Notes on Napkins

musings for songwriters


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Getting the Demo You Want: A Conversation with Producer, Justin Morgan

My guest today to talk about demo production is the owner of Pearl Snap Studios in Nashville, TN, Justin Morgan. As a singer-songwriter and producer, Justin is a sought-after mentor, teaching his monthly small-group live session: “FDBK 160 Song and Production Feedback.”

Justin, tell me how is your personal journey going in this time of Corona?

Thankfully, my immediate family has been able to avoid getting COVID but we have definitely had close friends and extended family get it which hits close to home. Industry wise, a lot of co-writes got cancelled when COVID entered the scene, which gave me space to slow down and really focus on writing for projects that I had put on the back burner. Now, my co-writes have moved to Zoom, which can be challenging, but it also opens up new opportunities to write with people who can’t be in the same room.  

Songwriting is such a personal and community driven industry and experience that this has definitely been a challenge. BUT it has a silver lining. I think difficult times breed some of the best art. It’s always been this way. I’m trying to use this time to be focused on creating great music! Luckily, technology has made that possible.

How has the pandemic affected your ability to produce demos?

We’re super thankful that our process isn’t terribly interrupted by the pandemic. Myself and my little team of players and producers are able to work remotely and still get great sounding recordings to our clients. We’ve seen an increase in songs being submitted, which I think is largely in part to writers having things they need to say about everything going on in our world.

Speaking of recordings, can you tell us what exactly is a “demo”?

When I was just starting out as an artist and writer, the word “demo” was thrown around a lot, mostly to describe rough recordings that my band would make and try to sell for $5 at our merchandise table. Now, years later I realize that the word “demo” is still a puzzling thing for a lot of writers. It’s actually an abbreviation for the word “demonstration.” A demo is a recording of a song used to demonstrate what the song might sound like if recorded by an artist. Think of it as a prototype. Car companies use prototypes to show off a car before it goes to market. They then take any feedback from trusted sources and various testing to perfect it before it takes its final form (ready to sell). A demo acts in the same capacity. A writer finishes a great song and needs to be able to show it to publishers, A&R executives, artists, or producers, hoping that ultimately an artist will fall in love with the song and record it on their album. In the songwriting world, we call it “getting a cut” when an artist chooses to record your song and put it out on an album.

Can a demo help you get a cut?

Demos can be pivotal in helping land a cut with an artist. I have personally seen songs not get cut because the demo wasn’t right, and then later, the song gets cut after the artist or A&R person hears a new demo of the same song.

Is there a difference between a demo and a master? Can you explain those terms a little bit?

It’s important to note that the artist does not typically use the demo track to record their vocals over.  The record label will use their own musicians, producer, and vocalist to create the final recording. Since demos are not intended to be used as the final recording, they will usually have restrictions from the producer or studio stating that they cannot be released commercially. A recording that is commercially released is considered a “master” and generally will cost quite a bit more to create than a demo. Sometimes a writer will negotiate a fee with the studio or producer in order to release the demo as a master, however permission will need to be granted from the producer, any players, and the vocalist who performed on the recording. 

How much does a demo cost?

Demos vary greatly in price from $150-$2,000 or even more depending on who is creating the demo and how it is being recorded. Sometimes just having an acoustic guitar or a piano along with a killer vocal is all a song needs to shine. Other times, a full production with a string quartet can be needed. It just depends on the song. Talking with your producer and mentors about what the song needs is always a good place to start.

What part does a producer like you play in the demo creation process?

Personally as a producer, I appreciate when a writer lets me have some creative leeway in the production process. I always welcome notes and reference tracks, however, being right in the middle of Music City and creating demos on a daily basis gives me a leg up on knowing what is and what is not working currently. It’s our job as producers to stay current and help your song shine like it should. This is why finding a producer you trust is very important to the process. A demo is an investment in your song and should be treated as such. 

What makes a successful demo?

A demo recording should be interesting and engaging, but should have room in the production to leave the song open to interpretation. I like to caution writers about wanting too much unique character in a demo. Some is needed and can be a great way to catch ears, but too much can pigeon hole a song and make it less recordable by a broad spectrum of artists. Here are some things to consider when you are looking to have a demo made:

  • Does this producer specialize in this style of music? 
  • Does this producer create current sounding recordings that sound similar to what I hear from current artists? 
  • Do I trust this producer’s work?
  • Is my song ready to be demo’ed?
  • Are all the lyrics how I want them?
  • Are all of the melodies dialed in? 
  • Am I financially able to make the investment in this song right now? 

Answering these questions will help you decide if it’s time to look for a great demo for your song!  

Thanks for taking the time to talk about the process of demoing songs, Justin, and for your great work mentoring the songwriters at SongU.com! I should mention that you also graciously offer a special discount to SongU members when they request a demo from Pearl Snap Studios directly from the SongU website portal.


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The Big Reveal! Staff Writer for a Day with WinSongs Music.

Recently, we invited Kirby Smith, Creative Director of WinSongs Music to the SongU virtual campus to get to know our writers. She listened to over 200 songs submitted throughout May and June and chose what she felt were the strongest of the bunch. That group of 22 songs became the list RISING STAR CONTENDERS. One final song rose to the top as the winner of “Staff Writer for the Day”. Congratulations to Kelly McKay with her brilliant song “Kiss the Hell Out of Me.” Kelly will be set up through WinSongs for a co-write session with hit songwriter, Sandy Ramos.

Because the primary goal of SongU is always to inform and educate, this week we had Kirby visit our e-classroom to find out about her work as a Creative Director (particularly in the time of Corona), as well as her listening process and what pros and cons factored into her choices for choosing the contenders, and finally to reveal her choice for Staff Writer for a Day! Thanks to Kirby for being so generous with her time, information and insights into the song selection and pitching process! Without further ado…

CONGRATULATIONS to the Top Contenders who all received the SongU “Rising Star Award”!

*Wes Bullock (4 songs)
*Elvira Cawthon (3 songs)
*Bill Gue (2 songs)
*Brenda Kornblum (2 songs)
*Brad McKinney
*David Nicastro (2 songs)
*Kenneth Riggins
*Becky Smith (2 songs)
*Dempsey Watson
*Rita Weyls

And to Kelly McKay (2 songs) from TN, SongU member since 2013, for winning the top spot of “Staff Writer for a Day” with WinSongs Music.

A round of applause to every one who submitted their songs to this challenge. As the maxim says, you can’t win the game if you’re sitting on the bench. Keep up the great work, everyone!


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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 SongU leads during the time period 7/22/2020 – 8/3/2020.

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 …

      • Karen Mitchell “WORTHY” (Date picked up: 7/28/2020)

Pitch For Publisher. Contemporary Country. SEAFORTH. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for is looking for songs for Sony Records artist Seaforth. (Note: This is the same artist but a different pitch guest listening than previous listing #1778). Still looking, no studio date yet. They need GREAT songs to beat what they have done. Nothing dirt-country. Think laid back, a touch of R&B, contemporary pop country. …

   • John Cirillo “LOVE IN MOTION” (Date picked up: 8/1/2020)
    • James Hoppe “SOMETHING’S UP” (Date picked up: 8/1/2020)
    • Lucy Leblanc “PAYING MY DUES” (Date picked up: 8/1/2020)

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 …

      • Hollie Brogunier “A LITTLE BIT O’HONEY GOES A LONG WAY” (Date picked up: 8/3/2020)
    • Wes Bullock “DRAWN TO THE NEON LIGHTS (FEAT. THE RUNNING MATES)” (Date picked up: 7/21/2020)
    • James Hoppe “ARETHA” (Date picked up: 7/21/2020)
    • Kelly Mckay “YOU REWIND ME” (Date picked up: 8/3/2020)
    • Ava Paige “OPEN THAT DOOR “ (Date picked up: 8/3/2020)
    • Jill Smith “STORM CHASER” (Date picked up: 8/3/2020)

Pitch For Publisher. Country. CARTER WINTER. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for Average Joe Records artist Carter Winter. Submit Mids/Uptempo honest heartfelt lyrics ala Garth Brooks and George Strait.
View the following for more info on artist: https://www.youtube.com/watch?v=V04F3P2gCfc
https://www.youtube.com/channel/UCvazJBJgvA71avc-lfwvYFw
https://www.carterwinter.com/bio

   • Ronald Brown “CRAZY FOR ME” (Date picked up: 7/30/2020)
    • John Condrone “YOUR LOVE’S GOT SOMETHING ON ME” (Date picked up: 7/30/2020)
    • Ben Krahne “THREE MINUTE VACATION “ (Date picked up: 7/30/2020)
    • Ken Wank “MORE THAN THAT” (Date picked up: 7/30/2020)

Pitch For Publisher. Country, Rock. JAY ALLEN. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for Verge Records artist Jay Allen. Looking for real, raw, in your face undeniable SMASH Country hits with meat on the bones! For more on this artist go to https://www.jayallenofficial.com/. Pitch follow-up info: If this guest expresses interest in your song, before pitching it, they will ask for publishing if a major recording …

 • Avrim TopelPRAYERS AND WHISKEY (Date picked up: 7/31/2020)

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


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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

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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


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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, 


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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.


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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


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


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Writing About Current Events From a Different Perspective

“With history piling up so fast, almost every day is the anniversary of something awful.” – Writer & Artist, Joe Brainard

Recently, while cleaning out my closet, I happened upon a small book of Daily Meditations given to me by a friend a long time ago called The Promise of a New Day (copyright 1983). The book goes through each day of the year and offers a quote and a short spiritual reflection.  I hadn’t opened this book in well over a decade, but last week I found myself turning to the February 7th meditation which begins with the quote at the top of this page. 

At first I was surprised to read this quote from the 1980’s that felt so relevant for today’s world. But then I realized that in every decade, at every point in history change is inevitable, and with change comes discomfort, fear, anger, and as the quote says, “the anniversary of something awful.” Joe Brainard died in 1994 of AIDS. Can we take a moment of pause to reflect on how incredibly scary and sad that time in our history was until, thank goodness, we found a treatment for HIV?  Our amazing scientific and medical community created an antidote to something horrific.

Obviously, as writers and artists, we have a responsibility to reflect the trouble in the world around us as songwriters like Woodie Guthrie and Bob Dylan did in the 1960’s. But can’t we also create an antidote to the daily assault of awful news? If history is comprised of times of trouble, war, disease, hunger, and hate, isn’t it just as important to highlight the love, compassion, simple moments of trust, help, hope, and success?

As a songwriting exercise, try making a list of the little things that have kept you motivated, inspired, happy, or brought you peace of mind, during these difficult times. Kissing your loved one good night, scratching your dog’s tummy, taking a walk near a stream, sipping on a hot cup of coffee, holding open a door for a stranger and exchanging a smile. Keep a section in your “title book” or idea journal specifically for a daily dose of positivity. See if you can practice a heightened awareness for the the good things that we often take for granted like a compliment from a friend, being in the fast line at the grocery store, having enough gas in your car, birds chirping when you open your door, or a warm coat when it’s cold outside. Write it all down.  These specifics will inform your lyric with a universal theme of gratitude and  provide a different perspective on our current events. Bring this perspective into your next song.