Category: Singer Songwriter Info

Why songwriters are like Realtors®… or should be

Networking: the key to success

Preshias guitar strings 002Oddly enough, starting out on a career as a songwriter is somewhat similar to starting out to become a Realtor. Yes I know that sounds strange, but bear with me here.

A Realtor has a lot to learn, particularly at the outset. There are books to read, seminars to attend and legal aspects to become familiar with if she intends to be knowledgeable and stay out of trouble. In fact, successful Realtors never stop learning. They invest in classes to keep themselves up-to-date on developments in their industry and take advance training, such as attaining a GRI [Graduate of the Realtor Institute] designation. They learn about real estate law so they can communicate knowledgeably with lawyers when necessary.

But that’s not all. For the most part they are independent contractors… essentially self-employed even if they are affiliated with a brokerage. As such, they pay to promote themselves and their listings and realize that in some cases a particular promotion doesn’t result in a sale but another one will, so the investment makes sense.

The power of networking

Furthermore, Realtors don’t work in a vacuum. They may be independent contractors, but they rarely work alone. Quite often, they “co-broke” a listing, working with another agent to put a buyer and seller together and then share the resulting commission. Both of them share in the success.

If you know any successful Realtors, you know they are masters at networking! They constantly stay in touch with other Realtors, belong to associations where they can socialize with their peers and pick up tips from other successful colleagues.

It is not unusual for a successful Realtor to be earning a six-figure income (or more) after a few years. But at first, that Realtor puts in long hours studying, learning, honing skills, networking… investing in his or her future.

A songwriter – to be successful – follows a similar path as that Realtor. By now, I hope you’re seeing what I mean.

You, the songwriter, have talent and know that songwriting (and maybe performing) is your vocation. Now you begin to invest in your future, putting your talent to work.

There are many aspects of the music business about which you must educate yourself if you are to be successful. You need to know how to protect your creative work and make money from it. You need to understand royalties and how licensing works. You need to be familiar with at least the basics of how the Law affects your rights and obligations. No, you do not need to be an expert on Music Law. But you need to understand how it works and when you need to seek professional advice.

You realize that networking with other writers and artists feeds your creativity and exposes you to the skills and knowledge of those in your field who are more experienced. You attend Writers’ Nights and join professional organizations such as NSAI. And like the Realtors who increase their success by co-broking, you advance you career by co-writing with others.

Plays well with others

Realtors, to a large degree, are in competition with each other. But successful Realtors know the importance of building relationships with other agents, working with them, learning from them.

As an aspiring songwriter, go to Writers’ Nights, meet up with other songwriters, ask to write with those with whom you feel a creative connection; listen and learn! Every one of those networking experiences will add to your skill set and advance your career in some small way. Other writers will get to know you, you’ll get to know them and you’ll get to know the people they know.

Make a commitment to networking and learning everything you can about your chosen craft.

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SONGWRITERS: Can you answer these seven questions?

Build your Music Biz I.Q.!

guitar and mic 02In every business, there are some things you just have to know. Your songwriting career is no different. Here are seven questions you should be able to answer. If you’re not sure of the answers, go online and search for the information before you scroll down to read the answers. By carrying out your own research, you are more likely to retain the information, adding to your knowledge of the music industry.

QUESTIONS

  1. What are the 6 exclusive rights bestowed upon the owner of a song’s copyright?
  2. What should you do after you have written (or co-written) a song?
  3. True or false: A song has copyright as soon as you finish writing it.
  4. Name the three Performing Rights Organizations (P.R.O.s) in the United States.
  5. What is a P.R.O. and why do you need to belong to one?
  6. What is the length of contract and termination requirements you would sign if you affiliated with one of the three P.R.O.s?
  7. At what age can you start your own publishing company?

Ready to check your answers?

ANSWERS

  1. Preshiasmusic note 02What are the 6 exclusive rights bestowed upon the owner of a song’s copyright?

Here are the six exclusive rights, as defined by the U.S. Copyright Office:-

[i] To reproduce the copyrighted work in copies or phonorecords. ‘Phonorecord’ is a legal term for material objects produced through sound recording, such as a CD, vinyl record, audiotape, MP3, etc.

[ii] To prepare derivative works based upon the copyrighted work. You have the right to change it around if you wish. Add lyrics, make a new arrangement, change the chorus, etc.

[iii] To distribute copies or phonorecords of the copyrighted work to the public by sale or other transfer of ownership, or by rental, lease, or lending. (Remember, you are not selling the SONG which is your intangible, intellectual property; you are selling the CD onto which a copy of the song has been recorded!)

[iv] In the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works, to perform the copyrighted work publicly. So, as the songwriter, you have the right to perform your song at a public event such as onstage or at a writers’ night.

[v] In the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work, to display the copyrighted work publicly. As you might guess, this right refers mainly to painters, sculptors, photographers, who would want to display or show their creative work.

[vi] In the case of sound recordings, to perform the copyrighted work publicly by means of a digital audio transmission. If your song is in a digital file on your computer, you have the right to ‘perform’ it digitally.

Note that you, as the copyright holder, can monetize those rights by licensing the use of your music (for example to a record label or artist that wishes to record your song).

Preshiasmusic note 022. What should you do after you have written (or co-written) a song?

Here’s what you need to do:

[i] Type up the complete lyrics (do not simply type “repeat chorus,” etc) and add your name and your co-writers’ names (if any) to the bottom of the sheet.

[ii] Be sure to include all info for all of the song’s writers (example: Legal name, their P.R.O. and names of publishing company).

[iii] Start a file of typed lyrics sheets.

[iv] Make and print a hard copy for possible future pitches, performances and cuts.

[v] In your file, make note of contact info of all the writers.

Note: If you said “Register the copyright,” that isn’t usually necessary immediately after a song has been written. See Number 3, below.

  1. Preshiasmusic note 02True or false: A song has copyright as soon as you finish writing it.

True. The writer[s] of a song own the copyright as soon as it has been completed, but you should be sure to include the writer’s information on the lyric sheet as noted above.

When you are ready to register your copyright you can do so online at http://copyright.gov/ using their ‘e-copyright’ (eco) form, which is faster and less expensive than filing a hard copy by mail. A copyright registration is considered to be ‘effective’ when it is received by the U.S. Copyright office, subject to review. You’ll receive a mailed certificate several weeks later. Whereas registering your copyright is not essential or even necessary unless the song is going to be commercially recorded or performed in public, registration provides ‘prima facie’ evidence that you legally own the copyright in the event of a dispute or infringement.

  1. Preshiasmusic note 02Name the three Performing Rights Organizations (P.R.O.s) in the United States.

 Here are their names and websites:-

ASCAP  (The American Society of Composers, Authors and Publishers) http://www.ascap.com

BMI  (Broadcast Music, Inc.) http://www.bmi.com

SESAC (The Society of European Stage Authors and Composers) http://www.sesac.com

  1. Preshiasmusic note 02What is a P.R.O. and why do you need to belong to one?

P.R.O. stands for Performing Rights Organization.  A P.R.O. acts an intermediary between copyright holders and parties that use copyrighted music works publicly. The key word there is publicly, because a P.R.O. is not involved in any legal consumer purchase of works such as buying a CD from a retail outlet, which confers private performance rights. When music is performed publicly, the P.R.O. collects income owed to songwriters and music publishers. Such public performances can include radio, television, clubs and restaurants.

As an individual songwriter, it would be impossible for you to track down and collect the royalties due to you from all the radio stations and TV broadcasts as well as from clubs and restaurants playing your songs. Your P.R.O. is set up to perform that task for you and retains a small percentage of each payment they receive. There is a lot more you need to know before deciding which, if any, of the P.R.O.s you should join. Visit each of their websites, listed above, and do your homework!

  1. Preshiasmusic note 02What is the length of contract and termination requirements you would sign if you affiliated with one of the three P.R.O.s?

Each of the three P.R.O.s has different regulations concerning the length of your contractual commitment and how you, as a writer and/or publisher, can terminate your affiliation.

ASCAP: The contract terms at ASCAP are identical for both writers and publishers and affiliates may resign at the end of any year of the contract upon three months written notice in advance.

BMI: A standard writer’s contract lasts for two years and a standard publisher’s contract is for five years, but some writers and publishers have been able to negotiate shorter-term contracts. The contracts continue to renew for two years (writers) and five years (publishers) if the termination date is missed. Notice of requested termination must be sent by registered or certified mail no sooner than six months and no later than 60 or 90 days prior to the end of the contract term.

SESAC: For both writers and publishers, contracts last for three years and auto-renew for 3-year periods. Contracts may be terminated in writing not more than six months and not less than three months prior to the contract’s scheduled ending.

Note that – unlike ASCAP and BMI – SESAC membership is essentially ‘by invitation only’ and their website states: ‘SESAC requires potential affiliates or their representatives to have a pre-existing relationship with a member of the Creative Services Department. At this time, SESAC is not taking unsolicited affiliation applications.’

  1. Preshiasmusic note 02At what age can you start your own publishing company?

Because you can write a song at any age, technically you are the ‘publisher’ of the song that you have written (unless you have signed with a publisher), even if you are seven years old.

However, that doesn’t mean you can legally start a commercial enterprise such as your own music publishing business if you are a minor. Running such a business will mean you’d be initiating and/or signing legal documents and that would require you to have reached ‘the age of majority’ which is the age when a person is considered to be an adult, and it may vary according to state laws. In most states, the age of majority is 18, but in Alabama, for instance, the age of majority is 19.

However, there are many highly talented songwriters who begin writing before the age of 18. In many cases, the writer’s parents start a publishing company in behalf of their child and assume the legal responsibilities, at least until the writer reaches the age of majority.

All three of the P.R.O.s mentioned above have very helpful information about starting and operating your own publishing company that you can investigate at their websites.

Knowledge is power

guitar and mic 02The answers above are just an overview and by no means definitive and complete. I encourage you to do your own research at reliable sources online. A good place to start would be the websites of the three P.R.O.s listed above, and also at the U.S. Copyright Office website where you can find several downloadable ‘circulars’ that are informative and easy to read and understand.

Knowledge is power: Increasing your knowledge of how the music industry works will build your confidence and help you to make informed decisions when opportunities are presented to you.

Aaron Tippin deserves Working Man’s PhD

He wrote his way to a record deal

A learning moment for aspiring artists

 

When Aaron Tippin sings about the life of a working man, he speaks from experience. This is a guy who has got his hands dirty working up a sweat to earn his paycheck while writing his way to a record deal.

Aaron Tippin and Preshias at the 2016 CMA Music Festival
Aaron Tippin and Preshias at the 2016 CMA Music Festival

Born in Pensacola, Florida, but growing up in South Carolina, he was earning his living singing in local bars and working on getting his pilot’s license. By the age of 20, he had already found employment as a commercial pilot. Flying may be one of Aaron’s passions, but an even stronger one is music, leading him in 1986 to Nashville with his eyes on the prize of a record deal.

Once in Music City, he began to develop his craft as a songwriter, landing a song publishing contract with Acuff-Rose in 1987. Before long he was co-writing songs for Charley Pride, Mark Collie and David Ball among others. But a publishing deal and cuts by well-known artists didn’t exactly mean Aaron was on Easy Street. As the sun went down each day, he was driving north to Logan County, Kentucky, working a night shift at Logan Aluminum.

Aaron did not give up on his goal of being a recording artist and he developed his stage skills in Nashville clubs and honky tonks while continuing to write and sing demos of the songs he’d written or co-written. One day, RCA’s legendary A&R exec, Mary Martin, heard his voice on a demo and asked who he was. She was told, “It’s that Tippin guy down there who writes for Acuff-Rose – the muscle guy.” Martin said she wanted to hear what else he’d got.

His first record deal

A few days later, Aaron met with RCA’s label head Joe Galante who signed him to a record deal, adding him to a star roster that, at that time, included Clint Black, Keith Whitley and the Judds. Aaron’s first RCA single release, “You’ve Got to Stand for Something,” (co-written with Buddy Brock) was an immediate hit, peaking at number six on the Billboard Hot Country Songs chart in 1991. The patriotic theme of that song led to Bob Hope inviting Aaron to join him on a USO Tour, the first of many.

Other hits followed both at RCA and later at Lyric Street, including “I Wouldn’t Have it Any Other Way,” “There Ain’t Nothin’ Wrong With the Radio,” “When the Stars and Stripes and Eagle Fly” and “Working Man’s PhD.”

Stonehouse Winery's Aaron Tippin Country Jam wine
Stonehouse Winery’s Aaron Tippin Country Jam wine

In 2016, Aaron is celebrating his twenty-fifth year as a recording artist. To mark the occasion, he has teamed with Stonehouse Winery (also celebrating their twenty five years in business) who launched the ‘Aaron Tippin Country Jam’ blackberry wine.

Aaron’s unflagging determination is an inspiration to aspiring artists who can begin to feel disheartened when their careers seem to be heading nowhere. It would have been easy for Aaron to throw in the towel, quit songwriting and maybe take that full-time position at Logan Aluminum. But he didn’t. He kept at it; stayed ‘in the loop,’ continued co-writing, performed at bars and clubs, recorded demos for himself and other writers.

Success takes time

Many aspiring artists – and sometimes their families – come to Nashville and assume that if they haven’t ‘made it’ in six months or a year, then they don’t have what it takes. What it actually takes is perseverance, and Aaron Tippin is the poster child for stick-to-itiveness.

He was in Nashville for four years – four long years, it must have seemed – before he sat in Joe Galante’s office and signed his first record deal. If he had quit after six months or a year, nobody today would know the name Aaron Tippin. But after a quarter of a century he’s still going strong, recording new albums and touring year-round. At his shows, after he’s performed for ninety minutes or so, he always stays around until everyone who wants an autograph or a hug and a photo has had a chance to meet him – another lesson on how build an unshakably loyal fan base.

Aaron says, “I’m the luckiest hillbilly that ever lived.” But he is one of those people who makes his own luck. Remember the saying: Luck is what happens when Preparation meets Opportunity.” Aaron spent years preparing: writing, performing, recording demos. When the opportunity to meet the head of RCA came up, he was fully prepared and was launched on a twenty five year recording and performing career.

The psychologist Richard Wiseman carried out a ten-year study into the nature of luck that suggests that, to a large extent, people make their own good and bad fortune, and that it is possible to enhance the amount of luck that people encounter in their lives. Wiseman states:

“Lucky people generate their own good fortune via four basic principles. They are skilled at creating and noticing chance opportunities, make lucky decisions by listening to their intuition, create self-fulfilling prophesies via positive expectations, and adopt a resilient attitude that transforms bad luck into good.”

If you are an aspiring artist, Dr. Wiseman’s findings are words to live by. And Aaron Tippin’s career path, his strong determination and his preparation to seize the opportunity when at last it was presented to him prove that luck is what you make it.

Aaron Tippin's new double album, '25'
Aaron Tippin’s new double album, ’25’

Visit Aaron Tippin’s website to read more about his life, his music and his tour schedule. And check out his new CD titled ‘25,’ a 2-disc album of his hits and brand new songs.

 

‘Nashville’ will stay in Nashville and on TV

CMT picks up 5th season of Nashville

Great news for songwriters

The stars of 'Nashville' celebrate the good news
The stars of ‘Nashville’ celebrate the good news

When Nashville was canceled by the ABC TV network, it was a gloomy day for fans who had followed four seasons of the television show. But it was also bad news for a lot of people (both business and creative) who had benefitted from the show.

So it was a ray of sunshine – on an already very sunny day – when three Nashville stars gathered onstage June 10 at the CMA Music Festival to spread the word that the popular TV series has a new home on CMT. Earlier in the day, CMT, Hulu, Lionsgate and ABC Studios announced that the critically acclaimed and fan favorite Nashville will return with a brand new season on CMT. Hulu will continue to bring fans the series by making all Nashville episodes available to stream the day after they air on CMT, according to a statement released by CMT.

Nashville star Charles Easten was performing on the Riverfront Park stage when he was joined by castmates Clare Bowen and Chris Carmack and CMT personality Coly Alan. They shared the good news with cheering fans as a banner rolled out to proclaiming the hashtags #NashvilleSaved and #NashvilleCMT.

But this was also great news for the Nashville business and creative communities.

'Nashville's stars announce show's move to CMT
‘Nashville’s stars announce show’s move to CMT

The show began as the brainchild of Ryman Hospitality, a Nashville-based tourism and entertainment company that pitched the concept to ABC. The show has been syndicated to 100+ countries and is widely regarded as promoting Nashville as a tourist destination. In fact, the State of Tennessee and Metro Nashville viewed Nashville as a weekly hour-long commercial for visiting the city.

In addition to tourism dollars, Nashville has had a major impact on those employed in the local film and entertainment industry, providing employment for up to 500 people during the 200 days of filming each year.

It was great news for songwriters when Nashville got green lighted for a fifth season, too.

Nashville is a rarity among TV shows in that it regularly features new songs, mostly from Nashville songwriters, that are performed by the cast members. The show’s producers keep a stockpile of songs for each of the show’s characters that they can work into the storyline. When they are hunting for a new song, they’ll contact 25 or more song publishers and listen to a lot of demos.

Getting a song on a hit TV show like Nashville can lead to a nice payday for a songwriter. Even so, publishers are sometimes leery of granting a license to a TV show if they believe the song has a shot at being a big hit on Country radio for a major artist, because that’s still where the big paydays start.

The show has spawned around 16 soundtrack albums (all of which have been released via Big Machine Records) so in many cases songwriters benefitted from both the song being licensed to the show and the record release. Several of the soundtrack albums have peaked in the top ten on the Country album charts.

So the renewal of Nashville on CMT and Hulu is good news for the shows fans, Nashville-based film crew, the tourist industry and particularly for songwriters.

So… get in those Writer’s Rooms, familiarize yourself with the type of songs that make the cut to become part of the show, and get your creative juices flowing! Nashville is back in Nashville and that’s good news for everyone.

 

Women set to rock Music City

She Rocks finalistsWho says women can’t rock? Not me, and not the Women’s International Music Network (WiMN) who have announced the finalists selected to perform at the 2016 She Rocks Summer NAMM Showcase, taking place Thursday, June 23, 2016, from 8:30-11:00 p.m., at The Listening Room Cafe in Nashville, Tenn., during the 2016 Summer NAMM trade show. Tickets are available here.

At that show, the audience will get to see singer-songwriter Ashley Riley, 13-year-old singer Juliana Wilson, jazz vocalist and guitarist Leni Stern, and singer-songwriter Savannah Lynne. The performers were chosen based on their submissions to thewimn.com

Continue reading “Women set to rock Music City”

3 songwriters honored for FGL hits

Cole Taylor, Matt Dragstrem and Felix McTeigue

Three songwriters jointly celebrated their first Number Ones during an afternoon party at ASCAP’s Nashville HQ on May 25, thanks to TWO chart toppers scored by Florida Georgia Line.

Matt Dragstrem and Cole Taylor were recognized for their co-write credits on the cut, “Sippin’ On Fire,” that topped the charts for FGL. Felix McTeigue also scored his first Number One with another FGL hit, “Anything Goes,” co-written with veteran writers Craig Wiseman and Christ Tompkins. The three writers received plaques from ASCAP and awards from the CMA and Country Radio Broadcasters (CRB). Dragstrem, Taylor and McTeigue also received ASCAP-signature guitars, presented by Boulder Creek Guitars, in recognition of their first Number One hits.

Congrats to all three. I know we’ll see you back in the ‘winners’ circle’ before too long!

Summer NAMM 2016 in Nashville

I’m looking forward to attending the 2016 Summer NAMM show, set for June 23 – 25 at the Nashville Music City Center. The National Association of Music Merchants Inc (NAMM) will once again be showcasing a complete product landscape while celebrating the local community music store and honoring the industry’s Top 100 Dealers. Attendance at NAMM trade shows is restricted to owners, suppliers, employees, endorsed artists and guests of NAMM member companies. However, on the final day, June 25, NAMM invites musicians, songwriters, sound and recording professionals, music educators and students to experience Music Industry Day. There’ll be a chance to attend workshops, check out the new gear and enjoy artist performances. Music Industry Day tickets are $20.00 at the door or $10.00 purchased in advance at http://www.NAMM.org/musicindustryday