Tag Archive for: Publishing Company

12 Thoughts On Un-Professional Songwriters

Professional red ball image

By Johnny Dwinell

I was having coffee yesterday at The Red Bicycle in Germantown (holy crap their crepes are AH-MAZING) with an artist writer friend.  We got involved in a passionate discussion about song demos and some different perspectives to consider before recording and pitching them. We were discussing what it means and what it takes to be professional.

To act professional.Professional Unprofessional image

To be perceived as professional.

To be taken seriously as a writer in this town.

There are a slew of different common mistakes writers and artists make when it comes to the art of recording a song demo.

Remember, a SONG demo is a demonstration (aka demo) of your SONG, not you as an artist. It needs to be treated this way. The purpose of a song demo is to demonstrate the lyric, melody, and vibe of your song in such a manner that an artist can “hear themselves” singing your song and then subsequently cut your song.

I am perplexed when I hear songwriter’s wax about their elitist, unwavering passion for “quality” in their songwriting juxtaposed against their proclivity for cutting corners to save a few bucks in the recording process.

Quality song, inferior recording. What’s the point?

brokenCD2It’s like they put their blood, sweat, tears, and whole heart into creating a killer blue print of a house and then constructed the house out of rotting balsa wood & weathered duct tape. They built this with novice builders too, and as you can imagine, the house looks shitateous and is unlivable.

Then, after all this, they get butt-hurt when they’re judged by the professional world on exactly what they built.

Huh?

 

Don’t present crappy, novice song demos and expect to be treated like a professional.

This topic gets some songwriters really pissed off. In fact, I wrote an honest article about it last year called “10 Worst Song Demo Mistakes” and I believe it was the most provocative article I have written to date.  Some songwriters got it and others clearly got emotional and defensive about these mistakes. Many songwriters anonymously wrote negative comments about how a professional community would react to unprofessional song demos (many also wrote negative comments about completely different subject matters which is always amusing).

The song demo “audience” is comprised of producers, A&R execs, song-pluggers, publishing companies, and ultimately artists.

All of which are professional.Professional Judged Empy Picture image

All of which are human.

Here’s the deal, you don’t know what’s going on with them.

Maybe they’re having a bad day and your messy sounding song demo is annoying to them.

Maybe they’ve just listened to 200 PROFESSIONAL sounding song demos, they’re exhausted, and your song demo sticks out like a sore thumb because the sonic quality and performances are so poor.

 

I mean, why would you think these human beings could read your mind and hear the way you wanted the demo to sound?

If you read some of the previously mentioned article comments you will see a couple responses like “A real producer should be able to hear past the production on a good song, so you suck and I’m not going to listen to your advice…blah, blah, blah”

Did it ever occur to you that your audience isn’t just judging the song?

Professional My Song Demo CD imageDid it ever occur to you that they’re judging you as a professional too? After all you are now in a professional environment, right?

What does that amateur sounding song demo say about you, the songwriter who is trying to be professional?

 

 

 

 

What does that say about your craftsmanship, attention to detail, work ethic, and intelligence?Professional DIchotomy KEEP RIGHT image

I mean, if it’s worth doing, it’s worth doing well, right?

Did you ever think that your audience may be hung up on the fact that you have a professional opportunity and you choose to display something that is incredibly unprofessional?  You know, like showing up on a construction site and demanding to use your plastic toy hammer.  Everyone is like, huh?

 

 

 

Here are 12 thoughts I have about unprofessional songwriters:

  1. You’re lazy; if you weren’t you’d do it better.
  2. You’re cheap and unwilling to put skin this game you want to dominate so badly.
  3. You don’t really believe in yourself; if you did, you’d do it better.
  4. I wonder if you can’t hear the difference. If you can’t tell that your recording is second-rate than what else are you naïve and uneducated about?  How will that affect our business relationship?
  5. If you can’t tell the recording is poor than maybe you’re one of those artist writers who is insanely arrogant about their art and not really interested in getting better. These kinds of people are of no use to me in any aspect of my business.Professional Arrogance is Weakness Disguised as Strength
  6. You clearly don’t mind “cutting corners” on your product which infuriates me because I’m ALL ABOUT QUALITY.
  7. You’re not resourceful. I’ll bet you have some really good excuses as to why the demo sucks. Therefore, your professional behavior in the workplace leans toward making excuses instead of overcoming challenges. I need people that can handle challenges; they’re winners.
  8. You’re a novice and I need a professional.
  9. I have artists that need professional writers and we are counting on these writers to deliver consistently on a professional basis. How can you be trusted to deliver for them?
  10. What will my artists think of me if I put someone unprofessional with them?
  11. You have clearly demonstrated your inability to operate at the professional level required in this business.
  12. I also wonder if you even care because your song demo has confirmed you have no pride for the work that you do

 

Whoa! Read that last one again, man. Yikes!

Think about this for a second.  I PROMISE you that if any hit songwriter like Dallas Davidson, Kacey Musgraves, Craig Wiseman, or Michael Garvin called ANY Producer up and said, “I just wrote a song I think you should hear, but I only have a work tape of it.  Will you give it a listen?” they would ALL listen to it with an open mind and an open ear to give the song its due attention.

Now, think about these writer’s and their publishing companies and how much money they spend on song demos every year at $600-$900 per song.

Stay with me now…

This is business right?

How much money could the writers and publishing companies save each year if they stopped making full production demos knowing their best writer’s songs will be considered with less expensive recordings?

Professional Think Quality Don't Cut Corners

 

I mean they have proven hit songwriters writing hit songs that are pitched to the best producers and industry execs in town who should all be able to hear through bad production, right?

While there are always exceptions to the rule, all the publishing companies and hit writers continue to pay to for professional song demos.

They do this for one reason.

 

They’re professional and they want to compete.

 

If you want to be a professional songwriter, act like a professional songwriter.

 

Then watch your world transform.

 

 

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What if the Label Says YES?

Label YES

So Kelly and I are at a private party with Anthony Orio & friends and we end up in a conversation over beers and cigars about artist development and the damage that happens when artists and/or songwriters get their lucky break too early.  What if you get the opportunity of a lifetime to take a big step towards your dream and you’re not developed enough, ill prepared, or  worse, searching only for fame?  In short, what if the label says YES?!?!

That’s right, I said it.  What if the record label or publishing company says “yes”?  Are you ready?

Do you know where you’re going artistically?

Are you prepared to fight for your vision or will you be lost in the crowd with your hat in your hand?

Do you understand the hustle of the business and how to operate intelligently within it so you can capitalize on the coming momentum?

The NFL has classes that all rookies are required to take to deal with this instantaneous rise in the players brand awareness and cash flow, but they certainly DON’T offer this in the music business.  In fact, they would prefer you don’t know; more money for the powers that be.

You can’t just stick your toes in the water; you have to be ALL IN.  To make a living, you have to be a student of the game.  If you don’t know your business, you’re being lazy.  Trust me, THEY WILL know your business because they’re professionals and you will suffer for your lack of knowledge one way or the other.

What if the Publishing Company Says YES?

Label Neon YES imageOne of conversations we had was centered on the 3 discussions or so we have every week with beginning songwriters.  Often beginners are understandably apprehensive about spending too much on their dream (which they are inevitably conflicted about) so, in lieu of a proper/professionally acceptable demo recording, they go “shopping” for the best deal A.K.A. the cheapest demo price.  I hear it all the time, “I just want to stick my toes in the water to see if anyone cares.  I want to see if anyone is interested before I spend more money.”  Just like any other industry there are people here in Nashville that cater to that market; and just like any other industry, you get what you pay for.  Now, many songwriters are just doing it for posterity to get their music recorded which means the only person they need to impress is themselves so this is a pragmatic approach; this makes sense.  However, the songwriters with serious professional aspirations have to impress the professionals, so they are screwing themselves with a crappy demo recording.  Paying for a $350/song demo in Nashville (which $100 of, will go to the pro singer) will get a guy that is going to play all the instruments on that recording and he’s going to cut it in his basement, and MIX it in his basement: it’s the only way he can afford to charge that low price.  Next, that songwriter will shop the song to song pluggers.  These song pluggers are true professionals so don’t fool yourself, they will instantly be aware that the writer cut corners on this demo (because of the sonic nature of the recording) which immediately makes the writer look unprofessional; 99.999% will not pay attention to the song and pass because that’s a red flag that they’re not ready yet.  If hit songwriters and publishing companies could avoid using live bands on all their demo tapes to save money, believe me they would!  But let’s say that for some reason the song plugger really listens to an amazing song and says YES.  What do you think will happen next?  They will tell the songwriter, “I LOVE this song, man, but I can’t sell this recording of it; so go back and re-record it.”  You see, this “dip your toes in the water” approach has only 2 outcomes for an aspiring professional songwriter:

  1. Most likely they hear a “NO” and alienate the very people they need to bring their product to market because they look unprofessional; you never get a second chance to make a first impression.
  2. They hear a “YES” and by the grace of God, the plugger is willing to overlook their naiveté, but the songwriter added $350 of needless extra cost to their first product in a start up business (which could be put towards another song demo to build the catalog).

Everybody has a dream.  Tons of you have dreams of “making it” as a songwriter or a recording artist; but if you’re not somewhat prepared, a “yes” could be the beginning of the end, or at the very least extremely expensive and emotionally exhausting.  To me, “making it” is defined as making a living doing what you LOVE to do.  There are different levels of “making it” based on volume and revenue generated; but if it’s based on making a living doing what you love to do, it’s a solid foundation.  Fame is annoying.  I get why people seek it because I did initially, they shove it down our throats and we consume it like crazy.  I can tell you that fame is a herculean pain-in-the-ass, even in the context of my small-time regional fame; it’s creepy.  Everybody is in your business or is talking about your business like they know you when they don’t have business with you and they don’t know you.  You only get to find this out when you get a little taste.  Eleanor Roosevelt said “Big minds talk about ideas, medium minds talk about events, and small minds talk about people”.  So the search or need to only be famous is an exercise for small brains.  Those who only seek fame come off to me as green (green like inexperienced and green with envy) and therefore somewhat delusional.  You have to do the work, man, or you’re Paris Hilton; a cocktail party joke with a crappy sex tape.

If you want to be iconic, you have to put in the work.

If you want your songs to be timeless, you have to put in the work.

Fame as a byproduct of supreme artistry is a result of great minds, vision, and hard work; it’s no freaking accident.  We all have an image of some super famous entertainer that we feel doesn’t have enough talent and we’re baffled by their fame; they’re famous because they were prepared, they take it more seriously, and work harder than you do.

Real success in the music industry is about tons of preparation and experience over years of time.  Real success rarely happens overnight and when It does, especially in the new music business, it’s “here today, gone LATER today” and usually disastrous to the artist.  So the slow growth will last longer and be worth more in the end…unless you just want to be famous.  Expecting or dreaming about a big break without the work is like expecting to walk into a Major League sporting team for a tryout and getting awarded the top spot on the team; you need your 10,000 hours first.

So, What if the Record Label Says YES?

 

Label Record exec Pig imageIf you get a major label to say “YES” these days it’s because you have generated some kind of attention, a brand, and a following on a reality show, or vocal talent show (where the label feels they have a guaranteed market of sorts) OR you have created real momentum on your own through touring, twitter, Facebook, trackable record sales, sold out concerts, etc., and maybe you’ve managed to fund a Kickstarter campaign with at least 1,000 backers or $100,000 in funds.  Let’s dissect the latter first.

In this scenario you will have turned down several label offers already and the conversation starts with you saying something like this, “What are you guys going to do that I haven’t already done for myself that warrants me giving you MASSIVE percentages of my revenue from record sales, merchandise, publishing, ticket sales, etc?”  This is called leverage at the negotiating table.  Believe me when you are seasoned with momentum you come to the table with a “heavy hammer” and YOU WILL BE PROTECTIVE OF YOUR SMALL PROFITABLE BUSINESS!!  You’re eyes will be open to the many ways a label can screw up your future and in this case all the hard work from your past that put you in the seat at that very negotiating table.

Now let’s dissect the artist who gets a deal after skyrocketing to fame on a TV show or from some other crazy, massively publicized anomaly.  This artist doesn’t really have a heavy hammer at all.  If you win next year’s American Idol, who cares; it’s the 13th season and there are more winners residing in obscurity than there are current, relevant artists.  This is what every up and comer seems to dream about because it looks easy; it’s typically a mess.  Yeah, yeah you get to feel like a Rockstar for a hot second and you hang with all the big names and feel like you’re somebody but then what?  I’ll bet you couldn’t name 5 of the 12 American Idol winners if I put a gun to your head and you’re reading this because YOU’RE IN THE BUSINESS!  They are literally here and gone to the mass public eye.  It’s easy to spot the artists on American Idol that have a true understanding of who they are and the ones that don’t; aka the developed artists as opposed to the undeveloped artists.  For an artist who is green and thrust into the public eye that fast it’s equivalent to starting at McDonald’s on the fry line and getting instantly promoted to a corporate Sr. VP level; you’re instantly promoted to the point of incompetence.

The more hard work you do on your own, the more traction you get as an artist on your own, the less likely you are to sign a major record deal because it just won’t make sense; you’re already making money!  However, if you do choose to sign, your deal will be far more advantageous to you, the artist, than anyone getting a deal off of American Idol.

Your music is everything, man, right?  DON’T CUT CORNERS!Label Cutting Corners image

You need to pay your dues.

You need to be mentored.

You need to be developed.

The Universe is always as it should be.

 

If you like what you hear, please SHARE it with your peeps and please leave a comment below!

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PANDORA BLOWS

Pandora inet radio image

 By Johnny Dwinell

Pandora Blows.  Oh…and they certainly don’t give a shit about you.  Not for one second.

Pink Floyd Blasts Pandora

Pandora Pink Floyd image

Pink Floyd wrote an op-ed piece in USA Today blasting Pandora and their douche-bag CEO Tim Westergren for essentially tricking musicians into signing a petition disguised as “a letter of support” for internet radio that was REALLY about slashing musician royalty rates by 85%.  Read it HERE

Pandora Digital Music News imageI initially read about it HERE in Digital Music News.  Btw, if you intend to make a living in the music business, you’re a moron if you don’t subscribe to this magazine.  Someone has to at least attempt to keep their eye on the moving target.

So, we have to get educated on this people.  The world is changing; fast.  Ultimately for the better with regards to the music industry as it relates to indie artists, but we can’t let the freakin’ wolves guard the henhouse any longer.

 

You can thank Sean Parker and Steve Jobs.  Yes, I mean thank them.  Thank them for actually making it unbelievably easier to make a living in the NEW music business.  Right after you thank Sean you can kick him in the balls for stealing the music and making it worthless in the marketplace, well, at least he won, right?  He’s rich at our expense; stealing is stealing and Parker is SHADY.  What he did do was prove to the world that digital music was happening right now and put the train on the tracks in a very public way for digital distribution; which is mission critical to our survival as indie musicians.  Digital distribution creates real revenue.

Steve Jobs put it all together in a neat little amazing package and got the artists PAID.  Steve Jobs believed in artists and liberal arts.  Kelly and I just listened to his biography on a long drive home from a WI visit.  The reinvention of Apple was based on the intersection of art and technology; around CREATIVES and CREATION.

Eventually the dust will settle on some pretty great new soon-to-be VERY popular delivery methods of music; new and old.  Until then, the shakedown will continue.  We will continue to have companies who come in and exploit musicians by making millions on their music and paying NOTHING in return.

This is not news.  It’s been going on for decades.

Record labels have done it.  Terrestrial radio has done it, MTV did it, Sean Parker and Napster did it, and now Pandora, Spotify, and a host of other companies are doing it; doing it to us.

The essence of the Pandora shakedown is to convince our Government that they are paying too much money to license your music, which generates all their revenue; thus,

Pandora can’t be profitable!

But here’s the rub for us.  This is really important y’all.  THINK ABOUT THIS.

Ubiquity is gone.  Get over it.

Sadly, the days of the Rockstar are gone.  You really have to get over it!  If you are truly over the dream of becoming rich and famous as an artist you will damn sure be paying more attention to what is going on right now with your future revenue so you can at least get paid!

As we now have literally thousands of immediately accessible internet storefronts from which to be exposed to and ultimately consume music (although the “exposure” comes in the form of shitateous algorithms made by techies that are as effective as screen doors on a submarine…I mean “if you like this then you will like this”..WTF, whenever someone figures out that 99% of music consumers don’t have time to search for new music, they just want to be EXPOSED to GOOD music, the world will be a better place; and someone will be super rich.  But I digress) the market place is fragmented.

When it’s this fragmented the BIG exposure business model disintegrates and the marketplace descends down into lots of little profit centers.  We have already seen it happen with television.  In 1979 there were 3 stations.  The US Pnadora Farrah Fawcett imagepopulation in 1980 was 226 Million people that 3 networks divided up between them; this is the definition of ubiquitous.  If you were lucky enough to be, say Farrah Fawcett, on a hit TV show in the 70’s you were HUGE.  You were FAMOUS.  You were RICH.  Everyone knew who you were, what else were they gonna watch?  You had a 33% chance of viewership; that’s freaking huge!  Nowadays, if you are a star on TV you just don’t have that kind of exposure because there are 500 channels.  Therefore you can’t possibly be as famous.  Make sense?  You can’t possibly be as huge.  It’s impossible to be ubiquitous.

 

So what DO we have?

We have clicks.

We have tribes.

We have cult followings that REAL GOOD content attracts.

Did you hear that?  We have tribes, clicks, and cults, oh my.  You are exposed to the actors from the shows you like but you are completely unaware of actors on shows that you do not watch because there is just too much content to be able to keep track of 10% of it all, and have a life.

Back to ubiquitous.   In the 70’s, if you didn’t watch Farrah (or any TV star because you preferred a competing program in the time slot) YOU KNEW WHO SHE WAS, because your friends were talking about her.  Everyone knew ALL the TV stars then whether they watched the shows or not.  Remember Battle of the Network Stars??  They had all the biggies on one competition show and it got great ratings!  Now we don’t, there are just too many shows and too many actors to keep track of; too much noise on the radar screen.

So goes the music business.  Get it?

The thing is, TV actors get paid.  All 500 TV networks understand that the actors are going to get paid so they can create interesting content that they can broadcast to generate advertising revenue.

Tim Westergren wants to make sure that doesn’t happen to you.  He wants your money.  He wants to literally take the food off your plate, man.

You are not going to be famous.

But you can make a living.  As long as you don’t allow assholes like Tim Westergren to screw you out of the revenue he creates from YOUR hard work!

If you wanna be famous, be crazy on a reality TV show, it’s a long shot but far better odds than getting famous in the music business.  Please, do that, and leave the music business to people who really have talent and NEED to create to keep from climbing a tower with a gun.  It belongs to us, and eventually this new business model will weed out the wankers and the posers.

US Terrestrial Radio Stations Do Not Pay Mechanicals

This is why this article is so important.  You cannot trust the Government to think for us no matter which side of the isle you sit on.  They gave terrestrial radio a pass on mechanical royalties back in the 40’s; we songwriters and musicians paid for that.  How important were the mechanicals?  Here’s a great example.  Remember the 80’s band Kix?  The bass player wrote all the songs for that band.  They had a triple platinum record, lived the Rockstar lifestyle, but the bass player was the only one that got paid because he was the writer; the rest of the band made $400 week…no mechanical royalties were paid by radio.  Due to the fact that the US terrestrial radio stations don’t pay mechanicals royalties and European terrestrial radio does, American artists DO NOT get paid mechanical royalties from European radio spins simply because we do not pay European artists mechanical royalties.  See how huge this decision was?

Our Government gave MTV a pass on ALL royalties until they were operating “in the black” which magically never happened; we musicians paid for that too (although MTV really did have the power to break a band wide open, huh?).  MTV was so ubiquitous, it made the non-payment of royalties worthwhile, but still…they build a whole network on just music back in 1980 and didn’t pay a dime for it.

Now here is another really important fact.  MTV was so POWERFUL that they single handedly broke Guns & Roses.  You know the story, 1 spin of “Sweet Child ‘o’ Mine” at 3am on a Saturday morning and BOOM, the phones blew up!  Heavy rotation followed and they were huge; Guns & Roses was saved by MTV.  Would have never happened without MTV because as you may or may not know, the Appetite For Destruction record had been out for a year at that point; the band was over.  Believe me the labels all quietly argued that MTV should pay royalties but didn’t want to piss anyone off over there because they were so ubiquitous; they had the power to seriously launch band up to the stratosphere.  MTV’s argument to the government included “New Technology” and “Massive Exposure” components as they spun a tale of how important these things would ultimately be to the music industry.  MTV was right.  They were that important.

Paul Westergren (aka “Fuckface Von Shitstick”) is making the same argument with the Government that MTV did.  He is working the “New Technology” argument, and the “exposure” argument.  MTV was exposure.  Pandora is a cacophony of noise on the radar screen that exposes nobody.  You really have to be looking for a song to get to it.  This is not exposure; it’s distribution.  Westergren really believes that the search algorithms which allow people to “discover” new music based on what they are currently listening to is exposure.  It isn’t.  How long has Pandora been around?  Which bands EXACTLY broke to worldwide success by being played on Pandora?  Come on, name ONE!!!  I sure as hell can’t and I’m in the business.  So they suck, plain and simple; there is no exposure.  Pandora is essentially providing a huge haystack for artists to hide their proverbial needle and calling it important because it’s possible to be heard there.  Ugh.

Isn’t it already quite clear that if we are not paying attention to this next congressional episode headed up by Tim Pandora Inet Fairness Act ImageWestergren for Pandora, the Government will do the same thing; cave to big money.  How the fuck can you really sell music for a living and go to the Government and tell them that you pay too much for the products you sell and ask THEM to change the rules?  How about CHANGE THE BUSINESS MODEL!

How is this different than TV manufacturers saying “we can’t make a profit on flat screens so you need to tell the parts makers we are cutting their pricing by 85%”?

How is this different than your boss going to the Government and saying “I’m paying too much for labor, so I need you to mandate a wage cut of 85% so I can make more money”?

How is this even the Government’s problem?

HOW IS THIS EVEN ON THE TABLE FOR DISCUSSION??

I mean, Pandora has literally doubled their subscribership in the last 2 years but 70% of their subscribers become ghosts.  Again, I reiterate, NO EXPOSURE.

Pandora is a hustle, a farce.  Why?

No new bands will break worldwide as a result of the “worldwide exposure” Pandora is giving them.  So the whole business will die with the old music that creates the traffic which in turn pays the advertising revenue.  Why else would all the executives immediately exercise their options and sell them?

European radio stations pay writers royalties AND mechanical royalties and manage to make a living and keep the businesses going for decades.  The business model of profiting off of creative’s while the creative’s get paid is not a fantasy.  It happens every day, just not here in America.

Steve Jobs managed to put together a new platform that pays royalties to artists and writers AND make a profit.

So I would like to say this to Tim Westergren: STFU

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