Notes on Napkins

musings for songwriters


Leave a comment

GOLD STARS Report: Songs Recently Picked Up (latest update)

On our SongU virtual campus, success is achieved through our focus on education and making each song the strongest it can be BEFORE spending money on a demo. We offer numerous opportunities for songwriters to reach their goals, from one-on-one coaching to live feedback sessions, to peer and mentor co-writes.

CONGRATULATIONS to the following members for having their songs signed or pitched for the following leads during the time period 06/25/2020 – 07/06/2020.

Pitch For Publisher. Christian. VARIOUS CHRISTIAN & POSITIVE COUNTRY ARTISTS. Extended! (“I’m finding some great songs from these SongU writers! Keep them coming.” – D.G.) Street Pitch guest, D.G., veteran music publisher, who has already generated income for SongU members, is looking for songs to pitch to Christian labels Daywind Records /Mountain Fever Records / Red Hen Records – 65/40 Records. Submit the following: Southern Gospel / Bluegrass and Positive Country songs, male …

    • Priscilla Connolly “MY ROCK” (Date picked up: 7/3/2020)
    • Glenn Green “YOU MOVE ME” (Date picked up: 7/3/2020)
    • Glenn Green “KEEPER” (Date picked up: 7/3/2020)
    • Glenn Green “THE YOU IN ME” (Date picked up: 7/3/2020)
    • Rita Weyls “LITTLE THINGS” (Date picked up: 7/3/2020)
    • Eva Wilson “LET ME BELIEVE IN YOU” (Date picked up: 7/3/2020)

Pitch For Publisher. Contemporary Country, Pop, Traditional Country. BRETT KISSELL. Extended! Still current and actively looking.Street Pitch guest, D.G., veteran music publisher, who has already generated income for SongU members, is looking for songs for Warner Music Canada artist Brett Kissell. Brett’s last single, “Drink About Me”, went to No. 1 in Canada and currently has over 25 million streams (over 17 million streams in the USA alone). Here’s a link to the video: https://www.youtube.com/watch?v=mV_QkrQLbxY

    • Kerry Ballard “NIGHTS LIKE US” (Date picked up: 6/25/2020)
    • John Cirillo “FALL INTO YOU” (Date picked up: 6/25/2020)
    • Shawn Fitzgerald “I CAN’T STOP LOVING YOU (SEXY)” (Date picked up: 6/25/2020)
    • James Hoppe “SOMETHING’S UP” (Date picked up: 6/25/2020)
    • Bill Ohanlon “I DIDN’T COME HERE FOR THIS” (Date picked up: 6/25/2020)
    • Frank Stopak “RUMOR NO MORE” (Date picked up: 6/30/2020)
    • Frank Stopak “ROOM WITH A VIEW – DEMO” (Date picked up: 6/30/2020)
    • Claire Ulanoff “SPIN” (Date picked up: 6/30/2020)

Pitch For Publisher. Country. REVERIE LANE. Extended! Still current and actively looking. Street Pitch guest, D.G., veteran music publisher, who has already generated income for SongU members, is looking for songs for Dreamlined Entertainment artist Reverie Lane. Female duo consisting of Spencer Bartoletti and Presley Tucker (daughter of Tanya Tucker). Needing hit radio singles, any tempo. Describing themselves as “nouveau traditional country duo.” Raw, honest, edgy lyrics. Think …

    • Bill Ohanlon “GIVE UP THE GHOST (FEMALE)” (Date picked up: 7/1/2020)
    • Ava Paige “IF YOUR WERE” (Date picked up: 7/1/2020)

And a round of applause to those marked ‘Maybe’ too. Keep up the great work, everyone!


Leave a comment

My Coach Rocks!

In addition to our live audio/video feedback courses, SongU members have the opportunity to forge a creative relationship with any of award-winning coaches who offer individual written feedback on songs in progress and sometimes award them with “Best of SongU”! Emphasis is given to constructive comments on lyrics, music, originality, and commercial potential.

Today’s spotlight is on Coach #1683 (aka Lisa Palas)!

“Thank you for the terrific, inspiring feedback. It felt good to hear that coming from you. I will address the tweaks you pointed out and kick it out of the nest. Thanks ever so much again.” -Mark M. IN

“Your advice is just what I what I’m looking for.Thanks so much…I’ll be back!”Grahame M., FL

This image has an empty alt attribute; its file name is facLisaPalas.jpg
Lisa Palas

About: Lisa is an award-winning songwriter with several number one hits to her credit including Alabama’s “You’ve Got the Touch” and “There’s No Way”. Her songs have been recorded by the renowned country stars Alabama, Reba McEntire, Randy Travis, Kris Kristofferson, Chris LeDoux, Conway Twitty and The Oak Ridge Boys as well as included in the soundtracks of feature films. She has also scored musicals on the stage, most recently “Jack” for Louisville’s Walden Theater. A featured soloist at Unity churches, Lisa recently recorded a CD of original songs included in her performances. As an actress, Lisa has appeared in numerous short films, industrials, TV commercials and episodic television such as the Pax Network’s “It’s a Miracle”, hosted by Richard Thomas. She has also performed in various productions on the Nashville stage including the world premiere of “A Stoop on Orchard Street.”

Coaching Philosophy: “I try to coach you as if you were a staff writer for my company.”

Thank you, Coach, for offering professional advice and songwriting education to literally hundreds of SongU writers since 2006! You rock!


Write Your Truth

Last week I watched an email exchange between Danny ArenaCo-Founder of SongU.com, and a fellow songwriter. The focus was not just about writing songs but about how we can listen to each other and have honest conversations about difficult subjects. I asked him if he could take a portion of that email and modify it into an article that might be of interest to our readers. Here it is:

One only needs to glance at any news organization’s social media page to see the current state of divisiveness in the world. We choose our sides. We engage in hostile micro-tweets. We post snarky memes and comebacks. As quickly as our fingers can type, we rattle off hurtful labels and insults like “libtard” and “trumptard,” “commie” and “nazi.” We cease listening to each other and stop talking to each other. We use our words as weapons to further drive a wedge between “us” and “them.”

While our choice of words can be used to divide us, they can also unite. As songwriters, this notion of unity should align with us. After all, at the very core of the craft of songwriting lies the principle of universality. Even the words unify, unity, universal all originate from the same Latin word, “uni,” meaning oneness. Who hasn’t been to a music industry seminar and heard some publisher or executive recite the mantra — a successful song must strike a universal chord? Part of our creative job is to find a way to express a single idea that resonates with an audience. This sounds much simpler to do in practice. Song after song by aspiring writers gets passed over because it fails to “ring true” to a broader audience.

At SongU.com, one of our courses teaches us that the most effective way to reach the universal is through the specific – a story that you can tell using your own truth. What does this mean? I know that I can never fully comprehend what it’s like to walk through this world as an African American male. No matter how “woke” I become, I will never know the enormous weight someone carries throughout life simply because of the color of their skin. This does not mean that I do not understand prejudice or hate. It means that for me to write about the subject in an honest way that resonates with others, I must find my own truth and then tell that story.

So what is my truth? I understand religious hate — my wife is Jewish, and I have lived with antisemitism and watched it through her eyes. This past weekend, the Holocaust Memorial at our local JCC was vandalized with nazi symbols and white supremacist threats. I also understand homophobia and hate — my sister is gay, and I have lived through times where “neighbors” put letters in her mailbox, telling her to move out of the neighborhood simply because of who she chooses to love. While I am not Black or Hispanic, I understand what it means to judge someone by the color of their skin. Sara and I adopted our daughter at birth from Guatemala. Every day, I see the world through her eyes. I know the pain it caused when her history teacher walked up to her desk while conducting a lesson on citizenship, asking her if she was born in the United States. Upon answering no, her teacher proceeded to tell her in front of the entire class that she better have a conversation with her parents that evening because she might be in this country illegally. I know the truth of what it feels like to have the police called on my daughter’s boyfriend for playing soccer at dusk with a few of his Latino friends because someone thought they “looked suspicious.”

How can I channel my truth into my creative process? If I’m inspired to write a song about Black Lives Matter because I am outraged by the injustice I see, I cannot write the same song as LL Cool J or Trey Songz. There is no possible way I can approach the topic of injustice from the same honest perspective they did because that is not my truth. No matter how much I admire or attempt to emulate their approach, it will not ring true or have the universal appeal of their messages.

I need to write my own truth. I can write an honest song about having a daughter who’s judged every day because of her skin color or how we worry she and her boyfriend could get pulled over at night when he’s driving. Or I can change direction and write an honest song about what it’s like to love someone who is hated simply because of which religion they follow or gender of who they choose to love. The point is that if I do my job well as a songwriter using my truth as a vehicle, I will wind up with a song that makes an impact and resonates. That means more listeners are likely to hear my song and identify with its core message.

Recognizing your truth and being able to tap into it creatively, in an honest way, will make your songs more universal. And it seems to me, the world could use a little more “uni” right now. So use your voice and speak your truth. Your songs and this world will be a much better place for it.

Stay the course and keep the faith.

-Danny


Leave a comment

Why Should I Get Feedback Before Pitching My Songs to Film and TV?

At SongU.com, we offer a variety of of small group feedback sessions that focus on different aspects of songwriting and the music business. Writing songs for synchronization with film, TV, and other media takes unique skills beyond crafting a great song. For example, do your vocals and instrumentation work to the benefit of your production? Is your hook relatable for certain situations? Do you know the specifics of the sync licensing market in order to submit your songs appropriately to music supervisors?

Today we’re shining the spotlight on “FDBK 330 – Song Feedback for Film-TV-Media.” Join us to learn from the pros and your peers.

About: This 1-hour advanced feedback session is geared toward analysis of how your demo recording will compete in Film, TV, and other media-related pitches. Focus is given to your songs’ production as it pertains to pitching successfully for sync licensing opportunities in TV, Film, and Media. Limit 5 participants.

Our Facilitators: Nancy Peacock, CEO and Owner of Washington Street Publishing which focuses on securing placements in Film, TV, and Media; and Creative Director for Washington Street Publishing, Queenie Mullinex.

“Queenie and Nancy are soooo good. They are encouraging and yet candid when they hear things that need improvement. I learn a lot from their feedback on my song and the feedback that they give others. Always very, very helpful.” -Becca B. , SC

Always a joy to learn from them.” –Ricki B. , WI

“Great insight for tailoring your songs for music supervisor pitches.” Shawn F. , NJ


1 Comment

Special Event Pitch: Staff Writer for a Day!

Between May 1st and June 30th 2020, SongU.com is running a special event: Staff Writer for a Day.  This is an opportunity to pitch your songs for a chance to see what it would be like to be a staff songwriter which includes getting set up by our guest publisher for a CO-WRITE SESSION with a hit songwriter! 

If you aren’t sure what the term Staff Writer means, you’re not aloneWhen I moved to Nashville in the early 1990’s and got serious about my songwriting, many of my peers were hoping to become a full-time paid songwriter for a music publishing company (aka a staff writer). The concept was so strange to me that I had to wonder if I ever had the chance to be a staff writer, would I even like it? At the time, I questioned whether I would really enjoy writing songs on demand, on a timetable, with a quota, being “set up” on blind co-writing dates, writing to make the creative director at my publishing company happy, and asking their permission to demo songs.

After about four years of engrossing myself in the Music Row experience of constant writing, re-writing, networking, co-writing, over-coming performance fears, sheepishly meeting with ASCAP reps and music publishers who would listen to my songs, and politely or not-so-politely tell me that I wasn’t quite “there” yet, I built a strong catalog of songs. By then, the idea of being a professional songwriter had grown on me. One day, miraculously, I was hired by a little music publishing company called Zamalama Music as their first staff writer (cue the Rocky theme song).

It turned out that this job gave me valuable lessons in how to prepare myself mentally every morning to “show up and write” whether I was feeling creative or not. I made sure to arrive at those blind date co-writes with lots of potential titles and ideas to jump start our meetings. I learned to leave my ego at the door and do what was best for the song. Most importantly, I found an inner confidence that only comes when your songs have been rejected so many times, you can laugh and moooove on! Here’s a picture of the bay window of the Zamalama writers room on Music Row where I eventually co-penned a hit song!

Check out the staff writer experience for yourself:

A SPECIAL EVENT PITCH – STAFF WRITER FOR A DAY! This is your opportunity to be selected by Kirby Smith, Creative Director of WinSongs Music Publishing, for a chance to find out what it’s like to be a professional staff songwriter for a day, including a meeting with Kirby and a CO-WRITING SESSION with hit songwriter, Sandy Ramos! Read about our guests.

For details about how to submit your songs between May 1st – June 30th 2020 for a chance to win STAFF WRITER FOR A DAY! Go to the Pitching area of SongU.com.

2000 ASCAP Awards. Connie Bradley, Kacey Jones, Sharon Lane, me, 


Leave a comment

The Two Biggest Songwriting Mistakes and How to Fix Them

The first lyric I wrote was critiqued by master songwriter educator, Sheila Davis, in 1990 at the Songwriters Guild in NYC. From that moment on, I have enjoyed digging into the nitty-gritty how to make a song “work” and connect to the listener. As a songwriting mentor myself for the last twenty-plus years, I’ve critiqued several hundred original songs-in-progress in multiple styles and genres by songwriters from all over the world. I have even had the privilege of training other music industry professionals on how to successfully offer song feedback. I’ve observed that there are certain craft points that, if not executed correctly, get flagged over and over again by song coaches and mentors.  Here are the two most common:

Big Mistake #1: Trying to put too many ideas into one song.

In order connect emotionally to your audience, it is important for your song to have a “universal idea” such as falling in love, falling out of love, unrequited love, or just about any love-adjacent subject including family life, loss, escape and so on. But here’s the trick – you get to the universal through the SPECIFIC. In other words, the more you can whittle down your big idea into a concise moment or feeling in time or a very specific story that illustrates that idea, the more you will keep your listener engaged, and the more your own personality and “voice” as a writer will come through.

Your Fix

Make sure you can sum up your entire song in ONE simple sentence that starts with “This is a song about…”. If you cannot complete this in a sentence, you probably have too many ideas. It helps to know your title before you write the song. Then, make sure every line in that song leads the listener to the title in some way specifically and emotionally.

Hit Song Examples:

  • I Will Always Love You written by Dolly Parton
    • This is a song about a woman who is telling a man that although she knows they aren’t meant to stay together, she will always love him anyway.
Example of a single idea about the universal theme of love.
  • Blank Space written by Taylor Swift.
    • This is a song about a woman who thinks of love as a game and is seducing a new lover to play with her.
  • Love written by Kendrick Lamar.
    • This is a song about a man who is finally ready to commit to the woman he loves and is asking her if she loves him too.

Big Mistake #2: Not enough musical, lyrical, and/or production contrast.

Contrast is another way of saying “change it up.” While it’s true that you need a certain amount of repetition in a song to give the listener something to sing along with or dance to, too much repetition becomes boring and the listener will tune out. If the entire three-and-a-half-minute track basically sounds the same – boring. If the melody sits in the same pocket the entire time – boring. If the lyric says the same thing over and over without any new information along the way – what do you think? I know this seems obvious, but it’s very common for the first draft of a song to be a real snooze fest.

Your Fix

Shoot for having three distinct parts to your song for the listener to latch on to. Musically, the tools at your disposal are the melody, the chords, and the rhythm. Make sure at least one of those things changes between each distinct section such as the verse, chorus, and bridge. Lyrically, you can contrast the rhyme sounds, the rhyme scheme, the pronoun emphasis (I/You), the rhythm (e.g. long lines vs. short lines), and general or detailed images. In the production, you can create subtle and not-so-subtle transformations in the track with the instruments, the rhythms, the vocals, and so on.

Hit Song Examples:

  • Somewhere Over the Rainbow written by Harold Arlen and Yip Harburg is one of the most covered songs of all time. Notice in particular the rhythmic contrast of the long lines in the verses that contrasts with the staccato rhythm of the bridge section.
  • Chandelier by Sia. Chandelier has it all when it comes to contrast. Notice in particular, the clear rhythmic changes between the verse, pre-chorus, chorus. Also, note the huge soaring melodic contrast in the chorus, as well as the harmonic (chord) contrast in the bridge. And of course, the way the production builds and breaks down and builds again throughout.
Example of musical and production contrast.

When you listen to songs from now on, see if you can pick out the universal theme as well as the more specific way that the theme is addressed by the songwriter. Ask yourself if the title or hook is clearly explained. Also, listen for musical, lyrical and production contrast throughout the song. Will every song you hear be a perfect example of all of these techniques? Definitely not. But my guess is you will hear them a lot more when you know what you are listening for.


1 Comment

Pitching in the Time of Corona: A Dispatch From our Publishers

With all the transitions and changes going on these days, I asked the music publishers and song pluggers we work with regularly to give us an update on pitching in the time of Corona. Here’s what they said:

“Still pitching strong and I think our decision makers are more at their computers listening to songs than perhaps ever before.”

Jeffrey Nelson, Song Plugger

“Song pitching continues uninterrupted…The dynamics of pitching have, of course, changed recently in that social distancing has made in person pitch meetings, at least for the moment, not possible. I do however, continue to maintain communication with industry decision makers and continue to pitch them songs via links and mp3’s, much of which I already did anyway.”

Additionally worth noting, “This is the time of the year that acts who are going to record Christmas records are beginning to look for songs.”

Dallas Gregory, Publisher, Song Rocket Music

“There will be no personal one-on-one meetings but the selected songs will be sent to my contacts and they will be considered. Recording dates etc have been altered and moved to unspecified dates due to the coronavirus. Keep writing great songs and keep the faith.”

Bob Dellaposta, Publisher, My 3 Kids Music

“There has been a definite halt in some of the film / TV show productions. The music supervisors are emailing and saying that we have a couple weeks to send in songs rather than 24-48 hours. But there are lots of TV shows already in post production so we are continuing to get requests for songs. The ad agencies work a long time on a client’s branding so we are getting requests for those also.”

Nancy Peacock, Licensing Agent, Washington Street Music Publishing

Thanks to all these sincerely dedicated music professionals for keeping our songs out there and getting us placements and cuts!


Leave a comment

Your Kind Words are Music to Our Ears!

“Hello, This is a VERY competitive business as you know but it is encouraging to know that a song I wrote “Southern Life” is a ” Maybe” to get pitched for a major artist! Thank you SongU Team!! I know you are busy but wanted to let you know that I have several people pitching my Songs and YOU are by far the most Professional, Kind, efficient group that ALWAYS responds and clearly has a CRAZY work ethic! You know as well as I do that that is what inevitably leads to success! I LOVE IT!”

–Roger Brantley (LA) on 3/13/20

“I was a first time user of the e-classroom and enjoyed being able to participate in the course.”

— Alina V. (FL) on 3/18/20
For Diona DeVincenzi, FDBK 225-Indie, Film-TV, Production Feedback

“Many thanks for filling in, Sara, and also for the great feedback. Listened to the full transcript today and enjoyed it. Nice to see more Scots in Songu. I hope Lisa is OK.”

–Alex H. (Scotland) on 3/20/20
For Sara Light, FDBK 210-Song Feedback

“I’m enjoying getting ideas, feedback and inspiration as with the virus escalating now my co writers and I can’t meet to work on our new stuff so online is definitely a way forward and I’ve had some good food for thought from the coaching reviews and the two on line classes I’ve attended on the songs particularly the ones that need some work. I’ll look forward to another class soon. Kindest regards and stay safe.”

–Jane H. (U.K.) on 3/23/20

“Bob always brings his ‘A’ game. He has a very honest and passionate approach to helping. You can really tell he loves what he does. Even if I don’t agree with him on every point. I can still understand where he is coming from.”

–Shawn F. (NJ) on 3/25/20
For Bob Dellaposta, FDBK 315 Publisher Song Feedback

“Marcia has been one of my “go-tos” for a long time now. Really appreciate her take. I count her as a friend besides. Benn is always there to keep us straight. Sara, Danny, and Martin, the whole SongU community is an avid, major part of my writing track. Thanks so very much guys!!”

–Brad Y. (NY) on 3/26/20
For Marcia Ramirez, FDBK 140 Song Feedback

“Always awesome!”

–Ricki B. (WI) on 3/27/20
Nancy Peacock & Queenie Mullinex, FDBK 330 Sync Licensing Production Feedback

“I wanted to share with you a copy of the note I recently sent to the UK Songwriting Contest: A big ‘thank you’ to the UKSC for the wonderful prize of a free trial membership to songu.com. Not only have I learned A LOT by participating in a variety of their online courses and seminars, but I have taken advantage of their pitching opportunities as well… and good news!… one of my songs was recently picked up by a publisher! Needless to say, I’m thrilled!”

–Elizabeth Roberts (U.K.) on 3/28/20


Leave a comment

Dear SongU, Can We Talk About Pitch Submission Deadlines?

I’d like to share a SongU member inquiry that recently landed in my inbox: “Dear Songu, can we talk about extensions for deadlines on pitch submissions on songu? How do they occur? What kind of relationships do you have, that ever cause to allow this? What actually happens? Thank you kindly.” – J. (Vancouver, B.C. Canada)

Dear J.,

What a great question! Let me explain the process we use at SongU.com. To get the leads and submission deadlines for our Street Pitches, I communicate directly with several song pluggers, music publishers and licensing agents that are out there “on the street” making appointments with the artists, record labels, and such to find out who is looking for songs, what kinds of songs they want or need, and when they will be in the studio recording.

After you’ve been working in the industry for a while, you learn that most artists search for songs over a period of time from a couple of months to even a year or more. It is often a moving target as the artists  find songs they like, target songs they hope to find to fill out the album, or “change direction” from what they thought they originally wanted.

Based on the information our pitch guests relay to me each month, I post the Street pitch leads and submission deadlines. Then, a few days before the deadlines (which generally fall either mid-month or end of month), I send out an email asking if they want to extend any listings or send new ones. Here is an example of an email I received this week:

Good Morning Sara!

Sorry I’m just getting back to you.  Let’s keep Mark Wills and Chris Golden active through the end of May if that’s o.k. as they continue to be very engaged in receiving and listening to songs.  We can pull Hannah Dasher on the 15th, but I may re-list Hannah in a few weeks IF she is still looking for songs.  They’re assessing what they have at this time.  I’ll get with you later today with fresh pitch opps.

Have a wonderful day 🙂

DG

Thanks for taking the time to check in with us and find out more. I hope this explanation helps clarify.

Best wishes,
Sara
————————————————————————-
Sara Light, Co-Founder & President
Successes
Facebook
Twitter

“Wherever you are, we bring the music industry to YOU”


2 Comments

March into Metaphors

“March comes in like a lion and goes out like a lamb.”  marchI actually remember the first time I heard this saying in Mrs. Harris’ third grade class. When she asked us to tell her what we thought it meant, my hand shot up.  It describes the weather perfectly in New Jersey where I grew up!  From that moment on, I was hooked on the wonder of metaphoric language. Metaphor – a  comparison of two disparate objects to suggest a similarity (e.g. “I am a rock, I am an island” Simon & Garfunkle);  and simile – a comparison using “like” or “as” (e.g. “I feel like a stone that’s been picked up and thrown to the hard rock bottom of your heart.” Shout out to songwriter Hugh Prestwood!).

Why do we use metaphor and simile all the time both in everyday speech and, of course, in song lyrics? The use of this kind of comparison enhances our sensory connection to the subject. And why is that so awesome? When our senses are heightened, our emotional connection is heightened as well. As songwriters, it’s our job to write lyrics that draw in our listeners emotionally. We want them to FEEL love, heartache, joy, or surprise when they hear our song. The music works on one level, the lyric on another.

Just for fun, since we’re in the month of March, what are some song lyrics that use ANIMALS in a metaphoric way? Use the comments area for your solutions, or join the Facebook discussion in  SongUNews .