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10 Facts About Music Licensing That Will Put You In a Good Mood by Diona Devincenzi

Let me introduce you to my friend, Diona Devincenzi (isn’t that one of the lovliest names you’ve ever heard?).  I met Diona, a talented singer-songwriter, in the early 1990’s when we were both fairly new to the “Nashville thing.” Perhaps she’ll remember the story about how back in the day, when we were all pretty broke, she invited Danny and me for a dinner at her place. Having gotten used to eating a lot of vegetarian Pot Lucks with friends, I was shocked that she and her fella, Jerry, served us a REAL meal…appetizers, main dish with meat, dessert…the whole kaboodle! She chuckled at my delight. Ah, those fond memories of being a starving artist. 

Diona has remained on the cutting edge of the songwriting business, traveling back and forth from Nashville to the West Coast.  I’ve always admired what a hard worker and go-getter she is. Here’s one of my favorite articles from her blog Savvy Songwriter. You can find out more about her (besides that it’s grand to be invited to her house for dinner) at her website dionadevincenzi.com

-Sara


10 FACTS ABOUT MUSIC LICENSING THAT WILL PUT YOU IN A GOOD MOOD

I’ve been hearing and reading a lot of doom and gloom about the music industry lately. Articles which lament the demise of the value of music and the dwindling earnings from making and selling it. So I wanted to present a different perspective in an area of the music business that is actually thriving: MUSIC LICENSING.

Here are 10 facts about music licensing that will put you (or should put you) in a good mood.

1. YOU CAN ACTUALLY MAKE SOME MONEY AT IT
Yes, you actually can. You’re not going to get rich with just one placement, but if you are a prolific writer with many songs that are placeable, you can make some decent money. BUT, be prepared to be patient because it won’t roll in over night.

2. THERE ARE MILLIONS OF OPPORTUNITIES TO PLACE YOUR SONGS IN FILM/T.V. AND MULTI-MEDIA EACH YEAR
According to IMDB (Internet Movie Database) there were over 2,000,000 opportunities to place your songs in film & television just last year alone.

3. YOU DON’T HAVE TO BE 20 SOMETHING.
Those years are past me and many others I know in the music licensing business, but that doesn’t matter because what people need desperately are songs to place with their visual production. And they don’t care how old you are. They only care how good your song is and how it might fit their project.

4. IT’S A RAPIDLY GROWING INDUSTRY.
In fact, it’s the only part of the music industry that is growing, besides touring. Need we talk about CD sales? No, already done. But as content is king, so are songs.

5. YOU CAN WRITE IN MULTIPLE GENRES.
If you want to, you can write in every genre imaginable, and even some that are new hybrids. If you want to write a pop/rock song, go for it. If you want to tackle a Bollywood tune, no problem. You get to write whatever you want, as long as it’s commercial.

6. IF YOU WRITE BOTH LYRICS AND MUSIC, THEN YOU BASICALLY HAVE YOURSELF TWO TRACKS FOR THE PRICE OF ONE.
Many times a music supervisor (decision maker) will ask for and use the instrumental track versus the vocal one. Well, no problem, you literally have 2 songs – one with both lyrics and music and one with just the music. You double your opportunities as well as your catalog. And that’s just a side benefit.

7. YOU’RE GOING WHERE THE MUSIC INDUSTRY IS HEADING.
We all see the writing on the wall when it comes to CD sales. It’s all about streaming these days. If you’re writing for the music licensing opportunities, then you’re at the forefront of where music will be in the future. Sure, no one can really tell the future. But with all of the cable channels and new networks and “screens” popping up to enjoy content, there is a growing marketplace for usage of songs. If you’re not thinking about music licensing then you’re out of the game.

8. YOU DON’T HAVE TO HAVE A PUBLISHING DEAL.
Middlemen are disappearing in the music industry, much like a lot of other industries. There are more and more opportunities to pitch your songs directly to the gatekeepers, thanks to technology allowing for direct access.  You couldn’t do this 20 years ago. So welcome to the directness. Just make sure you are prepared when you do pitch your songs though, because as the saying goes, “You only one chance to make a first impression”.

9. THERE ARE RESOURCES TO LEARN MORE ABOUT MUSIC LICENSING.
I scoured the four corners of the earth to find out all I could about music licensing when I started getting involved. I still consume all things music licensing in the way of books, blogs, articles, podcasts etc. In fact, I’m in the process of writing an e-book right now on it.  And thanks to Google search and the like, all the stuff you need to know about music licensing is at the tips of your fingers.

10. IT’S A THRILL WHEN YOU HEAR YOUR SONG IN A FAVORITE TELEVISION SHOW, MOVIE OR AD.
We all write songs because we love it. Well, this part of the glory of your hard work is really gratifying. ‘Cuz you get to tell all your friends and family about your latest rockstar placement.

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Diona Devincenzi is a songwriter/producer born in San Francisco and hanging her hat in Nashville. Check out her blogs at Savvy Songwriter .


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Why Are Most of the Pitch Leads Country?

Image-2-2015-BillboardChartWe’re often asked why so many of the SongU.com pitch leads for original songs are for the Country genre. The reason is a fairly simple one: Country is one of the rare popular genres of music in which many of the major artists are open to recording “outside” songs. What does that mean? It means that they are willing to listen to and record a song that they did not write or co-write themselves.  My friend, song plugger Jeffrey Nelson, regularly compiles a list of major-label Country artists who have recorded outside songs. In the last part of last year, he counted 27 Country artists who recorded 50-100% outside songs on their albums, and another large group who recorded at least one or more outside song. Some of those songs were written by songwriters who hadn’t previously had a major-label artist record their songs. In other words, there are still many big Country artists who believe in the power of a great song no matter where it comes from. Garth Brooks, Tim McGraw, George Strait, Kenny Chesney, Martina McBride, and Faith Hill are all notorious for recording great outside songs. Thus, they all can boast an incredible number of hits.

This is in sharp contrast with most of the Pop and Hip-Hop stars, who create their hits in the studio together with a group of other musicians and songwriters who contribute beats/tracks, topline melodies, lyrics, and hooks. Often these major artists rely on only the hottest hit makers and producers like Max Martin or Dr. Luke or Pharrell, making it much more difficult for an untested songwriter to insert themselves into their projects.

Justin Timberlake talks about working with Pharrell, Timbaland, Max Martin

Admittedly, some of the iconic pop singers like Barbra Streisand and Whitney Houston, for example, always depended on great outside songs, as have some of the more current pop stars such as Rhianna. And while this year’s Shawn Mendes’ hit song “Stiches” was written by Daniel Parker, Teddy Geiger, and Daniel Kyriakides, and Selena Gomez didn’t write her hit “Same Old Love”, major-label pop opportunities are decidedly tougher to come by. Rock/Pop bands tend to build their reputation on the strength of their own sound and their own self-written songs and unique vibe.

If I don’t write Country, how do I get my songs recorded?

Where does that leave you in terms of pitching if you’re writing Pop, Rock, Hip-Hop, Electronic, Retro, Americana, Classical-Operatic, or a variety of other valid genres?

1) Independent Artists.  – If smaller indie artists cut your song on their album, it probably won’t net you much (if any) income, but there are still many advantages. First, it’s simply flattering that your song speaks to an artist so much that they want to sing it and record it for their audience. Also, it’s a good way to get a new recording (demo) of your song that you can use to pitch to bigger artists. In addition, it’s exposure for your song. Songwriter Jon Ims, for example, tells the story of how a local band had recorded one of his songs on their album and took it to Nashville in hopes of landing a record deal. While in Nashville, they played it for a big record producer. That producer, Garth Fundis, had no interest in signing the band, but loved the song Jon wrote called “She’s In Love With The Boy”. Fundis decided to record that song on his new act, Trisha Yearwood. Needless to say, “She’s In Love With The Boy” became Trisha’s breakout single and launched a stellar career for her AND for songwriter Jon Ims (who after moving from Colorado to Nashville that same year had another hit single “Fallin’ Out of Love” for Reba McEntire).

2) Placements in Film/TV/Media. – Films, TV shows, commercials and other alternative media always need music but don’t want to pay top dollar to get big hits by by big stars. That leaves the door open for you if you’re writing songs that have a certain “sound” or specific genre that they just happen to need. We had several members get Country songs placed in the TV show “Nashville” for example. But the song needs are as vast and varied as the media itself. If you’re writing in any genre, there’s a chance to get your song placed.

  • At SongU.com we offer regular opportunities by our guest music supervisor, Nancy Peacock, who will give us current leads from her contacts with production companies. She’s taken our members’ songs for specific leads, but also for a non-exclusive contract to pitch on comp tapes that she sends out when there is a need (i.e. love songs for Valentine’s Day commercials that can also be used for background music in a movie or TV show).
  • The occasional unexpected opportunities come along too. Through an odd encounter I had at the Jersey shore, I was able to put up an exclusive listing for our members to submit their songs to the music supervisor for the NBC Olympic Games in Beijiing. Over 50 songs from our members went to those games!
  • We have a great series of DIY webcasts by Benn Cutarelli and Dan Robinson called “The Next Rung” all about how to get your songs into film/TV/and media. They’ll let you how their song got into the major motion picture “The Longest Yard.” Go to the DIY course catalog to find these courses.

3) Network and Collaborate. – The Jon Ims story above reminds us that networking at any level, even locally, has the potential to yield big results. Other important network outlets are music publishers and songpluggers, performing rights organization reps, and of course your peers. The new songwriters and aspiring artists of today, might be the next big thing tomorrow.

kelsea-ballerini

Breakout Country music superstar, Kelsea Ballerini, said in an interview recently that her first album is a bunch of songs written by her and her friends. Her friends were unknown emerging songwriters that had been networking and co-writing and sticking with it. They were all just doing the “hang in there” thing that we do when we’re creative people wanting to earn a living through our efforts. Sometimes you get lucky. It paid off for one of our SongU.com alumni, Lance Carpenter, who was one Kelsea’s co-writer friends on her #1 Platinum-certified breakout song “Love Me Like You Mean It” which skyrocketed her into the spotlight. Chalk one up for breaking in to the music business! (Also known as ten years to overnight success.)

Additonally, several of our members have had great success with smaller music markets. Two different members, Barbara Wilkinson and Ed Williams both had #1 songs on the Bluegrass Charts with separate artists. Another, Don Eidman, was nominated for a Dove Award for best Christian song (Bluegrass), and another, Pat Kelley, had a single with a major Christian artist as well. Just this month, Canadian-based SongU.com member, Stephen Adrian Lawrance, broke into the major-label Canadian Country market with an “outside” song for Aaron Pritchett, “When a Momma’s Boy Meets a Daddy’s Girl”  (co-written with A. Godvin/M. Webber) with the assistance of previously-mentioned song plugger Jeffrey Nelson, who he met through SongU.com. Find details of those successes here.

Remember that you can choose to look beyond the roadblocks and find alternative routes to success. The only real reason to write songs is because you love doing it. There are no guarantees except the ability to enjoy the ride. Sure, that ride can be bumpy, maybe take longer than you anticipated (“Mom, when are we gonna get there!”), but it’s always rewarding, not to mention fun, to follow your passion.


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What You Really Need To Know To Be A Professional Songwriter

I’m making a little joke here. I found this in my computer files. I can’t recall how I originally got it and haven’t found the source (if you do, let me know). But it still makes me laugh and there’s definitely a grain of truth – or the entire loaf of bread of truth –  in this list. So without further ado, here’s what songwriters really need to know:

THE PROFESSIONAL SONGWRITER’S ABBREVIATED DICTIONARY

VERBS:
1. to schmooze = befriend scum
2. to pitch = grovel shamelessly
3. to brainstorm = feign preparedness
4. to research = procrastinate indefinitely
5. to network = spread misinformation
6. to collaborate = argue incessantly
7. to freelance = collect unemployment

NOUNS:
1. agent = frustrated lawyer
2. lawyer = frustrated producer
3. producer = frustrated writer
4. writer = frustrated artist
5. artist = frustrated human

COMMON TERMS AND PHRASES:
1. Entry-level = pays nothing
2. You can trust me = you must be new
3. Highly qualified = knows the producer
4. It needs some polishing = Change everything
5. It shows promise = It stinks rotten
6. It needs some fine tuning = Change everything
7. I’d like some input = I want total control
8. It needs some honing = Change everything
9. Call me back next week = Stay out of my life
10. It needs some tightening = Change everything
11. Try and punch it up = I have no idea what I want
12. It needs some streamlining = Change everything
13. It’s very close = You’re not even on the right planet
14. We want something different for this album = The last album didn’t sell
15. We’re looking for a new direction = see previous
16. I know someone at the label = I know the janitor
17. You’ll never work in this town again = I have no power whatsoever