Notes on Napkins

musings for songwriters


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

At SongU.com, our members achieve success through a holistic approach that focuses on education. We work directly with the songwriters to make each song as competitive as possible before spending money on a demo. We do this by offering numerous opportunities to reach their goals, including online Song Feedback sessions, written Coaching evaluations, Private consultations/collaborations with our Music Publisher and Hit Songwriter Mentors, a member-website cowriter search feature, and more. Finally, we offer monthly Pitch opportunities with a guaranteed response from our Street pitch guests.

CONGRATULATIONS to the following members for having their songs signed or pitched for the following leads during the time period February 11th – March 10th, 2021.

Pitch For Licensing Agent. Film/TV/Media. SongU.com’s own publisher guru, Bob Dellaposta, is looking for some very specific material from some of our more “mature” members: 60’s/70’s MASTERS for his My Three Kids Music Library. Seeking AUTHENTIC 1960’s and 1970’s songs for 50/50 non-exclusive licensing to movies, television and commercials. Any genre, male or female, instrumentals, old school Memphis R&B, 60’s rock and roll, Latin, jazz, etc. Male or female or groups, with horns or without, …

    • Swagata Banerjee “O SUNDORI, AAMAAR” (Date picked up: 2/28/2021)
    • D Toomey “LUCKY ME” (Date picked up: 2/28/2021)
    • John Welch “AIN’T WAITING FOR THE SUMMER” (Date picked up: 2/28/2021)

Pitch For Other. Country. Re-Opened. Several of our members have gotten airplay through this listing. This is an opportunity from our friends at Liva Music Switzerland to get airplay on international radio stations. Liva is connected to over 450 Country stations in Europe, 80 Country stations in Australia, and also about 200 stations in the USA. They have very specific song submission guidelines, so read ENTIRE description before submitting:

– Seeking REAL Country …

    • Terry Smith “OL’ BILLFOLD” (Date picked up: 2/19/2021)
    • Terry Smith “OZARK RAIL” (Date picked up: 2/19/2021)

Pitch For Producer. Country. 3/10/2021: Feedback on submissions from contact, Denis Quilligan: –Looking for hit songs and I personally listen to every song that’s submitted. He says that the quality of submissions must be higher, many are not up to the standard he hears from Nashville independent writers. He said also to remind you that “we have been in the middle of a pandemic and we have not needed songs nearly as much as normal.” — Now, back to the listing…Jersey Shore …

    • Donna Aylor “TIE ME DOWN- WAKE’S VERSION “ (Date picked up: 3/9/2021)

Pitch For Licensing Agent. .Top 40 Female Pop, Soul, Chillout-House, World Music AMURCO MUSIC LICENSING. Re-Opened for submissions! This is an UK-based licensing company with a catalogue of 70,000+ tracks, offering playlisting and syncing opportunities. They are currently interested in receiving submissions for the following types of music: Current Top 40 Pop (Female), Soul, Chillout/Chill House, and World. Here is a note to us from Joel at Amurco: “Our our deals …

    • Swagata Banerjee “CHUPI CHUPI” (Date picked up: 2/16/2021)
    • Swagata Banerjee “TUMI BHORER PAAKHI (FEMALE)” (Date picked up: 2/16/2021)
    • Swagata Banerjee “CHUPI CHUPI BHALOBASA (2020 REMASTERED VERSION)” (Date picked up: 2/16/2021)
    • Louis Cate “DOWN 4 WHATEVER” (Date picked up: 2/16/2021)
    • Louis Cate “WILD GYPSY SOUL” (Date picked up: 2/16/2021)
    • John Cirillo “BITTER SWEET HEART” (Date picked up: 2/16/2021)
    • John Cirillo “GOOD MORNING MIDNIGHT” (Date picked up: 2/16/2021)
    • John Cirillo “COMEBACK KIDS” (Date picked up: 2/16/2021)
    • Isobel Greenhalgh “LIGHT” (Date picked up: 2/16/2021)
    • Monisha devi Mohanlal “CAN’T BREATHE” (Date picked up: 2/16/2021)
    • Monisha devi Mohanlal “WAR OF TWO” (Date picked up: 2/16/2021)
    • Monisha devi Mohanlal “WITH YOU” (Date picked up: 2/16/2021)
    • James Oliver “BETWEEN YOU AND ME” (Date picked up: 2/16/2021)
    • James Oliver “IT’S OUT OF MY HANDS” (Date picked up: 2/16/2021)
    • James Oliver “I’D LOVE ME TOO” (Date picked up: 2/16/2021)
    • Michelle Robison “COME UP FOR AIR” (Date picked up: 2/16/2021)
    • Pat Travers “DON’T GIVE UP” (Date picked up: 2/16/2021)
    • Tiago Videira “BE THE STORM” (Date picked up: 2/16/2021)

Pitch For Publisher. Country. NATE BARNES. Extended! Street Pitch guest, D.G., veteran music publisher, who has already generated income for SongU members, is looking for songs for SONY/Quartz Hill Records artist Nate Barnes. Looking for songs – any tempo that are organic, and a blend of Luke Combs meets Blake Shelton. Barnes writes and sings about faith and family, work and heartache, love and the simple joys of life. Especially needing songs that the ladies will like, radio …

    • Ben Krahne “GOING TO EXTREMES “ (Date picked up: 3/4/2021)

Pitch For Song Plugger. Christian Contemporary (CCM), Inspirational. LAUREN DAIGLE. Street Pitch guest, J.N., veteran independent songplugger who has generated income for SongU members is looking for songs for Centricity artist Lauren Daigle. Seeking inspirational/CCM or Christian Country songs that could possibly be pitched for a duet with Dolly Parton. Think Dolly’s “There Was Jesus” for direction. PITCH FOLLOW-UP: If this guest expresses interest in your song they will pitch it with the understanding that you …

    • Cari lynn York “I’VE GOT THIS FRIEND PIANO / VOCAL” (Date picked up: 2/12/2021)
    • Cari lynn York “I’VE GOT THIS FRIEND *****” (Date picked up: 2/12/2021)

Pitch For Licensing Agent. . EMOTIONAL ACOUSTIC SONGS FOR TV & ADVERTISING. Pitch guest, N.P., is seeking simple, stripped down songs for several TV shows. Think Subaru commercials AND the soundtrack to the show “This Is Us”. In the style of Iron & Wine, Goldspot, Cat Stevens, Paul Simon, Sufjan Stevens, etc. Male or female vocals OK.
Songwriters, important: SONGS SUBMITTED HAVE TO BE CLEARED FOR SYNC LICENSING as per the following guidelines (no exceptions):
– …

    • John Cirillo “KEEP ME IN THE DARK” (Date picked up: 3/3/2021)

Pitch For Licensing Agent. Pop, Rock, Singer Songwriter, Soul, Alternative. SONGS OF BETRAYAL FOR NETWORK TV SHOW. Pitch guest, N.P., is currently looking for songs for a CW series about betrayal, lying, breaking a trust; a spurned lover’s torch song for the series. Could sound vintage/retro or modern in the styles of Bon Jovi “You Give Love A Bad Name”, “Bang Bang” My Baby Shot Me Down to Beyonce ft Jack White “Don’t Hurt Yourself”, Justin Timberlake “Cry Me A River”, Madison Beer “Selfish”, etc. Genres: Pop, Rock, Alternative, …

    • John Cirillo “PRETTIER” (Date picked up: 3/3/2021)
    • John Cirillo “HURRICANE AFTER YOU” (Date picked up: 3/3/2021)
    • John Cirillo “HONESTLY” (Date picked up: 3/3/2021)

Pitch For Publisher. Contemporary Country, Pop. RICHARD SCHRODER. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for Amplifier Records Nashville artist, Richard Schroder who is being produced by multi-#1 producer, Matt McClure. Looking for current sounding UPTEMPO Country Pop songs with big choruses ala Brett Eldridge’s “Beat of the Music”, Blake Shelton’s “Honey Bee”, Tim McGraw’s “Humble And Kind”; ‘Four on the floor’ beat; …

    • Jonny Born “MAN, THESE DAYS” (Date picked up: 2/22/2021)
    • Loralei Ells “ON SATURDAY” (Date picked up: 2/18/2021)
    • Ray Govero “TROUBLE WITH CURVES” (Date picked up: 2/18/2021)
    • Ben Krahne “WANTING LESS” (Date picked up: 2/22/2021)
    • Brad Mckinney “I’M ON IT” (Date picked up: 2/18/2021)
    • Avrim Topel “MUST BE LOVE” (Date picked up: 2/18/2021)
    • Ed Williams “SHE LOVES GALVESTON “ (Date picked up: 2/27/2021)

Pitch For Publisher. Country. AMY SCRUGGS. Extended! Still Listening. Note: Feedback from Artist’s team is that the songs we pitched are too “young” for her. Need meatier lyrics. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for songs for artist, Amy Scruggs, being produced by hit maker, Fred Mollin. Need 3 more up-tempo songs ala Jo Dee Messina meets Brad Paisley, playful, California-Country, fun Girl-Power, ‘Just …

    • Paul Jarvis “SOMETHING TO PROVE” (Date picked up: 3/8/2021)
    • Ed Williams “IT’S WORKIN’ – DEMO” (Date picked up: 2/15/2021)

Pitch For Publisher. .Pop and Country VIXEN and-or BRIAN GIFFEN. Street Pitch guest and publisher, Bob D., who has already generated income for SongU.com members is looking for great songs for two artists, Vixen and Brian Giffen, both on the CT Entertainment Label in Ireland. The label head Cecil Thompson emailed Bob, “We are looking for Zara Larrson and Dua Lipa type songs for Vixen but maybe a good uptempo Country song for the them and Brian Giffen. Don’t know …

    • Jerry Blackburn “LOOSE CHANGE” (Date picked up: 2/22/2021)
    • Jonny Born “CRAVE ME” (Date picked up: 2/22/2021)
    • Jonny Born “MY COUNTRY GIRL – DEMO” (Date picked up: 2/22/2021)
    • Jonny Born “WARNING ON A WHISKEY BOTTLE” (Date picked up: 2/22/2021)
    • John Cirillo “A LITTLE MORE FREEDOM” (Date picked up: 2/22/2021)
    • Ben Krahne “YOUR HEART HASN’T FALLEN YET” (Date picked up: 2/22/2021)
    • Rick Lane “BRING IT ON” (Date picked up: 2/22/2021)
    • David Nicastro “SHE’S GOT TO” (Date picked up: 2/22/2021)
    • Bill Ohanlon “CHANGED ME (MALE)” (Date picked up: 2/22/2021)
    • Ava Paige “RIGHT SIDE OF WRONG” (Date picked up: 2/22/2021)
    • Rita Weyls “DIAMOND IN THE ROUGH” (Date picked up: 2/22/2021)
    • Rita Weyls “VOWS….DUET “ (Date picked up: 2/28/2021)

Pitch For Publisher. Christian, Gospel. JASON CRABB. Extended! Still looking. Street Pitch guest, D.G., veteran music publisher, who has already generated income for SongU members, is looking for songs for the insanely talented, Grammy award winning Christian artist on Red Street Records, Jason Crabb. Jason has earned 21 GMA Dove Awards including Male Vocalist and Artist Of The Year. Jason’s roots are in Southern Gospel but he can sing virtually any genre of Christian music. Song submissions …

    • Matthew Soileau “YOU MOVED ME” (Date picked up: 3/9/2021)
    • Claire Ulanoff “OUT OF LOVE” (Date picked up: 2/16/2021)
    • Brad Yunek “THE COLORS AND THE CROSS” (Date picked up: 2/16/2021)
    • Brad Yunek “KEEP KEEPIN’ ON” (Date picked up: 2/16/2021)

Pitch For Publisher. Country. MaRYNN TAYLOR. Extended! Still looking. Street Pitch guest, D.G., veteran music publisher, who has already generated income for SongU members, is looking for songs for Black River Entertainment artist MaRynn Taylor. Listening for 90’s style, young female country songs. No drinking, cheating, nothing vindictive. Early Trisha Yearwood meets Stevie Nix and the Dixie Chicks is the lane you’ll want to be in with your song pitches. You can listen to MaRynn …

    • John Cirillo “MAKING IT UP AS WE GO” (Date picked up: 3/4/2021)

Pitch For Licensing Agent. .New Ongoing! Music Publisher and SongU Mentor, Bob Dellaposta, is working with a mechanical licensing company who is looking for male and female vocal songs in ANY genre or language that have the instrumental track available for indie artists to license on a non-exclusive basis. The licensing fees range from $6.95 to upwards of $200.00 or more. If your song is licensed Bob will send you 50% of his share of the mechanical license fee. You …

    • Louis Cate “UNDER EVERY FROZEN HEART” (Date picked up: 2/28/2021)
    • Priscilla Connolly “MY ROCK” (Date picked up: 2/19/2021)
    • Shawn Fitzgerald “I CAN’T STOP LOVING YOU (SEXY)” (Date picked up: 2/19/2021)
    • Robert Otting “FIRST RIDE_ MASTERED” (Date picked up: 2/19/2021)
    • Jim Purtell “WALK AWAY FREE” (Date picked up: 2/19/2021)
    • D Toomey “I AIN’T CRAZY (BUT MY DADDY IS)” (Date picked up: 2/19/2021)
    • Ken Wank “AIN’T GONNA WAIT FOR YOU FOREVER” (Date picked up: 2/19/2021)
    • Cari lynn York “MAKE SOMEBODY SMILE FINAL MIX” (Date picked up: 2/19/2021)
    • Cari lynn York “DREAM ME BACK TO HAWAII FINAL MIX” (Date picked up: 2/19/2021)

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


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Featured SongU Mentor: Tom Paden – Follow Every Lead.

All SongU members have the opportunity to forge a creative connection with any of our award-winning coaches. These mentors offer written feedback on songs in progress, focusing on lyrics, music, originality, and commercial potential. Today’s spotlight, Coach #814, aka Tom Paden, is one of SongU’s best-kept secrets since 2005. The insights he offers with his coaching feedback elicit responses from our members, such as, “Gave me chills just now reading your evaluation! Thanks so much for all you said here and saying you are proud. Really makes me feel good! Onward to the charts. Thanks to you and all you do. Nothing would happen without your wisdom!” Our songwriters want to make him proud because he never hesitates to let them know he’s rooting for them.

SongU Coach, Tom Paden

Congratulations on your recent success with the song “Window in the Wall” recorded by Olivia Newton-John and her daughter, Chloe Lattanzi. Your co-writers on this song are Eddie Kilgallon and Tajci Cameron. Tajci is from Croatia. Can you talk about how this 3-way Tennessee/Croatia writing collaboration came about and your experience working on a song with someone from another country and culture?

I met Tajci in 2016. I was president of my neighborhood’s Homeowner’s Association and her husband came to me with a problem with his house or something, I can’t quite remember. When he found out that I was a songwriter, he showed me all the pictures of when Tajci was a teen star in Croatia and introduced us. Tajci had been living in the states a long time so there was no language barrier or anything like that. She told me that she needed a song for the Eurovision song contest that is held every year in Europe. This is a huge competition. So, I called Eddie we went to her house and and wrote the song “Window in the Wall.” Initially, we wrote this song as a relationship between two people. Then in May of 2020, Eddie and I rewrote the first two lines, both channels, and most of the bridge to give it a broader “world” meaning.

Olivia Newton-John called you personally to tell you how much the song touched her heart. When and how did she hear the demo?

My cousin Cyndie who lives in Bremen, GA has always taken an interest in my songs. I had sent the song to her after I demoed it. This was in early June. (As an aside, Cyndie had breast cancer and met Olivia Newton-John in a clinic in Bremen and became friends over a few months. The director of the clinic is famous and Olivia would fly from Los Angeles to Bremen to go there.) In early October, I was working out at the gym when I got a text from Cyndie saying she had sent the song to her friend Olivia and hoped I wasn’t mad. She told me that Olivia wanted to record it as a duet with her daughter. I had no who this friend “Olivia” was because I had never seen a much earlier text mentioning her full name. By this point, I had pitched the song hard, over 150 times, and had not gotten any takers. So I texted back, sure, why not? I really didn’t care who recorded the song. I asked Cyndie what Olivia’s last name was so that I could get her a mechanical license. She texted back, I think she still goes by Newton-John. Well, I just about dropped the weights on my foot when I read that! Wow, Olivia Newton-John! That night, Olivia called me. She was so sweet and lovely over the phone. She told me that my song had touched her heart and that she was going to record it. She said the song was bringing her out of retirement. The whole thing was blowing my mind.

I’m fascinated by the unconventional route that led you first to Tajci and then to Olivia Newton-John. It really shows that you never know where those serendipitous relationships are going to come from.

I have always made it a point to follow every lead. When I was leaving home for Nashville in 1985, my grandmother, Nannie, told me to get in touch with a songwriter in Nashville. Her friend had sold him a house. I thought to myself, whatever, I certainly don’t need any help from Nannie. I loved my grandmother, but… Well, about two months in, I called that songwriter and for the next four years he was my mentor. He helped me write songs and I’ll always be indebted to him. His name is Layng Martine Jr. He wrote songs for Elvis, The Pointer Sisters, Reba McEntire, Trisha Yearwood, and many others. I told myself then that I would always follow any lead that I was given because you just never know. Thanks Nannie!

Gotta love the Nannie! When I first moved to town in the early 90’s I met Layng at the Nashville Songwriters Association. He was always so humble and friendly. His song “The Greatest Man I Never Knew” (co-written with Richard Leigh) is one of my all time favorite songs.

Tom, as a producer, what’s your process? Do you have certain gear and/or software you prefer? Have you been writing and/or tracking songs with new artists?

As a producer, I rent a studio. It’s usually County Q because they do such great work. I’ve been producing independent artists since 1989. I’ve done a lot of projects over the years. If I’m working with an artist, I will pitch them over 100 songs from some of the best songwriters in Nashville. I always send a detailed budget and keep a balance statement. If there’s money left over after everything has been paid, then I send them back a check. I want to always be transparent with my clients. Many times I write with the artist and we record those songs as well.

If you could give emerging songwriters and producers one great piece of advice, what is it?

Join SongU! Haha. I would say a couple of things. Spend more time on your ideas. Artists are looking for fresh, new, different, and unique ideas and titles. Writing another “I love you” or “I’m broken hearted and blue” song will not get you anywhere. Once you have a pitchable song, pitch it to everyone and anyone. The music business is a numbers game. The more pitches, the more chances your song will be recorded. Also, pitch to the independent artists. I’ve probably had over 600 indie artists cuts. Some were great and others…well not so great. I still got paid and you never know who will be that next super star.  

How have you been holding up during the quarantine? Besides your musical pursuits, what keeps you occupied? Any TV shows, books, activities you’ve been enjoying?

I always stay busy. I have my two kids, Thomas, who is 21 and attending MTSU and Grace Lee who is 19 and attending Birmingham Southern College. I love to write songs, workout and play racquetball and pickleball, hunt and fish, and I’m an avid book reader. My friends and family occupy my time. I am never bored. I am grateful for everyday and keep a positive outlook on life. 

Thanks for taking the time to chat about songwriting with us today, Tom! As always, we appreciate your dedication and great mentorship to the SongU members!

What Our Members Are Saying:

1/8/2021 – “Yours is probably the most helpful and constructive evaluation I’ve ever had. I will get back to work on this! Thank you!! ” — Grahame M. (FL)

9/2/2020 – “Thank you SO MUCH for your encouraging words and the [Best of SongU] star! Stay well! ” — Robbi A. (TX)

8/14/2020 – “Thank you so much for the great thoughts! I always appreciate your insight! Take care and I have sent you a couple other things, so I’ll look forward to getting those back, as well.” — Kerry J. (KY)

6/30/2020 – “I’m beyond thrilled!! I was afraid you’d tell me it was too sad. This means so much to me and after I get the music and demo, I will send for you to listen. Thanks a million for this review. As always, you’re the best!” — Rita W. (OH)

About Coach #814: Tom Paden has had songs recorded by major artists, including Aaron Neville, Tammy Wynette, Restless Heart, Ricochet, Kenny Rogers, Lee Greenwood, and most recently Olivia Newton-John. This coach is also a producer and has a strong background in music and specializes in evaluating country and adult contemporary songs.

Coaching Philosophy: “I enjoy working with all songwriters. I will point out the positive things a writer does, but I am also honest and to the point, so the writer can learn and grow. I enjoy hearing new songs and I give my best on every evaluation.”


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Spotlight Mentor/Member Success Story: Dallas Gregory and Tommy Patterson

Congratulations to SongU Member Tommy Patterson (TX, member since 2018), who is having a banner week. He received good news from SongU publisher pitch guest and mentor, Dallas Gregory, of his first artist cut and his first royalty check! His song “This Little Church I Grew Up In” has been recorded by Daywind Recording artist Debbie Mills. The story behind the pitch is an affirmation that the system can work when the right song gets to the right person at the right time. In Dallas’s email, he reminded Tommy that it was precisely one year and four days prior that Dallas heard the song through the pitch area at SongU.

It’s not uncommon for a song to find its “home” long after being pitched and longer still after being written. That’s why it’s good practice to have patience while we continue to persevere and write the best songs we can in this “hurry up and wait” industry. The good news for this particular cut is that the artist wanted to go ahead and pay the licensing fee upfront even though the license is still “in process.” So, Dallas says he’s put the royalty check in the mail.

From Tommy: “Thank you, thank you, thank you!!! I’ve been trying to get a song cut for years. I’m still pinching myself to make sure I’m not dreaming. I’m not a performer, I don’t play in a band, I don’t have any connections in the music business. SongU provides an indispensable service to someone, such as myself, who has been trying to get their songs heard.”

SongU Member, Tommy Patterson

“Dallas” must be Tommy’s lucky word; he also won First Place this week in the Folk/Americana category of The Dallas (TX) Songwriters Association’s Song Competition for a different song, “1309 North Austin.” Tommy tells us that SongU Coach and Feedback instructor, Randy Klein, suggested that “I make a couple of changes and I remember seeing his notes stating that it would be a good candidate for song contests. I made the changes and he was right! Thank you Randy!”

Keep up the great work, Tommy, mentors, and everyone on campus! As Dallas emailed to me today, “we all celebrate when a member of the SongU family gets a cut!”

To hear the demo of “This Little Church” go to Tommy’s SongU Member Website.


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Featured SongU Mentor: Alan Roy Scott – Oh, the Couches He Has Known

All SongU members have the opportunity to forge a creative connection with any of our award-winning coaches. These mentors offer written feedback on songs in progress, focusing on lyrics, music, originality, and commercial potential. They often become creative sounding boards on rewritten drafts of a song until it has reached its full potential. Some, like today’s spotlight Coach #3762, aka Alan Roy Scott, also serve as instructors of our online song feedback group sessions and offer private consultations.

Alan Roy Scott has been one of our most beloved feedback instructors and coaches since 2009 when he became a SongU.com mentor. During that time he has worked with literally thousands of songwriters at SongU. He has a self-proclaimed “gift of gab” and is known for his sense of humor, personal engagement, and wisdom. This often means that his “1-hour” group feedback sessions last quite a bit longer than an hour! I took some time to ask him about his personal mentoring philosophy and his UNIQUELY 2020 EUROVISION experience. Make sure to listen below to his song ‘Cleopatra’ recorded by Azerbaijanian contestant Efendi.

Alan, one of the things the SongU members seem to appreciate the most is that, even though all our coaching and courses are (and always have been) online, you really take the time to get to know them as people — their likes, dislikes and goals. Can you tell us how you make that personal connection and why you feel that is important?

Being a songwriter myself for such a long time (professionally since 1978) and having gone through so much in my own life and career over that time, I just have a lot of empathy and respect for all the SongU members overall,  and especially when they come to me for feedback and guidance and put their trust in me. I like to give them a full and thorough response with TLC they deserve. I have always felt that if we songwriters can’t support each other as creative people and lift up our own community first and foremost, it will be hard to expect that same level of camaraderie and compassion coming from anywhere else. In my case, how that plays out and how I deal with the writers is I get excited to know about THEM — where they’re from, how they feel about things, their lives and experiences, what their own goals are, and just being friendly and supportive of them and with each other about a myriad of things — in connection with the nitty gritty nuts and bolts of evaluating their songs when we get to that. So, when we do get to that whether in a live online feedback session, a private one-to-one, or in written form, I pride myself on dishing out my own brand of ‘tough songwriter love” when needed. With emphasis on the love.

I have always felt that if we songwriters can’t support each other as creative people and lift up our own community first and foremost, it will be hard to expect that same level of camaraderie and compassion coming from anywhere else.

You bring a unique international perspective to your song feedback, having travelled all over the world, judging song contests, doing seminars, and writing with up-and-coming artists. Can you tell us some of the places you’ve been and what you have learned by working in the international music scene?

Well, believe it or not, since my international travels started in 1984 with Japan as the first country I visited outside the USA, I have been to 124 countries and counting. I know this because I once sat down and literally counted all the countries I’ve been to with the guidelines that just being in airport transit doesn’t count, and at least 24 hours has to be spent in a country for it to qualify. So, among those 124 countries visited would be every continent except Antarctica (a song seminar for the penguins coming soon?), every former Communist country except North Korea, exotic places from Greenland to India, Bali to Ghana. Almost ALL of them for music activities, writing trips, writing camps, seminars and/or workshop events, concerts, or some kind of musical application. Quite often without much money in my pocket. So, the name of my eventual book I hope to write will either be “Couches I Have Known” or “Passport To A Musical Planet.”

Hah! I’d love to read that book…please write it! Tell us more about co-writing with writers from all over.

I have collaborated along the way with people in a variety of markets, styles of music, and languages. Although I could write a multitude on all the things I have learned along the way, one striking and overriding truth that I have found to be so by walking the walk is that truly music IS the universal language! Many differences and nuances abound in that, but in the end we are much more the same than not. I know this answer may sound a bit Disneyesque or “Koom-ba-yah”, but I don’t know how else to answer it.

Alan Roy Scott collaboration session

I know you had a big disappointment with one of your own songs, “Cleopatra” that was headed to Eurovision. What happened?

The answer to that is the pandemic happened. Eurovision was canceled for the first time in 64 years! Of course, there were some positives. For example, the video of my song ‘Cleopatra’ by the Azerbaijan artist Efendi got over 8 million views on YouTube among other good things. And most of the various reviewers and broadcasters from around the world had said that my song would surely have been in the Top 5 or 10 of all the entries, with a few even saying they thought it would win. So, all that at least is some consolation.

Congratulations! That’s no small accomplishment! Tell us how that came about.

As always, is the story behind the scenes is always the most interesting. Some of that unknown backdrop and saga is as follows: The writing of the song is a lesson in itself for all songwriters because the day we wrote it at Las Negras Camp in Spain in November 2019 ( a collaboration between myself, Dutch writer, Luuk Van Beers, and Norwegian/British writer, Sarah Lake) was just a magical three-nation writing collaboration experience where we were laughing hysterically the whole time, and just having pure fun around the joy of songwriting without any other thoughts in mind. Surely, we were not thinking about Eurovision. If we had TRIED to write for Eurovision, it might never have come out the way it did.  So, after the writing and production of it, we then moved into the whole politics and international business portions of Eurovision. In Eurovision, every song that makes it to being the song for a country literally ends up having like a whole team of people involved, and ours was no different in becoming “Team Cleopatra.” Some countries pick their artist and song the artist will sing to represent them through extensive and high profile national competitions and TV shows to pick the national winner before they head off to the finals to represent that country. But some other countries just pick their artist and song WITHOUT open competitions through a private process known as “internal selection.” This also involves team connections and private resources. That’s the way it was for us.

First, our song was submitted internally to the small country of San Marino for their artist Senhit. My collaborators flew to Bologna, Italy to work with her on the song and see how she sounded on it. In the end, although her team and committee wanted her to do “Cleopatra,” the artist didn’t think it was right for her, and she went with a different song. Then it was pitched to the last country choosing via “internal selection”, Azerbaijan.  They had selected an artist named Efendi to be their artist and so “Cleopatra” was chosen to be their song. My collaborators then flew to Baku, Azerbaijan to try Efendi out on the song and it worked out. Therefore, after all that when the many months of preparation time and money spent by 51 country “teams” to get to that point of being in Eurovision, besides the cancelation of the whole event, it is the final chapter that should come as no surprise in the annals of the way songwriters are so often treated. After the cancelation of Eurovision, the ruling was made that for 2021 the ARTISTS for each of the countries who were to be involved would be allowed to come back again if they chose to (and most of the artists from 2020 ARE returning in 2021), but NOT THE SONGS !!! All the songs have to be NEW songs and all the effort and competition it takes to make it, plays out all over again for the songwriters. Fair, right? The Artists get to return automatically, but the songs and songwriters involved this year get thrown under the bus. Every heard that before? My Azerbaijan artist Efendi WILL be returning in May to again represent Azerbaijan, but with a different song!!! And as they say, that’s that!!!

Thanks for sharing your story. Let’s get you some more views on YouTube. Maybe we should start an international SongU movement to save Alan’s song in 2021! 😉

When offering song feedback to emerging songwriters, do you find that there are certain pieces of advice or suggestions that seem to come up a lot? If so, what are some of the most common?

Surely when it comes to the actual nuts and bolts of song craft part, I find there are a lot of common and recurring themes I encounter quite often that I talk about, that many people who are reading this who have worked with me might have heard already. Such as how as beginning songwriters, we often come up with a really good idea that we don’t fully develop before moving off it too soon, or leaving it feeling unfinished or jagged. I call this “not milking your own good ideas” as fully as possible. And I also find that quite often songwriters who are not great singers (or even some who are) will write their melodies to fit within the limits of their vocal range, which often means melodies may get squashed because of those limits from the full range of what they could be. As for me, I call it not being afraid to sound like a “shrieking chicken” in reaching for notes I hear in my head if the right melody is out of my range for my ‘songwriter singing his own songs the best he can” voice. So don’t let any vocal limitations stop you from reaching for the best and most contrasting melodies possible. And surely I find a big part of my job is editing with my big scissors hence “song surgery.” That’s because you need to remember in the end as much as it is about expressing ourselves and writing the best song possible, it is also about communicating our songs to the listener we want to embrace our music,  and speaking to them in ways and methods they can follow and appreciate. Attention spans are short and getting shorter all the time. So great old adages like “don’t bore us, get to the chorus” still apply even today. But also as nothing is cast in stone and every rule is meant to be broken, my only “golden” rule of songwriting as I call it is….”if it works, it works.” So when it feels right to me, I will go with it even if it goes against my usual judgement of such things.

Besides writing songs and mentoring, what have you been doing to pass the time during the pandemic?

What? Has there been a pandemic ? What’s that? LOL !!!   Really, I just want to say that my job at SongU.com is made so much easier by the fact that, by any measure, we just have so many talented and wonderful members as songwriters and people. Because of that, it’s never stopped being as joyful to be a part of SongU from the very beginning until now. All that is equally made possible by the wonderful ongoing relationship I have with the SongU.com administrative staff (Sara, Danny, Martin, and the ever awesome Benn), and to the caring, giving, faculty alongside me, all combining to make Songu.com the magical place it has always been and continues to be. Here’s to 2021 and beyond !!!

Awww, thank you for saying that. Of course, thank YOU for your countless hours providing professional advice and songwriting education to the SongU writers and to so many writers around the world! You rock!

What Our Members Are Saying:

1/8/2021 – “Thank you SO much!! Your evaluation got me there to that finish line almost right away after sitting on those lyrics being all over the place with it for a few weeks. I so appreciate it!!!” — Robbi A. (TX)

12/1/2020 – “Thank you so much Coach for all your help and I’m so happy with the final result and the reworked chorus per your suggestion. It’s been a labour of love with the subject matter and all. So, thanks again!!” — Mike R. (UK)

12/20/2020 – “Alan’s classes are about as much fun as you can have legally, and you can always count on a good honest critique. I love it when he sings along often forgetting to turn his mic off. Ha. Fun stuff. Go Alan!” — Lon C. (NY)

12/20/2020 – “Alan is a perfectionist. He listens, remembers, and knows. I am grateful for such opportunities.” –– Ewa R. (Poland)

About Coach #3762: Alan Roy Scott has had over 200 songs recorded across multiple genres by various artists around the world including, Celine Dion, Notorious B.I.G, Cyndi Lauper, Patti LaBelle, Gloria Estefan, Oak Ridge Boys, Journey, Ricky Martin, Luther Vandross, The Neville Brothers, Cher and Ray Charles. This coach also has significant credits in Film/TV, including “Top Gun,” “Fame,” “Coming to America,” “First Wives Club” and “Beverly Hills 90210.” This coach is comfortable in evaluating songs in virtually all genres, including Film/TV, Pop/Hot AC, R&B, Urban, Christian, Country, World Music, Singer/Songwriters and Rock

Alan’s Coaching Philosophy: “I consider myself a real colleague and advocate for songwriters and will give whatever I feel is needed in each individual situation from “tough songwriter love” in a direct fashion, to being a cheerleader. I enjoy working with all levels of writers and have been known to throw in some stories from my own songwriting career when needed.”


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GOLD STARS Report: CONTENDERS Edition

For the most recent “Staff Writer for a Day with Deluge Music Group,” we invited Creative Director Emily Dryburgh to our virtual campus to listen to our members’ songs, which were submitted anonymously, for over two months and choose her favorites among them. Below is the list of songs she chose. We call the writers of those songs the Contenders and award their songs with a Rising Star emblem! Only one of the writers was also selected as a Staff Writer for the Day to co-write with hit songwriter Danny Myrick.

As an important educational component to our event, Emily joined us in our e-classroom for “The Big Reveal,” which included a candid hour-long discussion about her listening process. She also discussed the current climate of the music industry and her list of Contenders and the Staff Writer for the Day winner. While discussing craft and genre, Emily pointed out that, “we live in a world now where even the ‘countriest’ of Country writers have access to technology and can consume whatever music they want to.”

We live in a world now where even the ‘countriest’ of Country writers have access to technology and can consume whatever music they want to.

She pointed out that there is a lot of cross-over between genres because of this ability to listen to all kinds of music at any time. She also stressed the need to work on the craft of lyric writing. Emily admitted that while this is an extremely competitive industry, every time she has coffee with a new writer, she thinks about how many people underestimated [her good friend] Meagan Trainor when she first arrived in Nashville. Now Meagan is one of the most successful artists of the decade. So, continue to follow every lead you can. Speaking of which…

CONGRATULATIONS to the following members for having their songs chosen by Deluge Music Creative Director Emily Dryburgh as a Rising Star Contender from almost 200 songs submitted:

Jonny Born – A WHISKEY KIND OF LOVE
Julie Broschard – A WOMAN’S TOUCH
Steve Bryant – SHE SANG EVERY SUNDAY
Jason Caraway – THE LAST GOOD PIECES OF ME
Elvira Cawthon – SAVE A LITTLE SIP and STIR IT ON UP
Priscilla Connolly – OPEN ROAD
Ray Govero – (WHISKEY) YOURE GONNA MISS ME and HILLBILLY YARD SALE
Bill Gue – WE THE PEOPLE
James Hoppe – LEARNING HOW TO LIVE and ONE SHOT and PICTURE PERFECT and SEEING EACH OTHER and TRUST
David Johnson – LIFE’S NOT A DEAD END ROAD
ben krahne – A WOMAN’S TOUCH
Carey Latham – LEVIS and WASTED SUMMER
Brad McKinney – I’LL GET OVER YOU and NEVER GOOD AT MATH
David Nicastro – A MILLION MILES AWAY and GIVE IT ALL YOU GOT and OUR FIRST EVERYTHING and THE OTHER SIDE OF MIDNIGHT
Ava Paige – SOUNDTRACK
Trevor Peverley – MOVING TO CALIFORNIA GIRL
Rhondalynn Pisanello – THINGS I NEVER KNEW
Wiley Siler – SWEET SUMMER BREEZE
Frank Stopak – AUTUMN WIND
Avrim Topel – WE BAD LIKE THAT
Mitch Townley – THE FIRST
Rita Weyls – FIRST and I’LL BE HOME SOON
John Winters – DOWN THE LINE

Additional congratulations goes to the winner of the Staff Writer for a Day co-write session …BRAD MCKINNEY (KY) with his song “Never Good at Math!”

Members can listen to all the contenders’ great songs in the Highlights & Happenings area on the SongU Homepage.

And a special round of applause to EVERYONE who courageously put their songs out for this competitive song challenge. Keep up the great work, everyone!


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Featured SongU Coach: A Conversation with Michele Vice-Maslin.

Today, I have the pleasure of talking with one of SongU’s long-time mentors and coaches, two-time Emmy Award winning songwriter and producer, Michele Vice-Maslin.

Michele Vice-Maslin

Michele, I’ve got to start by asking what’s helping you cope during this time of Corona?

Well I am a complete hermit so besides my lack of a hot tub to slip into I’m doing just fine and feel blessed! Also I really aspire to be a “Happy Girl” as one of my songs is called. That always helps one c ope, finding and holding on to their “happy”. A little “hippy dippy” I know but it’s true!

…But first off what helps me cope are my amazing Students at SongU and in my FROM SONG TO SYNC course! I am so busy coaching, mentoring, teaching, guiding, hand holding and seeing “light bulb moments” go off!… It is beyond rewarding and fulfilling!

I’ve actually never been busier so I think I am too tired to have to cope. LOL. In addition I’ve been writing with my favorite artist smooth jazz R&B legend Jonathan Butler for his new album and writing /producing songs for my own little pet artist project (2 of the songs appear on the Mpath PHENOMENAL WOMEN album series), plus other productions so I’m busy with that. I’m busy guiding my new intern Jeremiah. I’m busy pitching. I’m busy participating in tons of webinars mostly about all things music biz like Neighboring Rights, The MLC, Music Licensing, and so forth. I’ve been speaking on a bunch of webinars too… and so on and so on. All a great distraction from the difficult “mess” at hand that we all share.

And to top it off, as you and I discussed a little while back Sara…all the cooking. OH MY! Right now it’s after midnight I’ve been up working since 7am and I still have dinner to cook. Hahaha No time to think of coping

How has the current state of the world affected your writing, production, and pitching?

It hasn’t much affected the producing and pitching and solo writing. I am still doing that. Yes there are much less specific projects in production but still I always have backlogs of new songs that need to be pitched and brought to the attention of the “powers that be”. It has however very much affected the co-writing for me. I don’t like to collaborate virtually at all!  In fact I usually have a strict policy of “in the same physical room at the same time from complete scratch”. The only person I write virtually with is my main collaborator Larry Treadwell whom I’ve worked with for 39 years and know so well. I’ve also made an exception with Jonathan whom I’ve worked with for 20 years.  

Actually I’m always impressed by the Songu members I coach and their ability to co-write virtually even before the pandemic.

What qualities do you look for in a co-writer?

Of course if they are what I consider a good writer, which is subjective any way but after that mostly I look for someone I like, who is a nice human, a good human, an honest human. 

As a coach and mentor, you inspire so many songwriters. What inspires you?

The songwriters I coach and mentor! They inspire me everyday!  Some of them are soooo talented they could be teaching the class!  In the last 2 weeks alone I have heard some really amazing songs from them!  Life itself as well has always inspired me! Paying attention to all that is going on. Listening, watching, participating.

Do you have a favorite story you can tell us about one of your song placements? 

I have so so many but probably it’s my first one. That is what is coming to mind. It was 1987 and I was the songwriter, producer, arranger, creator of a “performance art project”. I had films and slide shows and actors doing skits accompanying the songs. The songs themselves and the whole project made Bjork look “normal”. 🙂 The whole thing was beyond alternative and avant-garde. I had a friend who was directing his first feature film TAPEHEADS. It stars Tim Robbins, John Cusack and the R&B/Soul legends Sam Moore (Of Sam & Dave) and Junior Walker (Of Junior Walker And The All Stars) Sam & Junior were playing the fictitious duo “The Swanky Modes” in the film. The director(my friend) asked me if I had any friends that created R&B/Soul music and if so could they submit some tunes for the film. So I grabbed my writing partner Larry, whom I previously mentioned, and we wrote and produced up (after much careful research and listening) a song to submit. Now remember I am a weird “Performance Artist”  who writes very odd songs, so what to do what to do… how to submit…? The director (who actually directed the films and slide shows in my performance art project) would never have considered any R&B/Soul song I might come up with so…I submitted it under a pseudonym… and voila!! In the movie. With the legendary Sam Moore and Jr. Walker recording it. My first cut and placement at the same time. In a major big budget film…and then haha I became knows as an R&B writer. Crazy stuff! I think the moral of that story is just go for it!!! Give it a try! Ya never know…

What music have you been listening to lately?

I listen to so much music. I’ve been listening to a lot of hip hop as I am producing a really cool hip hop/rapper artist. Khalid, Kanye, Money Can’t Buy, A.J. Tracey, Troye Sivan, and others. Also a lot of pop music. Katy Perry, Halsey, Dua Lipa, Sean Mendez, Jonas Brothers, Charlie Puth, Kim Petrus, Tov Lo, Hayley Williams, Ellie Goulding… so so many and the songs of my friends, colleagues and students. Every day I listen to new music. I subscribe to some online newsletters that are always introducing me to new music.

Thank you, Michele, for offering professional advice and songwriting education to our SongU writers ! You rock!

Thank you for these really great questions Sara and thank you so much to you for having me. It’s really an honor. This is my 14th at Songu and it has enriched my life beyond measure. I’m so proud to be a part of the Songu family! I love my students!

I can’t believe it’s been 14 years already! Time flies when you’re having fun (and learning new things all the time). Thanks again for your time, Michele!

ABOUT COACHING AT SONGU.COM

In addition to our 20+ live audio/video small-group song feedback courses each month, our members have the opportunity to forge creative relationships with any of award-winning coaches in the form of individual written feedback with detailed song (or lyric-only) evaluations and constructive suggestions emphasizing lyrics, music/production, originality, commercial potential, and even a chance to be awarded “Best of SongU!”

HERE’S WHAT OUR MEMBERS ARE SAYING ABOUT COACH #2245 (aka Michele Vice-Maslin)!

“I am really thrilled with your Best of SongU recognition – you had awarded that for [my other song] ‘Marisol’ as well – and it means a lot. Both were probably more work than I would care to admit so it feels great to be recognized. I’m so happy that you liked it and found it relatable – THANKS!” -J.M., CT

“Thank you for the feedback. Once again you’ve opened my eyes through your insight. I definitely want to get away from cliche writing and hope to look get better at recognizing it when I write. Thx again!”D. Brown, GA

About Michele

About Michele: This coach is a two-time Emmy Award winning songwriter and producer who has written hit songs in multiple genres for artists all over the world, as well as having several thousand film/TV placements. This coach is also a music producer and music publisher who is well versed in song pitching and placing, and business issues pertaining to the music industry. Specializes in evaluating Pop, R&B, Hot AC, Top 40, Dance, Alternative, Urban, Country, Singer-Songwriter, Film/TV/Songs for Sync Licensing.

Michele’s Coaching Philosophy: “My coaching philosophy is one of empowerment and inspiration along with some real and straightforward honesty about what I believe is important in the way of crafting a great song – for personal satisfaction of course – but also for commercial success.”


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Kelly McKay, Winner of “Staff Writer for A Day,” Tells Us About Her Experience.

I was thrilled to speak with Kelly McKay, SongU member since 2013, and the winner of our Spring 2020 Special Event Pitch, “Staff Writer for a Day” with WinSongs Music Publishing! Kelly is clearly a talented songwriter, but she is also a role model for what it takes to succeed in this business:

  • the desire to keep growing and learning
  • the ability to network bravely yet humbly
  • the persistence to carry on in the face of daunting odds 
Songwriter, Kelly McKay

Kelly, I’m so excited to hear about your co-write session and listen to the song that you wrote. But first, tell me about the pitch. How did you decide which of your song(s) to submit to the “Staff Writer for a Day” Special Event Pitch with WinSongs’ Creative Director, Kirby Smith?

I submitted four songs. Kirby said she likes fun, uptempo songs and unique hooks that surprise her, so I kept that in mind. I submitted “Kissed the Hell Outta Me” mainly because it was brand new and I was excited about it and that was the one she picked. 

What were your first thoughts when you found out that you were the winner?

I was just excited. Little victories are a big deal to me (see what I did there?), so any time someone digs a song, it’s a great feeling. 

What was it like when you first contacted WinSongs’ Creative Director, Kirby Smith, after the event?

Kirby was really nice and got a date locked in really fast.  

Your co-write session was supposed to be with hit songwriter, Sandy Ramos, but Kirby added Winsongs’ staff songwriter, Chase Fouraker. Why?

She added Chase so that we could write to a track. 

How did you prepare yourself ahead of time for the co-write session, which was online, I assume?

Yes, it was over Zoom. I had a bunch of ideas ready to go, some deeper ones and some fun ones. I basically wanted to have all my bases covered so if they wanted to write a certain vibe, I had a hook that could fit. I also listened to Chase’s material that he’s released as an artist to get a feel for what he does. 

How long was your writing session? Can you walk us through the process a bit?

We finished in about 2 hours, 45 minutes. We talked a little when we first jumped on. Sandy and Chase hadn’t written before, so we all introduced ourselves and got to know each other a bit. Sandy said she wanted to write a fun uptempo and they both liked the first idea I threw out, so we were off and running pretty quickly.

What do you feel is your “strength” as a writer? In other words, are you more lyric-driven or music-driven, or something else? What did you feel your co-writer’s strengths seemed to be?

I can be more lyric-driven or more melody-driven depending on the team I’m writing with. I think that’s probably true for Sandy and Chase too. Just based on that session, Sandy focused mainly on lyrics while Chase focused more on melody and track. But I got the feeling they both probably play different roles in the writing room on any given day. 

Did you learn anything new about the craft of songwriting during the session?

I loved seeing how Sandy approaches a lyric and how she would go back and make little changes that made a big difference to the song. It reinforced not to settle for the first thing that sounds cool, but to make sure you nail it. And Chase was sharing his screen so we were able to watch him build the track along the way. That was actually really cool. I’ve written with a lot of different track guys and girls, but I’ve never really had the chance to watch that process that closely while the song is being written. 

When you say you watched Chase build the track along the way, how did that fit into the writing?

We started with a chord progression and a loose melodic direction and he started building the track from there. At times, he was focusing on the track while Sandy and I were working on lyrics. For the most part, it was all happening simultaneously.

Any other thoughts or feelings you’d like to share about these two pros and/or the writing session itself?

Sandy was the first person to critique one of my songs at NSAI years ago. I’ve learned a lot from her, so I was really excited to write with her. She’s an amazing writer and just made the whole session so easy. And Chase is a multi-tasking wizard. I had a starting melody for the chorus and he took it to another level while he was building the track and helping with lyrics. He’s got a killer voice too. I could listen to him sing all day. 

Your overall experience with the Staff Writer for a Day Special Event?

It was an awesome experience that I’m truly grateful for. The Big Reveal session itself was really helpful. Sara, you asked a lot of great questions and Kirby offered a lot of insight. I really appreciate the opportunity to learn from two pro writers, the chance to connect with Kirby and to add another song to my catalog all at the same time. I can’t say enough good things about it. Thank you Sara, Danny, Sandy, Kirby and Chase! 

Kelly, you’re so welcome! Thank YOU for sharing your experience so we can all learn from it.

And now, without further adieu, here is the work tape of the awesome song that came out of the session…

“Heart’s A Drunk” by Ramos/McKay/Fouraker

Great work, Kelly! I’m imagining myself on the dance floor right now with the one I love. I hope we will hear this on the radio soon!


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In One Day at SongU, You Can Meet With, Get Song Feedback From, and Pitch To Music Publishers.

Those of you who have been “on campus” for a while, know that at SongU our focus is on education, personal attention, and connections, even when it comes to PITCHING. That’s why the same pitch guests that are listening to your songs for their own meetings with artists and labels are also available to help you reach your songwriting goals. At SongU on any given day you can:

  • Run your demo by a publisher before pitching it…just to get a sense of whether or not you’re on target.
  • Play a simple work-tape of a song for a publisher before spending money and time on a demo.
  • Bring in a song or part of a song, even a lyric that you’ve been stuck on to get some professional direction.
  • Network directly with publishers, music licensing agents, and song pluggers.
  • Hear back about the song you pitched to them, even if they pass on it.

Featured pitches: Do you have a female Pop song that would be great for TV Shows? An incredible Contemporary Country song with harmonies that would be perfect for a newly signed trio? An interesting song with a Singer-Songwriter vibe for a major label artist? Right now we have publishers looking for those songs and more to pitch for their upcoming meetings. And we want you to put your songs out there in the music industry and pitch! But before you do…

We would also like to suggest that in a competitive industry, it’s important to take advantage of every opportunity; whether it’s making your songs the best they can be, connecting with music industry professionals to find out what they’re looking for, or meeting a group of musical cohorts and peers, as well as experienced writers and publishers who will be there for you when you’re feeling a little discouraged.

woman in gray sweater typing on laptop
Photo by bongkarn thanyakij on Pexels.com

If you are not already a member of SongU, come check it out. Book a private consultation with a publisher, hit songwriter, or producer, take one of our monthly small-group song feedback sessions led by industry pros, submit a song for written feedback from an award-winning coach and pitch a song or two.

If you have any questions, see our extensive FAQ or send a “contact us” support form and we will respond directly within 48 hours (usually less).

Stay safe and have a great and inspired day!


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Pitching: It’s All About the Right Fit

Recently, we received an insightful observation in an email from SongU member, Bob Otting from Illinois, who wrote:

“I have a very, very limited number of songs that are pitch worthy – 6 max. Thus, I am sending the same songs out over and over to the same [pitch guests] on SongU and thinking, ‘These folks must hear that first note and scream ‘NOT AGAIN! WHY DO THEY KEEP SENDING ME THIS?!??” But then every once in a while I get a response: ‘Yes, Selected for this Meeting’, or a ‘Maybe’. It tells me I should keep pitching – its all about the right fit. Thanks for all you fine folks do at SongU!”

Bob’s insight is right on target. Industry pros like publishers, A&R reps, licensing agents, and recording artists listen to a lot of songs, and when listening, they often have a very narrow scope. So, they can frequently tell right away whether a given song may or may not work for a particular pitch. When you cast your song and pitch it again for a completely different project, the same set of ears listens differently. I’ve had songs turned down by an A&R person who two or three months later put the song on hold for another artist.

What does “pitch-worthy” mean? Bob adds an additional insight when he mentions his songs are “pitch-worthy,” meaning that he can objectively deem them competitive for the market place. How does he know this? He has taken the time to get feedback on his songs from mentors (that include hit songwriters, publishers, producers, and licensing agents) who have given him the thumbs-up. He probably has had to do some re-writing and tweaking to get them there, but once he got an okay, he knew his songs would be on a level playing field with the other songs being pitched in a professional arena.

Photo by Paulo Victor on Pexels.com

This Month’s Featured Pitches

Christmas/Holiday Songs. Pitch For Licensing Agent. Americana/Folk, Indie Pop, Jazz, Pop, Singer-Songwriter. Extended through August! Keep them coming! Holiday-themed songs needed now for film and advertising. Street Pitch guest, N.P., says productions are starting up for the holidays. Here’s what we need:
a. Cover songs of popular holiday songs and Christmas carols.
b. Original songs with great hooks, fun, upbeat, warm and positive…

Rose Falcon / Rodney Atkins. Pitch For Song PluggerAlternative, Americana, Singer Songwriter.  Street Pitch guest, J.N., veteran independent songplugger who has generated income for SongU members is looking for songs for Curb artists Rose Falcon and Rodney Atkins. Seeking solo songs for each as well as duets as per the following:
–Solo songs for Rose Falcon ala American singer-songwriter, Caitlyn Smith.
–Solo songs for Rodney Atkins with a Jason Isbell…

SongU.com: Online songwriting courses, co-writing, pitching, connections

Learn More About Pitching at SongU.com

Pitching at SongU is all online. Your songs go directly to our pitch guests. We’ve designed our Street pitch opportunities to connect members with several dedicated music publishers, song pluggers, and licensing agents looking for specific projects in order to mimic how almost every publishing company works. The truth is, unless you’re writing with the artist or producer, this is still a primary mode for “outside” songwriters to get a cut. It’s certainly better to have a plugger who can play the song for the A&R team, the producer, the manager and/or the artist rather than strictly have an A&R rep on who might not hear the song or have the final say in the decision making process. We also make direct connections to independent artists who are listening for their own projects. We’re really proud of our members when they have success with their writing, much like any teacher would be who sees their students successes.


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The Open-Mic Experiment

A couple of years after we got married, Danny and I packed up our hand-me-down couch, dinette set and mattress, and moved from Edison, NJ to Nashville, TN with a notion to eventually make our living as songwriters. We had at least thought ahead enough to have saved some extra money to open a savings account, and had acquired employment to give ourselves a steady income in case the “songwriting thing” didn’t happen right away. Big dreams can take awhile, as you might imagine.

Most nights we’d head out to “writer’s nights”, often to the infamous Bluebird Cafe, to listen to songwriters sing their original songs and tell the stories behind them: “Well, about a year ago my co-writer and I got together and he was telling me about his wife’s grandma and grandpa and how after 60 years of marriage, they’d been separated in a nursing home on different floors. She’d stopped talking until one day they wheeled him into the room and she asked, ‘where have you been’, and we just started writing a song about it.”

Night after night the writers would start strumming their guitars and singing a few bars until the audience realized they were listening to one of their favorite songs recorded by Kathy Mattea or Garth Brooks or Reba McEntire or Tim McGraw or Bonnie Raitt and so on. There would be an audible sigh and an eruption of appreciative applause. There’s really nothing more breathtaking then hearing a hit song sung in its simplest form by the person who wrote it.

It didn’t take long to realize that singing one’s original songs at open-mics and writer’s nights was a right of passage in Nashville…whether or not you were a performer. There were opportunities to “play out” for every level of writer from those who were fresh-off-the-turnip-truck to those who were polished and perfected. As newbies, we’d go out to listen and support the other newcomers, our incoming class, as it were.

The first time some friends asked us to perform at a writer’s night they were hosting, I was TERRIFIED. It took some serious self-talk to step up on that stage. But when it was all over, after I had heard my shaky voice coming back through the monitor and I kept going, after Danny played the last chord on his keyboard and I heard some clapping, after I had not spontaneously imploded, I had my “aha” moment. Great songwriting requires you to be at your most vulnerable and your most courageous at the same time.

Those writer’s nights were a big part of my songwriting education. They forced me to face my fears and time and again push beyond my comfort zone. They allowed me to test out new material and get better at what I was trying to do. Most importantly, playing out gave me the opportunity to interact with my peers in a supportive and constructive way, as well as to meet co-writers and friends who have lasted a life time (Shout out to Carol & Dale, and Nancy & Fett).

On August 14th, we’re inviting our SongU members to take part in this same kind of educational experience with a virtual open-mic experiment, hosted by long-time member, Mitch Townley. Whether we’re experienced or aspiring, whether we’re singers or vocally “challenged”, ready or not, here we come!