><br></span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2304662012-10-11T05:50:18-05:002021-12-20T08:02:36-06:00WRITING FOR THE OTHER GUY<span style="font-size: medium">It's the classic "Songwriter's delima 101." You get into a much anticipated writer's session, particularly with a more experienced writer, someone with hits, and artist, or someone with publishing or label contacts. You want to make a good impression, sit down and start pulling out your ideas that you thought were SO GREAT! Then, one by one, they are shot down like a skeet shooting tournament. The idea doesn't appeal to the other writer, they have written several just like it, or the biggest, "Man I have just heard that ten million times and HATE IT!"<br><br>
You now hear the inevitable question, "What else you got?" And you don't have anything.<br><br>
This is why most Nashville sessions are written off the cuff on something made up on the spot. Most ideas "are good at the time", when you are in a bar (somehow those two AM drunk brilliant ideas don't sound so good in the cold light of day) or when you are in a different mood than when you come to the session. Another "I broke up with my girlfriend/boyfriend..." is not really going to cut through to anybody. They don't care.<br><br>
You might come to the inescapable conclusion that "This stuff is not just about YOU!" You might try to think about writing about "THEM."<br><br>
I sit in rooms around or over 200 times a year to work with people on songs. I rarely come away without a finished song. One of the reasons? Because I ask them about "WHAT IS GOING ON IN THEIR LIVES?" <br><br>
Reality. IT'S WHAT FOR DINNER.<br><br>
If you talk to people about what they are really living, add your own experiences or those of people you know, find the reality of the situation THEN find a bit of a spin on that reality so you give it to someone differently, you will ALWAYS come up with songs. And being able to "stand back" somewhat and act as a narrator, gives something of a 20/20 hindsight element to it. Perspective. Try it out.<br><br>
This really happens when you are writing with artitsts with limited life experiences. It is pretty hard for a 14 year old girl to talk about how much her heart has been destroyed. At least in a way that some 24-25-30 year old woman won't say "Get over it kid. What do YOU know?"<br><br>
We are not trying to "tell people something they don't know. We are trying to tell them something they know, but have never seen it in that way before. <br>
So that is your quest.<br><br>
The best way is to GET OUT OF YOUR OWN WAY.<br>
You do that by WRITING ABOUT THE OTHER GUY!<br><br>
I'll cover that in a minute. Thanks for reading. You can comment on these, so let me hear from you.<br><br>
MAB</span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2280952012-10-08T04:55:00-05:002012-10-08T04:55:00-05:00LEAVNG OUT THE WHEN<span style="font-size: medium">Someone reading this (how can that be?) mentioned that I left out the "WHEN" in my "Who What When, How, Where, part. Sorry about this. I'm new to this blog thing. <br><br>
The "WHEN" is one that is a really difficult thing to approach. I have a lot of people come up to me on workshops and when I talk about Nashville as a "Ten Year town", they willl go "I don't have TEN YEARS! What do I DO?" Well, the problem that you have to realize is that Nashville, the music business, or entertainment at all, doesn't work on your schedule. It doesn't care how old you are or how much time you have left. That is a pretty cold thing to say but it is.<br><br>
Think about anything you have done for a living. Did you just start out doing that? Wake up one day and decide to be a construction worker, architect, dentist, office manager, banker, car mechanic, pilot, buisnessman or woman, whatever? I am willing to bet you didn't just wake up and start doing it.<br>
Think of a person who owns their own contracting business. They start out probably wanting to do something else. They have shop classes in high school, work with father or other older people, develop a bit of a nack, as time goes on, get more schooling, work smaller jobs, take summer work, possibly study some courses in college, all the time working, finally start an official job on some work site, doing all the crappy jobs, sweeping up, hauling garbage, building into little side things, gaining skills, finally sub contracting jobs, on to their own small business, sometimes it turns into their living. Takes a while.<br><br>
Why should songwriting be any different? It is a skill. Takes a while to learn. Most people start out with poetry or some really crappy songs to impress the opposite sex. They get around other writers and artists, playing talent shows, doing more things. As they start to get known a bit, Their skills and reputation grows. They write with others, the build a fan and friends network. They audition and sometimes win larger contests, do shows in their areas. Possibly take classes or go to college.All of this takes time, but builds what they do. And who they are.<br><br>
It takes time.<br><br>
The music industry is a business. The people who are there have done this over and over again. "Older people" (Anyone over 30) has a lot of time to make up for. But they can use their age and experience to bring things to the party younger people cannot. They can live their life in 20/20 hindsight. They can think of what it was like to be 20 years old and things they would go through. One of my favorite recent songs is Brad Paisly's "Letter to Me." On that he talks about what he would say to his high school age self. Not to worry so much about that test, that heartbreak, from that girl was really not going to destroy him.What would you tell your younger self? <br><br>
Those are the kinds of things that people need to look at. Use what you have. <br><br>
Now how does this play into a career? Well if you DON'T feel you have that much time, you need even MORE people involved in your career. The other thing about older people is that they get stuck in their ways. It is harder for them to adapt to other things. Not impossible, just different. And styles change continuously, so you need younger people to learn about that. <br><br>
It is a co-writing world. <br><br>
If you are not a performer, you have to have performers. Lots of them.<br><br>
Then you have to decide on your goals and inject them with reality. A lot of time I hear people saying "Hey, I'm quitting my job and moving to Nashville." My first impression is "WHY?" <br>
A lot of time "being there" only leads to more frustration. I wouldn't suggest anyone even consider a move until they have a network of people they write and interact with to build a base of friends. I would make trips. I would develop a presence. <br><br>
MUST HAVE A PRESENCE TO WIN.<br><br>
This means you have to have people you know, write with, hang out with. Help them achieve their goals. The days of "coming to town, finding a publisher, getting deals, getting cuts" are pretty much done. What happens now is people come in, hang out, meet many other, and hopefully hook into someone else's deal and journey, which build to you own. It happens like this:<br><br>
An over 30 school teacher is involved with Songwriting groups like NSAI and others. She is from Wisconsin and kind of out of the "mainstream of the music business." She loves to write songs but does not perform, is not a singer. She hangs around other writers and is the leader for most of the time of their groups. She has a great personality and everyone likes being around her. And she writes a lot. Much better than the average bear.<br><br>
She starts making trips to Nashville but never really "breaks past" the average people, going to special events, getting smiles, but not much else. Plays songs for publishers from time to time but not much happens. She meets someone who helps her organize her catalogue, helps her learn finer points of writing, introducer her to others, learns the techniques and speed about writing. <br>
Over a period of time coming to Nashville and building a lot of connections, she does her own writer's CD, recording sessions, does a showcase on her songs done by Nashville artists. She organizes group "tours" coming to Nashville. She has the central "adviser" and builds on everything.<br><br>
During this time she meets a young 18 year old female singer brand new to town. Being "kindered spirits" they become best friends. They hang out, the singer does her demos, she helps the singer organize her life. It is a great relationship. A few years go on and the singer and her boyfriend, now a duo, enter and win a television talent show. That leads to a record deal, a top five hit song, and a lot of success. The teacher gets a publishing deal, quits her teaching job and then continues to make trips, but all the trips have a lot of focus. But she is in the big leagues.<br><br>
The writer is Green Bay's Julie Moriva. The artist is Meghan Linsey from STEEL MAGNOLIA. The publishing company is BIG MACHINE owned by Taylor Swift.<br><br>
This is how it happens. Most every writer has one or several artist connections. IT takes a lot but can be done.<br><br>
All based around how much YOU bring to the party.<br><br>
MAB</span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2274812012-10-06T19:21:13-05:002012-10-06T19:21:13-05:00THE BIG FOUR<span style="font-size: small">THE BIG FOUR<br><br>
There are four principal elements of the music industry that anyone doing it HAS to be aware of. These are the building essentials:<br><br><u><b>CREATION OF THE SONG</b></u><br>
There are a BILLION SONGS A MONTH uploaded onto the Internet. There are over THIRTY MILLION writers, artists, poets, college and high school students, part timers, people interested in songwriting, singing, entertaining. Want to find out? Sit next to anyone in a restaurant, on an airplane, coffee house, anywhere. Tell them you are a songwriter. See how fast they come up with "My niece (nephew, son, daugther, you name it..) is a (singer/writer/actress/actor....), or... "I have this idea that would make a GREAT SONG!"<br><br>
The fact is that EVERYBODY now is a writer or thinks they are. So writing a song that GETS AND KEEPS ATTENTION in a world of shorter and shorter attention spans, is nearly impossible. <br>
Songs HAVE to GET AND KEEP ATTENTION. THAT IS THERE JOB.<br><br>
And to do that takes patience, attention to detail, learning the craft. Anyone can write a song. Writing one that other people PURCHASE, with their time, money, whatever, is a different deal altogether.<br><br><u><b>PRESENTATION OF THE SONG</b></u><br>
Once it gets outside of our brain's, we have to present it to other people. They haven't yet come up with "Mind to Midi" where we place a sensor on our temples and our songs come out through our iPods. Maybe with the iPhone 35, but not yet.<br><br>
So we have to think about our live performance, our demos, our master recordings. You have ONE CHANCE to make a BAD FIRST IMPRESSION. And everything we do is someone's first time to hear us. Can't leave anything to chance. Want to be taken seriously as a professional. Act like a professional.<br><br><u><b>NETWORKING</b></u><br>
Networking is simply MAKING friends. The music industry is two things:<br>
The ART OF THE HANG.<br>
THE ART OF THE REFERRAL.<br><br>
HANGing is just becoming friends, talking to people. Letting them know what you do, finding out what they do.<br><br>
REFERALLS are when someone else places THEIR reputation on YOU. When they want to hear your songs, when they tell someone else about you, send a link to your web site or song, view your YOU TUBE video, or attend a show of yours. When they invite you into a songwriter's "round", party, or anything in their world. Getting them to do that is NETWORKING.<br><br><u><b>BUSINESS</b></u><br>
That is where COMMERCE takes place. Either people paying for songs, CD's, performances, t-shirts, signing up for fan clubs, being a part of your life. Or if they are paying attention with their interest. That is business.<br><br>
A person writes a song. That is the CREATION.<br><br>
They start performing that song around or have someone who performs it. They record it on a demo or CD. That is PRESENTATION.<br><br>
They are out in clubs, parties, coffee houses, meeting other people that invite them to more things. They get bigger and bigger crowds to come to their shows, view their web sites, those people tell other people who come to shows, buy CD's, view videos, and those people tell OTHER PEOPLE about them who buy CD's, view videos, tell other people about them. The next thing you know, you have Taylor Swift and Justin Bieber. That is BUSINESS.<br><br>
That is how all this works. Over this blog, we will analyze HOW to do that. Then YOU have to do it. <br><br>
I can lead you to water. Can't make you drink.<br><br>
MAB<br></span>Marc-Alan Barnettetag:marcalanbarnette.com,2005:Post/2274412012-10-06T16:45:00-05:002012-10-06T16:45:00-05:00NON-SUPER SUPERFICIAL WRITING<span style="font-size: small">In the past 25 years in Nashville, I have listened to thousands of songs. Spending hours and hours in writers nights, open mics, parties, shows, doing reviews, tours, workshops, critiques, you name it, it quite wears you out. I rarely even listen to music on the radio and listen to talk radio. I do check out new artists and songs coming out but most of the time I have heard them months or sometimes years before in my own shows, festivals, and relationships I have. Presently I am exposed to 200-300 songs a week and believe me, a lot of the time it is quite painful.<br><br>
At the same time. I am fortunate to have been around some of the biggest writers in the business. I have written with literally dozens and dozens of them, and observed how they approach the craft. There is a HUGE difference between most amatruer or newer writers songs and the big boys and girls. Primarily it usually comes down to one main word:<br><br>
BELIEVABILITY.<br><br>
I am based in Nashville TN. and primarily deal with contemporary country. That is the bread and butter of most publishers here and the type of music I enjoy best. But that can be a VERY LARGE TENT, from teen pop country of Taylor Swift. slick Urban contemporary of Keith Urban and Carrie Underwood, rock edge country of Montgomery Gentry, Jason Aldeen, pop sensabilities of Lady A and Rascal Flatts, Traditional country of Brad Paisly, Alan Jackson and Reba McEntire, It's all COUNTRY.<br><br>
The thing about the big boys and girls are their songs are always BELIEVABLE. You can relate to the story, it feels like the singer has been there and you can see yourself in the song. Most country songs have three determining characteristics:<br><br>
REALITY. They have a real life story that you can see, taste,. touch, smell, hear. <br><br>
CONVERSATIONAL. If you removed the music, just looked at the lyrics, it looks like a person or two people having a conversation back and forth.<br><br>
REINFORCING MELODIC HOOK. By the second chorus, usually you can find yourself humming along. You usually will know part of it by the last chorus. The hook will be very self evident and be like a "flashing billboard sign". You can tell EXACTLY WHAT THAT SONG IS ABOUT AND HUM ALONG.<br><br>
Look at the lyrics of one of the best songs written in years, House that Built Me, recorded by Miranda Lambert, written by Tom Douglas and Allen Shamblin.<br><br>
The House That Built Me<br><br>
Tom Douglas / Allen Shamblin<br><br>
I know they say you can’t go home again<br>
I just had to come back one last time<br>
Ma’am I know you don’t know me from Adam<br>
But these handprints on the front steps are mine<br><br>
Up those stairs in that little back bedroom<br>
Is where I did my homework and I learned to play guitar<br>
I bet you didn’t know under that live oak<br>
My favorite dog is buried in the yard<br><br>
I thought if I could touch this place or feel it<br>
This brokenness inside me might start healing<br>
Out here it’s like I’m someone else<br>
I thought that maybe I could find myself<br>
If I could just come in I swear I’ll leave<br>
Won’t take nothing but a memory<br>
From the house that built me<br><br>
Mama cut out pictures of houses for you<br>
From Better Homes and Gardens magazine<br>
Plans were drawn and concrete poured<br>
Nail by nail and board by board<br>
Daddy gave life to mama’s dream<br><br>
I thought if I could touch this place or feel it<br>
This brokenness inside me might start healing<br><br>
Chorus<br><br>
You leave home and you move on and you do the best you can<br>
I got lost in this old world and forgot who I am<br><br>
I thought if I could touch this place or feel it<br>
This brokenness inside me might start healing<br>
Out here it’s like I’m someone else<br>
I thought that maybe I could find myself<br>
If I could just come in I swear I’ll leave<br>
Won’t take nothing but a memory<br>
From the house that built me<br><br>
Can you see every line of this? Does it feel real? Relatable?<br><br>
I'd say yes.<br><br>
When I write with artists or other writers, I try to ask them what they have going on in their lives, what are the passionate about?<br>
The reason is that too many people bring in ideas. lyrics or titles of songs that just sound like the superficial things that we all have heard a million times. Those are the cliche's. I try to avoid that to begin with. Makes it easier in the long run.<br><br>
So finding things that REALLY happen in your life is going to be a good start on songs. But never let the facts get in the way of a good story. <br>
We'll cover story telling in the next episode. <br><br>
Thanks for being here. Any questions, address to my web site, www.marcalanbarnette.com<br><br>
MAB</span>Marc-Alan Barnette