Archive | July, 2016

A John Braheny Songmine column from the archives…

Accession Number: C000000137-026-001 Document/Digital File, “Publishing Yourself: Developing a Filing System”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

DECEMBER 20 — JANUARY 9

Songmine by John Braheny

Looking At The 80’s Part One

The 70’s have shown us glimpses of what we can expect in the 80’s. Some of the most exciting developments include the further miniaturization and mass production of integrated circuits (IC chips) and other electronic components and the advancement of audio-vi-sual technology. Here’s a look at some new developments and how they affect performers and songwriters.

The new video recorder/playback machine is getting more and more sophisticated. We now get more time per tape, easier programming in our absence and therefore more convenience. A more recent product is the videodisc. It takes up less storage space than video tape, is indestructable, has quality which doesn’t suffer with repeated use and is cheap. The major problem with the disc, which I’m sure is an inventor’s priority now, is that you can’t record on it. For a songwriter or recording artist there’s an obvious advantage to not being able to home record on videodisc. It means you’ll get paid for your performance or for the use of the song through the sale of the disc and, assuming people don’t have a video tape recorder, your Rock Concert or Midnight Special performance (assuming they’re still around) won’t be taped at home.

The subject of how performers will be affected by mass video merchandising of their performances is fraught with many legal and career questions. Will an artist get over-exposed? Will people wtill go to concerts if they can be seen at home on a big screen without using the gas or spending the ticket money? If fewer people go to concerts will promoters have to raise prices? Will artists stop touring and spend the time and money cranking out new and exciting audio-visual product? I don’t think a live performance will ever be replaced as a social event. There will be more pressure on performers though to do shows that are not carbon copies of their video performances. The more unpredictable the performers, the more people will look forward to seeing them. On the other hand I suppose it could be argued that people are disappointed if an artist doesn’t sound the same in his/her live performance as on record. Time will tell.

There are some special benefits which certain types of performers will reap in this video evolution. It’s very frustrating to hear record execs say, “He’s too cabaret, a club performer. It’d never work in concert.” Most of the time I think that’s just another excuse but in some cases I’m sure there is some validity in it. Maybe a performer has a subtle kind of intimacy with an audience, an expressive face that communicates strongly up close but is lost past the first 20 rows. Video projections have been used in concerts with great effect but it’s often difficult to get good angles on the artist without interferring with audience sightlines. Video tapes or discs that are studio produced, possibly with live audiences, would be a great avenue of exposure for this type of artist.

There are also many writer/artists who are charismatic, exciting performers but who don’t write songs that are mainstream pop/MOR/disco/Top 40 in style. Their songs may not come across well on record and may not contain the dynamics necessary for AM radio songs to be successful. They may have a limited audience by virtue of an as yet unpopularized point of view. Record companies are rarely inspired to gamble on that type of artist even though they’re great live performers. The hope of videodiscs is that artists who communicate as much with their bodies and personal magnetism as they do with their songs can gain the exposure they need to be able to build profitable careers. Comedians would obviously benefit from audio-visual presentations. Performers who like to mix graphic images and dance with their shows could do mind-blowing effects using new video technology.

Despite all the downers happening in the world as we head into the 80’s it’s still possible to maintain optimism and excitement about the fantastic playground we’re building for artists. More about it next issue.

Previously in the Songmine Collection:

• Songmine: Publishing Yourself: Developing a Filing System by John Braheny
• Songmine: Administration Deals & Starting Your Own Company by John Braheny
• Songmine: Tough Enough To Publish Yourself? by John Braheny
• Songmine: The Nashville/LA Barrier Crumbles by John Braheny
• Songmine: Message Songs Part 2 by John Braheny
• Songmine: Message Songs Part 1 by John Braheny
• Songmine: Rhyme by John Braheny
• Songmine: “The Knack” A 3rd Point of View by John Braheny
• Songmine: For the non-writing artist: Where do you find original material? by John Braheny
• Songmine: For the non-writing artist: Why you need original material by John Braheny
• Songmine: Scoring Films on a Low Budget Part 6 by John Braheny
• Scoring Films on a Low Budget Part 5 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 4 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 3 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting
• Songmine: Scoring Films on a Low Budget Part 1
• Songmine: The Chances for Advances by John Braheny
• Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny
• Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny
• Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny
• Songmine: What A Record Company Needs to Know : Part 3
• Songmine: What A Record Company Needs to Know: Part 2 by John Braheny
• Songmine: What A Record Company Needs to Know: Part 1 by John Braheny
• Songmine: Getting the Most from the Trades Part 4 
• Songmine: Getting the Most from the Trades Part 3 by John Braheny
• Getting the Most from the Trades
• Songmine: Publishing III 
• Songmine: Leave Your Ego at the Door
• Songmine: “Feedback: Why some publishers won’t give it”
• Songmine: Dealing with Rejection by John Braheny
• “Music in Print” – A Songmine Column from Music Connection Magazine March 19-April 1, 1981

About Songmine and Music Connection Magazine:

John Braheny met Eric Bettelli and Michael Dolan right before they were going to publish Music Connection magazine. Eric and Michael wanted to get their publication out to as many songwriters as they could. They had already heard of the LA Songwriters Showcase, and of John and his partner, Len Chandler. John’s goal was to advertise the schedule of guest speakers and performers at the weekly Showcase… so they made a deal. 

They published John’s Songmine column (he had never before written a magazine article!) in their very first edition, in November 1977. Trading out the column for advertising, this arrangement continued for many years. Plus, Eric and Michael came to the Showcase each week and distributed free copies to the songwriters!

Those articles became so popular that (book agent and editor) Ronny Schiff offered John’s articles to F&W Media, where they became the backbone of John’s textbook, The Craft and Business of Songwriting. As a follow-up, Dan Kimpel (author, songwriter, teacher), who had also worked at LASS, took on the Songwriting column at Music Connection magazine which continues to this day! You can subscribe to get either hard copies or online.

A John Braheny Songmine column from the archives…

Accession Number: C000000137-025-002 Document/Digital File, “Publishing Yourself: Developing a Filing System”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine by John Braheny

PUBLISHING YOURSELF: Developing a filing system

If you plan to be actively “plugging” your own songs it’s important to keep track of what’s going on. You’ll need to develop a list of producers and recording artists for whom your songs may be appropriate. Keep a running file on each of them so that every time you make contact you can note who they’re producing (for producers), what type of material they need for the upcoming LP, where they’re recording, what kind of demos they prefer, whether they usually ask for a percentage of publishing, etc.

Info on the artist should include vocal range, what style he/she prefers and information about personal idiosyncracies like “hates sexist songs” or “positive lyrics only.” This information can be obtained from the producer, consumer and trade magazines, radio and TV interviews or, if you’re more fortunate, from the artist.

It’s also wise to keep a record of personal items about the producer, such as “plays golf,” “anti-nuke activist,” “just had a baby,” “going to England in August,” etc. This type of info is useful in all businesses where personal contact is important. It allows you an instant recap and reminder when you call them or set up a meeting, gives you an idea for opening conversation to break the ice, and lets them know that you’re concerned about them as people. It doesn’t take the place of having good songs, though, since many producers have little time for “small talk” and are best served by a brief presentation of your material. It can, however, create a better climate for you to get feedback on your songs and help you develop as both writer and publisher.

After every meeting or phone call notes should be made regarding the outcome, such as “loved ‘Don’t Take It Away,’ doesn’t feel it’s right for (artist) but wants to keep the tape for future reference – remind him,” “didn’t like ‘Do It Again’ but maybe if the hook was stronger – rewrite,” “will be producing (artist) in Sept. -start writing.” Aside from those personal notes, keep another file on the songs. It should tell you who has demos on each of them, when they received the demos, dates of follow-up calls and what was discussed or decided, etc. The value of these records will become apparent after you’ve called about 30 producers and are preparing for another call or visit when you discover you can’t remember whether it was producer X or Y who hates cassettes or whether he’s already “passed” on the song you intend to present.

You should also have a ready file of lead sheets and tape copies on all the songs you’re currently pitching so you don’t need to delay if someone asks you for a copy.

It’s a good idea to have 3X5 cards with you at all times so you can write down any info you pick up on the street. The cards are better than little scraps of paper or matchbook covers because they don’t get lost as easily and are easily filed. The street information you pick up is usually about who’s recording now or a new producer with an unknown act who might give you the opportunity to get in on the ground floor.

For tax purposes make sure you keep track of all expenses incurred in doing business. They include lunches (must be documented as business), demo costs, tape copies, lead sheets, trade magazines, night-clubbing (looking for new talent), auto expenses, telephone calls, all musical instrument purchases and repairs, sound equipment, records and tapes (to keep up with what’s happening).

Remember that all of this takes a lot of discipline but once you get in the habit it becomes easier. If you don’t get in the habit you could seriously jeopardize your chances of success.

Previously in the Songmine Collection:

• Songmine: Administration Deals & Starting Your Own Company by John Braheny
• Songmine: Tough Enough To Publish Yourself? by John Braheny
• Songmine: The Nashville/LA Barrier Crumbles by John Braheny
• Songmine: Message Songs Part 2 by John Braheny
• Songmine: Message Songs Part 1 by John Braheny
• Songmine: Rhyme by John Braheny
• Songmine: “The Knack” A 3rd Point of View by John Braheny
• Songmine: For the non-writing artist: Where do you find original material? by John Braheny
• Songmine: For the non-writing artist: Why you need original material by John Braheny
• Songmine: Scoring Films on a Low Budget Part 6 by John Braheny
• Scoring Films on a Low Budget Part 5 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 4 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 3 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting
• Songmine: Scoring Films on a Low Budget Part 1
• Songmine: The Chances for Advances by John Braheny
• Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny
• Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny
• Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny
• Songmine: What A Record Company Needs to Know : Part 3
• Songmine: What A Record Company Needs to Know: Part 2 by John Braheny
• Songmine: What A Record Company Needs to Know: Part 1 by John Braheny
• Songmine: Getting the Most from the Trades Part 4 
• Songmine: Getting the Most from the Trades Part 3 by John Braheny
• Getting the Most from the Trades
• Songmine: Publishing III 
• Songmine: Leave Your Ego at the Door
• Songmine: “Feedback: Why some publishers won’t give it”
• Songmine: Dealing with Rejection by John Braheny
• “Music in Print” – A Songmine Column from Music Connection Magazine March 19-April 1, 1981

About Songmine and Music Connection Magazine:

John Braheny met Eric Bettelli and Michael Dolan right before they were going to publish Music Connection magazine. Eric and Michael wanted to get their publication out to as many songwriters as they could. They had already heard of the LA Songwriters Showcase, and of John and his partner, Len Chandler. John’s goal was to advertise the schedule of guest speakers and performers at the weekly Showcase… so they made a deal. 

They published John’s Songmine column (he had never before written a magazine article!) in their very first edition, in November 1977. Trading out the column for advertising, this arrangement continued for many years. Plus, Eric and Michael came to the Showcase each week and distributed free copies to the songwriters!

Those articles became so popular that (book agent and editor) Ronny Schiff offered John’s articles to F&W Media, where they became the backbone of John’s textbook, The Craft and Business of Songwriting. As a follow-up, Dan Kimpel (author, songwriter, teacher), who had also worked at LASS, took on the Songwriting column at Music Connection magazine which continues to this day! You can subscribe to get either hard copies or online.