The Penguinoさん「Songwriters: Essential Reading by Peter Martin」
Songwriters: Essential Reading by Peter Martin
VAAM Music Update
Most of my readers are aware that I have been writing a Singer/Songwriter Book. Unfortunately, with the changes in the last two years, along with the current economic crisis, most of the book now has to be re-written.
This is what is now occurring to the Record Industry and all major corporations across America. Everyone is now restructuring their entire business model. This is the main reason why I have not released a newsletter for several months. I have researched to see if I would have to change the methods in which our songwriters would now have to adapt. There are a few changes that will be helpful to the new songwriters, and most importantly, for those professional writers that may be caught off guard. I will address this later on in the newsletter.
State Of The Industry
The state of the industry? That it's a good question. Everyone is trying to understand what new business model the record industry will embark on. There are reports in many of the trade publications stating that the four major corporations, which are these major record labels, are surviving by selling their product with Best Buy and Wal-Mart. Of course some of the income is also coming from Internet sales. But, in all reality, it does not matter what direction the record labels will take, they will still need a killer song for their artist. The record industry is one entity, publishing and songwriting is another entity. So regardless what business model they take, they will need the songwriter and publisher, now, more than ever.
My New Method Of Songwriting, Which Will Garnish A Hit
In the past two years there have been many changes as to how the professional songwriter structures their songs. The old methods no longer work. After researching what is now selling in the present market, I have adapted a new method that will enable the professional songwriter to write that killer song in the present market. It is critical that this list be followed:
#1. Radio: At the top of the list is radio, which is something everyone forgets. Even with the professional songwriter, and in most cases, the record label and artist also make terrible mistakes. Radio has to abide by the FCC Rules, which are very strict and this will result as to what they will play and what they will not play for their audience. Radio time is precious and very expensive. As far as the songwriter is concerned, one must structure the song for radio acceptance. The following are the most critical as far as the songwriter & radio are concerned:
• Length of song should be about 2 ½ minutes, but no longer than 3 minutes.
• Intros on the song must be less than 10 seconds. Songs without intros are preferred.
• The first 30 seconds of the song must excite the program director; otherwise, the song goes straight into the trash. (In the old methods of writing, most songs didn’t get your attention until after the hook about 1½ minute into the song. That is no longer acceptable. You have 30 seconds to sell your song.)
• The subject matter of your song is critical. Most radio stations in Middle America will ban songs by Major Artists with unacceptable lyrics. Plan your subject matter well in advance so that it will not offend certain parts of a radio audience. Be lyric safe!
#2. The Song Title: Before you write a song, it is critical that you test the title first with this list of suggestions that must be met. This is such an important item that even the professional writer can limit their song from being 100% marketable. Many screeners will reject a song because of the title, although they may like the rest of the song. Reason being, that the bad title will be reflected in the song, the hook or the chorus. All writers must wake up to the reality that no one fixes songs anymore, because of legal reasons, or lack of professionalism on the part of the writer. You must research and do your homework, as songwriting for professionals is a serious business:
• The song title must be a selling commercial item that will bring attention to the song. Must be unique, simple and easy to remember. Must invite curiosity!
• The title should be at the top of the alphabet. Songs starting with W, X, Y, Z will always be at the bottom of all songs lists, and usually forgotten by D.J./Radio because they ran out of time.
• Run a check with BMI, ASCAP, SESAC, and the Harry Fox Agency to see how many songs have the same title. If you have the same title as a hit from the past, radio may pass on the song thinking it is just another cover of an old song. The ideal is to come up with a title no one else has, and still be able to incorporate it in your song structure. You cannot copyright titles. If you run a check on a title, you may come up with 100 to 3,000 same titles, which is not in your best interest. If you have the same title as a previous hit, it is critical that you come up with a different title. It is preferred to have the least non-hit similar titles as possible.
#3. The Female Audience buys approximately 75% to 90% of all products sold: This is one of the hardest rules to convey to the new songwriter. The professional songwriter knows that if he does not write something from the heart for the female, the chances of getting a cut are drastically limited. Although there are exceptions, your best bet is to write for the female.
If you have been to a concert with Britney Spears, Miley Cyrus, or Taylor Swift, you will see that 75 to 90% of the audience is female. The same goes with male pop artists like the Jonas Brothers, etc., almost all females.
Earlier this year in Hollywood, there was an outside concert on Hollywood & Vine with Depeche Mode sponsored by a radio station. This group has been around for over 30 years. But I was amazed to see that the percentages were the same, with females less than 25 years of age on the average. Incredibly, they weren’t born when the group first made it. When asked how they became fans, most stated, from listening to their parents records and tapes. A friend also brought to my attention that the biggest hits of Metal Rock Groups of the 80’s were the rock ballads geared for the females.
Many young songwriters may not remember or know who Conway Twitty was. This country artist outsold Elvis and The Beatles with the most number one songs before his death. When asked what his secret to this success was, he said it was very simple. “I find songs that say what a women wants to hear, but the man does not have the courage to say. Women are emotional and from the heart. Most men are scared to show their emotional side. It is that simple!”
#4. Write fast songs only, do not waste your time on a slow song/ballad: Call Outs by Major Labels, Managers and Producers are for mid-tempo to fast songs, preferably “fast songs.” Rarely do we get a call for a slow song. Please do not be misguided that songs for the females are slow song/ballads. On the contrary, it is in favor of the fast song. This has been the norm for the past 30 years. There have been years where requests for the slow song/ballad would be under 25 for the entire year, compared to over 500 for the fast song. The writer must remember that when there is a “call out” for a slow song, they specifically may request that the singer cannot be “the loser in a love relationship, no crying in my beer songs, no she left me songs, no cheating songs, etc., etc..” It is also important to point out that Radio prefers fast, lively, attention grabbing songs. They do not want to put their audience to sleep with slow songs.
I rarely sign slow song/ballads because of the common restrictions by a label. Unless you have a dynamite “killer song” idea for a slow song, do not waste your time. (Unfortunately, amateur songwriters who are not aware of this principle write 20 slow songs for every single fast song.)
#5. You must have a professional demo of your song: Even though you may have a great song, if the demo is poorly recorded, the screener at the Record Label, Management, or Production Company will instantly dump it in the trash. Today’s screener of songs prides themselves in presenting clean quality demos and potential hits to their bosses, and eventually the artist.
This is what you must request from the demo service:
• A limit of 10 seconds for the Intro to abide with radio. This is critical!
• The length is 2 ½ minutes preferred, but no longer than 3 minutes. (You should have already written your song within these guidelines.)
• You need a demo singer that sounds like everyone and no one, very generic. (Request sample CD’s of their vocalists. Do not use a vocalist that sounds like a specific artist or a dated artist from the past. Think generic! )
• Vocals must be above the music track. You must be able to understand each and every word in the song. No exceptions! (For some strange reason, the first 30 seconds of the song, the demo singer does not articulate the lyrics. This happens over and over again. You must be very strict on this. Put it in writing!)
• Please accept the fact that your song will never sound exactly like you want it. But as long as you have a clean demo, lyrics articulated, and the melody is close, all should work well. (The amateur songwriter having their first cut, are usually shocked to see how the production team and artist have interpreted their song. It is not unusual to get a call from the songwriter, stating: “They destroyed my song!” But after it starts climbing the charts, and they start getting used to the new version, the writer will eventually realize that it is a better version than the original, in most cases.)
#6. The “Subject Matter” of your song must sell: Although, you may have followed the previous criteria on writing a song, if you are not in touch with the buying public, you are doomed to fail.
• Study the weekly “top ten” charts at Billboard.com or your local radio station paying close attention to the #1 spot. These ten songs are what is selling and may go platinum. (If you do not like any of the ten songs, you are totally out of touch with the buying public, and must restructure your intent as a writer.)
• Do not write about morals with children, politics, religion, or drinking songs unless you are an extremely gifted songwriter. Radio will ban the song!
• Do Not Personalize Your Songs! You must learn to write in terms of at least 30 artists, or more, that can use your song. Do not write about your wife, kids, your dog, or your truck! No artists in their right mind will record a personalized song about someone else, unless it is written in the third person. (A song written about someone else, in the third person, as a great story song that holds your attention.)
• The “Song Matter” should be about everyone and no one, and most importantly, not dated: Unless you are extremely gifted in placing words, do not use dates, do not use clichés or clichés from a different time period, do not use the age of persons in numerals, or in any form that will date your song. For example: It is better to say “back when I was young,” rather than, “When I was 23 back in 1985.” What artist would fit this time period??? The rule of thumb is to never have one single word that dates a song. This particular date would limit a young or old recording artist from singing your song. Most golden hits from the past are fresh today as they were fresh in the 60’s when they were originally recorded. Nothing dates them!
• Neither Gender Songs double your chances of getting cuts, and covers from both male and female singers. If the subject matter in your song is compatible to both genders, make sure that only “he” or “she” are the only words to change in the lyrics when you make a “male demo” or a “female demo.” Most writers are so gifted as they do not even have these two words in a song.
The new songwriter is under the illusion that every song that is played on radio is a hit! Most of what is currently on radio, the audience likes to listen to, but will not go out and buy it. Radio plays these songs in order to entertain the audience. Only the Top Ten on the Charts are actually making money! The Top Five are the real moneymakers with the potential of going platinum. (The remaining Top Forty songs may not generate enough income to pay the expense of release and promotion. This is why the professional writer, and most importantly, the Record Label only think Top Ten/Killer Songs.)
In today’s market, verses in songs are shorter in order to get you to the hook or bridge quickly to captivate the listener. The professional writer already knows how to structure songs with intros, hooks, bridges, and chorus in order to get the attention of the buyer in the shortest time possible. But we must keep in mind that in the past five years technology has changed humanity. Everything is fast and attention grabbing! This is why it is so important to follow these guidelines. If you cannot get the attention of a screener of music within 30 seconds of the song, your song goes into the trash. Think about it. Most commercials on T.V. are 10 seconds or less and they sell millions of dollars worth of product. The songwriter has the greater advantage of 30 seconds to a hit song!
The most difficult transition a new writer must make is to stop writing about themselves, their wives/husbands, their family, or their friends in a personalized manner. In reality, every songwriter has a secret desire to be the recording artist, so they write in terms of their personal reality, rather than writing a generic song from the heart to fit every male or female artist on a major label.
Snap out of it! You must stop dreaming! It takes a special person to become an artist. (If you have little patience, easily agitated, or prone to anger, you must come back to reality, as even calm collected individuals, who have a better chance do not make it.) It is one of the most difficult jobs in the world and the average person would have to be insane to be an artist in today’s world. The pressure, stress, lack of sleep, lack of privacy, lack of friends you can trust, lack of a real sane world is too much to give up. Record Labels want blood, sweat and tears, and unless you are a real star with hits, they will spit you out. It is important to remember, that the average life span of a new artist’s career is only 3 years, ending in a penniless situation after being dropped by the label. Only a gifted few make it beyond that!
On the other hand, if you hone your songwriting skills with my methods, you can have more hits, greater financial freedom, privacy, and all the free time in the world to enjoy your success in a beautiful sane world free of stress and anxiety.
This newsletter is intended for the serious professional songwriter who will follow my methods that will bring success, if strictly followed. Poets and Songwriters through the ages have changed the world for the better with their inspiring words. This is a special gift from God. You possess this gift when you touch the heart. It is all so simple ….if you write for the established Recording Star, rather than writing for yourself. That is the true songwriter.
Pete Martin
Most of my readers are aware that I have been writing a Singer/Songwriter Book. Unfortunately, with the changes in the last two years, along with the current economic crisis, most of the book now has to be re-written.
This is what is now occurring to the Record Industry and all major corporations across America. Everyone is now restructuring their entire business model. This is the main reason why I have not released a newsletter for several months. I have researched to see if I would have to change the methods in which our songwriters would now have to adapt. There are a few changes that will be helpful to the new songwriters, and most importantly, for those professional writers that may be caught off guard. I will address this later on in the newsletter.
State Of The Industry
The state of the industry? That it's a good question. Everyone is trying to understand what new business model the record industry will embark on. There are reports in many of the trade publications stating that the four major corporations, which are these major record labels, are surviving by selling their product with Best Buy and Wal-Mart. Of course some of the income is also coming from Internet sales. But, in all reality, it does not matter what direction the record labels will take, they will still need a killer song for their artist. The record industry is one entity, publishing and songwriting is another entity. So regardless what business model they take, they will need the songwriter and publisher, now, more than ever.
My New Method Of Songwriting, Which Will Garnish A Hit
In the past two years there have been many changes as to how the professional songwriter structures their songs. The old methods no longer work. After researching what is now selling in the present market, I have adapted a new method that will enable the professional songwriter to write that killer song in the present market. It is critical that this list be followed:
#1. Radio: At the top of the list is radio, which is something everyone forgets. Even with the professional songwriter, and in most cases, the record label and artist also make terrible mistakes. Radio has to abide by the FCC Rules, which are very strict and this will result as to what they will play and what they will not play for their audience. Radio time is precious and very expensive. As far as the songwriter is concerned, one must structure the song for radio acceptance. The following are the most critical as far as the songwriter & radio are concerned:
• Length of song should be about 2 ½ minutes, but no longer than 3 minutes.
• Intros on the song must be less than 10 seconds. Songs without intros are preferred.
• The first 30 seconds of the song must excite the program director; otherwise, the song goes straight into the trash. (In the old methods of writing, most songs didn’t get your attention until after the hook about 1½ minute into the song. That is no longer acceptable. You have 30 seconds to sell your song.)
• The subject matter of your song is critical. Most radio stations in Middle America will ban songs by Major Artists with unacceptable lyrics. Plan your subject matter well in advance so that it will not offend certain parts of a radio audience. Be lyric safe!
#2. The Song Title: Before you write a song, it is critical that you test the title first with this list of suggestions that must be met. This is such an important item that even the professional writer can limit their song from being 100% marketable. Many screeners will reject a song because of the title, although they may like the rest of the song. Reason being, that the bad title will be reflected in the song, the hook or the chorus. All writers must wake up to the reality that no one fixes songs anymore, because of legal reasons, or lack of professionalism on the part of the writer. You must research and do your homework, as songwriting for professionals is a serious business:
• The song title must be a selling commercial item that will bring attention to the song. Must be unique, simple and easy to remember. Must invite curiosity!
• The title should be at the top of the alphabet. Songs starting with W, X, Y, Z will always be at the bottom of all songs lists, and usually forgotten by D.J./Radio because they ran out of time.
• Run a check with BMI, ASCAP, SESAC, and the Harry Fox Agency to see how many songs have the same title. If you have the same title as a hit from the past, radio may pass on the song thinking it is just another cover of an old song. The ideal is to come up with a title no one else has, and still be able to incorporate it in your song structure. You cannot copyright titles. If you run a check on a title, you may come up with 100 to 3,000 same titles, which is not in your best interest. If you have the same title as a previous hit, it is critical that you come up with a different title. It is preferred to have the least non-hit similar titles as possible.
#3. The Female Audience buys approximately 75% to 90% of all products sold: This is one of the hardest rules to convey to the new songwriter. The professional songwriter knows that if he does not write something from the heart for the female, the chances of getting a cut are drastically limited. Although there are exceptions, your best bet is to write for the female.
If you have been to a concert with Britney Spears, Miley Cyrus, or Taylor Swift, you will see that 75 to 90% of the audience is female. The same goes with male pop artists like the Jonas Brothers, etc., almost all females.
Earlier this year in Hollywood, there was an outside concert on Hollywood & Vine with Depeche Mode sponsored by a radio station. This group has been around for over 30 years. But I was amazed to see that the percentages were the same, with females less than 25 years of age on the average. Incredibly, they weren’t born when the group first made it. When asked how they became fans, most stated, from listening to their parents records and tapes. A friend also brought to my attention that the biggest hits of Metal Rock Groups of the 80’s were the rock ballads geared for the females.
Many young songwriters may not remember or know who Conway Twitty was. This country artist outsold Elvis and The Beatles with the most number one songs before his death. When asked what his secret to this success was, he said it was very simple. “I find songs that say what a women wants to hear, but the man does not have the courage to say. Women are emotional and from the heart. Most men are scared to show their emotional side. It is that simple!”
#4. Write fast songs only, do not waste your time on a slow song/ballad: Call Outs by Major Labels, Managers and Producers are for mid-tempo to fast songs, preferably “fast songs.” Rarely do we get a call for a slow song. Please do not be misguided that songs for the females are slow song/ballads. On the contrary, it is in favor of the fast song. This has been the norm for the past 30 years. There have been years where requests for the slow song/ballad would be under 25 for the entire year, compared to over 500 for the fast song. The writer must remember that when there is a “call out” for a slow song, they specifically may request that the singer cannot be “the loser in a love relationship, no crying in my beer songs, no she left me songs, no cheating songs, etc., etc..” It is also important to point out that Radio prefers fast, lively, attention grabbing songs. They do not want to put their audience to sleep with slow songs.
I rarely sign slow song/ballads because of the common restrictions by a label. Unless you have a dynamite “killer song” idea for a slow song, do not waste your time. (Unfortunately, amateur songwriters who are not aware of this principle write 20 slow songs for every single fast song.)
#5. You must have a professional demo of your song: Even though you may have a great song, if the demo is poorly recorded, the screener at the Record Label, Management, or Production Company will instantly dump it in the trash. Today’s screener of songs prides themselves in presenting clean quality demos and potential hits to their bosses, and eventually the artist.
This is what you must request from the demo service:
• A limit of 10 seconds for the Intro to abide with radio. This is critical!
• The length is 2 ½ minutes preferred, but no longer than 3 minutes. (You should have already written your song within these guidelines.)
• You need a demo singer that sounds like everyone and no one, very generic. (Request sample CD’s of their vocalists. Do not use a vocalist that sounds like a specific artist or a dated artist from the past. Think generic! )
• Vocals must be above the music track. You must be able to understand each and every word in the song. No exceptions! (For some strange reason, the first 30 seconds of the song, the demo singer does not articulate the lyrics. This happens over and over again. You must be very strict on this. Put it in writing!)
• Please accept the fact that your song will never sound exactly like you want it. But as long as you have a clean demo, lyrics articulated, and the melody is close, all should work well. (The amateur songwriter having their first cut, are usually shocked to see how the production team and artist have interpreted their song. It is not unusual to get a call from the songwriter, stating: “They destroyed my song!” But after it starts climbing the charts, and they start getting used to the new version, the writer will eventually realize that it is a better version than the original, in most cases.)
#6. The “Subject Matter” of your song must sell: Although, you may have followed the previous criteria on writing a song, if you are not in touch with the buying public, you are doomed to fail.
• Study the weekly “top ten” charts at Billboard.com or your local radio station paying close attention to the #1 spot. These ten songs are what is selling and may go platinum. (If you do not like any of the ten songs, you are totally out of touch with the buying public, and must restructure your intent as a writer.)
• Do not write about morals with children, politics, religion, or drinking songs unless you are an extremely gifted songwriter. Radio will ban the song!
• Do Not Personalize Your Songs! You must learn to write in terms of at least 30 artists, or more, that can use your song. Do not write about your wife, kids, your dog, or your truck! No artists in their right mind will record a personalized song about someone else, unless it is written in the third person. (A song written about someone else, in the third person, as a great story song that holds your attention.)
• The “Song Matter” should be about everyone and no one, and most importantly, not dated: Unless you are extremely gifted in placing words, do not use dates, do not use clichés or clichés from a different time period, do not use the age of persons in numerals, or in any form that will date your song. For example: It is better to say “back when I was young,” rather than, “When I was 23 back in 1985.” What artist would fit this time period??? The rule of thumb is to never have one single word that dates a song. This particular date would limit a young or old recording artist from singing your song. Most golden hits from the past are fresh today as they were fresh in the 60’s when they were originally recorded. Nothing dates them!
• Neither Gender Songs double your chances of getting cuts, and covers from both male and female singers. If the subject matter in your song is compatible to both genders, make sure that only “he” or “she” are the only words to change in the lyrics when you make a “male demo” or a “female demo.” Most writers are so gifted as they do not even have these two words in a song.
The new songwriter is under the illusion that every song that is played on radio is a hit! Most of what is currently on radio, the audience likes to listen to, but will not go out and buy it. Radio plays these songs in order to entertain the audience. Only the Top Ten on the Charts are actually making money! The Top Five are the real moneymakers with the potential of going platinum. (The remaining Top Forty songs may not generate enough income to pay the expense of release and promotion. This is why the professional writer, and most importantly, the Record Label only think Top Ten/Killer Songs.)
In today’s market, verses in songs are shorter in order to get you to the hook or bridge quickly to captivate the listener. The professional writer already knows how to structure songs with intros, hooks, bridges, and chorus in order to get the attention of the buyer in the shortest time possible. But we must keep in mind that in the past five years technology has changed humanity. Everything is fast and attention grabbing! This is why it is so important to follow these guidelines. If you cannot get the attention of a screener of music within 30 seconds of the song, your song goes into the trash. Think about it. Most commercials on T.V. are 10 seconds or less and they sell millions of dollars worth of product. The songwriter has the greater advantage of 30 seconds to a hit song!
The most difficult transition a new writer must make is to stop writing about themselves, their wives/husbands, their family, or their friends in a personalized manner. In reality, every songwriter has a secret desire to be the recording artist, so they write in terms of their personal reality, rather than writing a generic song from the heart to fit every male or female artist on a major label.
Snap out of it! You must stop dreaming! It takes a special person to become an artist. (If you have little patience, easily agitated, or prone to anger, you must come back to reality, as even calm collected individuals, who have a better chance do not make it.) It is one of the most difficult jobs in the world and the average person would have to be insane to be an artist in today’s world. The pressure, stress, lack of sleep, lack of privacy, lack of friends you can trust, lack of a real sane world is too much to give up. Record Labels want blood, sweat and tears, and unless you are a real star with hits, they will spit you out. It is important to remember, that the average life span of a new artist’s career is only 3 years, ending in a penniless situation after being dropped by the label. Only a gifted few make it beyond that!
On the other hand, if you hone your songwriting skills with my methods, you can have more hits, greater financial freedom, privacy, and all the free time in the world to enjoy your success in a beautiful sane world free of stress and anxiety.
This newsletter is intended for the serious professional songwriter who will follow my methods that will bring success, if strictly followed. Poets and Songwriters through the ages have changed the world for the better with their inspiring words. This is a special gift from God. You possess this gift when you touch the heart. It is all so simple ….if you write for the established Recording Star, rather than writing for yourself. That is the true songwriter.
Pete Martin