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Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting

By on March 31, 2016 in Archive Highlights, Songmine, Songwriting Business, Songwriting Craft

A John Braheny Songmine column from the archives…

Songmine: Scoring Films on a Low Budget Part 1 and Part 2: Research and Spotting

Accession Number: C000000137-017 Document/Digital File, “Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting by John Braheny”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

MAY 10-23

Songmine
by John Braheny

Songmine-Film Scoring-Part 2: ‘Research and Spotting by John Braheny

In my last article I talked about the initial preparations for a film I scored, a Ray Bradbury short story called The Flying Machine, set in ancient China. I also spoke about my background and about the prod-ucer/director Bernard Selling. was doing the music with _Curt Berg, an excellent composer, arr-anger and big band leader. Our first move was to see the film, get some general impressions and talk with Bernard about his general concept for the music. Bernard is a musician (something unusual to run into in a director) and he had some ideas. Obviously, the music had to sound Chinese, but he felt it wasn’t important that we adhere strictly to the traditional style. Since, in film scores, basic song forms usually go out the window, except for thematic material, we had some latitude.

Next procedure is to “spot” the film, deciding in what “spots” there should or shouldn’t be music. This is a very subjective procedure. We start by figuring out where the music is absolutely needed to ex-press something that the actors or dialogue can’t say, to heighten the effect of the action, or to give flavor or “color” to a location. We include notes about places for “wild spots” or “stingers” we’ll record just in case we decide later that maybe we’ll need it and save ourselves from a last-minute session. We also decide which music will be out front, and which will be subtle underscoring.

I put together a form for myself that lists, from left to right:Film Footage and Frame Counts; Action; Psychology and Music. We watch the film on a Moviola, an editing machine on which the film, with a dialogue track, can be run back and forth and pieces can be cut or added. It also gives you film footage and frame counts that are mechan-ically geared to the film so that if you start at the same place every time, it’ll continue to be an accurate reference to the beginnings and endings of particular scenes.

Bernard had not completed the editing at this time, so some counts would be different and we’d get the final ones at a later stage. Even though I knew that, I went ahead and mapped out the film scene by scene, which at least would help me remember what followed in the story. Later, we’d convert film feet and frames to seconds to find out how much music we needed. Some Moviolas show time counts as well as film footage. For 16mm film there are 24 frames per second and 40 frames per foot. Under the Action heading I’d write whatever action was taking place in that scene. Under Psychology I’d deter-mine, in discussions with Bernard, the underlying importance of this action. What feeling is he trying to evoke in the audience? Should the music represent the point of view of one of the characters? Should it “tip off” or anticipate the next scene?

For instance, the Emperor is speaking to the “Birdman” in a garden. The Birdman doesn’t know that the Emperor intends to kill him. I needed to know whether Bernard wanted a little “impending doom” undercurrent of music to let the audience know that something was wrong and all was not as friendly as it appeared. He decided he wanted to keep the music light, from the point of view of the Birdman, who thought he might be rewarded for his beautiful invent-ion. That way we, the audience, would identify with him and be be as shocked as he was when the Emperor revealed his intentions.

We discussed the philosophy of the film in terms of the characters. The Birdman, a creator, a dreamer, a free spirit, should be represented by music that soared and evoked a feeling of freedom. The Emperor, bound by tradition and responsibil-ity, should be represented by music that felt more regimented, tight and conservative. After those “psycho-logy” considerations are explored and we have an idea of what the music needs to do, we get to the Music column, where we figure out how to achieve it. We need to consider what instruments to use, tempos, scales and modes, harmon-ies, etc., as well as musicians. To do this we need some information on Chinese music, so Curt called Mr. Lui at UCLA’s Anthromusic Depart-ment, we got together at his house and he graciously demonstrated several Chinese instruments and allowed us to tape his explanations of techinques, tunings and how to write for the instruments. (To be continued.)

Previously in the Songmine Collection:

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.


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Songmine: The Chances for Advances by John Braheny

By on March 17, 2016 in Archive Highlights, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

Songmine: The Chances for Advances by John Braheny

Accession Number: C000000137-016 Document/Digital File, “Songmine: The Chances for Advances by John Braheny”, OCR converted text under same Accession Number

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Songmine: The Chances for Advances by John Braheny

APRIL 12-APRIL 25
Songmine

YOUR CHANCES FOR ADVANCES
by John Braheny

For some unexplained reason, several songwriters have asked me in the last couple of weeks whether they should ask a publishing com-pany for an advance, so I took it as a sign that I should deal with in this column. In all cases the writers were in need of the bucks and I told them they should go for it but with some information I think is worth considering.

1) It’s an ADVANCE, and not a payment for the song. I know most of you are probably already aware that the bread they give you now comes off the top of any royalties the publishers may receive later. This applies, in general, not only to publishers but to BM1 and ASCP as well. Despite the fact that it is, right out front, called an ADVANCE I’m surprised at the writers I talk to who are very upset a couple of years down the road when their statement from the publisher don’t yield them a check. They’ve meanwhile con-veniently forgotten that the pub-lisher will pay themselves back for that loan. The computer doesn’t forget!!

2) REVERSION CLAUSES,and your publishing contract affected by your receiving an advance. Reversion clauses state that if a publisher does not obtain a released recording of your song within a specified period of time )a year is fair),the publish-ing rights to the song revert back to you. It insures that if the publishers don’t do the job for you, you can take it else where and it won’t sit in their files forever with nothing happening. So how does it relate to advances? Here’s the basic princi-ple. The more money a publisher puts out in front, before actually getting a record cut on the song, the more he gambles. So to hedge the bet, he/she is not going to want to give you back the song and lose the money if they don’t get the tune recorded. Oh yes, they’ll just write it off. I mean, are they going to turn you over to a collection agency if you don’t pay it back, or take you to court for a few bucks, or hire a detective to find you? Not too practical for them or very good business to alienate a writer who might write a hit tomorrow. So what they will do is tell you up front that they can’t give you a reversion clause if they give you an advance. That’s just a good business practice for them.

3) A GOOD DEMO ENHANCES YOUR CHANCES – Based on the same principle as above, if you go to a publisher with a good, usable demo and that saves them the cost of producing it themselves )$100.00 to $500.00), you’re in a much better position to ask for an advance. You’re also in a much better posi-tion to ask for a reversion clause but you may have to decide between the clause and an advance.

4) SPLIT PUBLISHING – If you want to keep a part of the publishing, they’re unlikely to want to give you an advance. Here again, you’re reducing the potential profit for them. In fact they’re likely to ask you to split the demo costs if you want to split the profit. Not unreasonable at all.

5) STAFF WRITERS – Writers under contract receive not a weekly salary but a weekly advance against future royalties, but there’s very little chance of getting a reversion clause. They want every song you write during the term of the con-tract and usually before, and they want those songs for life plus 50 years.

6) HOW MUCH?- $25.00 on up. whatever you can negotiate. What-ever the traffic will bear. Ultimately friends, everything depends on how badly they want the song; they risk that you take it somewhere else. If they’re excited, they’ll usually want to let you know it. I believe, if you need an advance it can’t hurt to ask for it but that the enthusiasm of the publisher and his/her willingness to give you a reversion clause are ultimately worth more. There’s a philosophy that publishers hustle harder if they have more of an investment in a tune, and there may be some degree of truth to it, especially in the case of staff writers. But publishers ability to assess the commercial viability of your song is their game and gamble and if you raise the stakes they lose more if they’re wrong. Bear it in mind.

Previously in the Songmine Collection:

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.


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Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny

By on March 10, 2016 in Archive Highlights, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

Songmine: What a Record Company Needs to Know - Part 5: The Professional Team by John Braheny

Accession Number: C000000137-013 Document/Digital File, “Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine: What a Record Company Needs to Know: Part 6: Attorneys
by John Braheny

In my assumed role as the record company, I will frequently be approached by attornies with pro-duct. This is happening more and more these days. Since attornies are negotiating many contracts with record companies, they have made good contacts at the labels and find themselves in a position to know if and when a company is looking for a certain type of act. Since they have an inside track, it’s easier for them to shop the product than, for exam-ple, an out manager or a new one who doesn’t know his/her way around yet,

From the record company’s point of view, I’d rather deal with an entertainment attorney,, in par-ticular a record business attorney. When he/she comes to me or my company to negotiate a deal, they MUST speak the language and have up to date knowledge of current record industry practices. If not, we will wind up engaged in hours of fruitless negotiations and will end up having to educate your attorney (at your expense). As an example, you’re presented with a production or record contract and you call your uncle, whose specialty is suing auto manufacturers, Right off the bat, he should refer you to an entertain-ment specialist but suppose„husi-ness is slow this month. He knows there are a lot of bucks in the music industry; he has visions of his nephew being a big rock star; he thinks it would be great to get involved in a more glamourous business and figures, “What the hell, how hard could it be to negotiate a record contract?”. He gets the contract and the first thing he objects to is the fact that this big record company wants all recording costs recouped off the top of your royalties. He thinks it’s a terrible idea and, not knowing that it’s a firmly established practice in the industry, decides he should try to negotiate that point, exposing his ignorance. The record company attornies will either refuse to nego-tiate with him at all or will eat him alive for breakfast.

Needless to say, none of this helps you at all, Entertainment law is very complex and just knowing the academics is not enough to make one a good attorney in that field, Personal experience, good contacts (politics) and a current knowledge of industry practices as well as a knowledge of the policies and contracts of specific record companies is equally important. As a record company, I want to deal with an attorney whose philosophy is that the best deal is the one that comes closest to being fair for both parties. Obviously, I’ll negotiate for my own advantage, but if that means that it’s unfair to you, I know I’m going to have problems with you later and that you won’t be happy with the deal.

Getting away from my record company role for a moment, let’s just talk about some situations that can arise in attorney/artist rela-tionships. Attornies in this field are expensive and fees range from $50 (not many) to $150 plus per hour. They’ll log all the time spent on your behalf on the telephone, in meetings with you, with the record company, or whatever, and bill you for just that time. There are attornies who, in lieu of an hourly rate, will offer to shop your tapes and negotiate your deal for, say, 10% of your income from that contract for the life of the deal. This may, on the surface, seem like a good deal, particularly if you’re broke. You should consider, how-ever, that maybe in a couple of months you’ll become, for whatever reasons, disenchanted with your relationship and want to get another attorney. That will mean you’ll then be paying two attornies, and that’s 10% of your income that you might have a better use for, partic-ularly if you acquire a manager who may take another 25%. I’m not saying that under no circumstances should you take a deal like that, only that it’s risky.

Attornies sometimes work on spec, or deferment, which means that they’ll defer payment until they’ve made a deal for you and collect’ their fees from the front money. They’re most likely to do this if a producer or record company has shown enough interest in you to present you with a contract, or if they have good ears and feel you’ve really got a good shot at a deal.

Previously in the Songmine Collection:

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.


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Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny

By on March 3, 2016 in Archive Highlights, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

Songmine: What a Record Company Needs to Know - Part 5: The Professional Team by John Braheny

Accession Number: C000000137-013 Document/Digital File, “Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny

So far, we’ve explored: 1) the value of the artist/writer package, 2) what’s on the tape, 3) your live performance, and 4) your marketa-bility and P.R. potential. Now we get to a subject which, in my assumed role as a record company executive, is very important for me to consider: the people on your team.

I’m likely to be impressed if you have a team of professional people who believe in you, particu-larly if they are people whose work I respect. If you come to my atten-tion through the efforts of your manager, producer and attorney, who have been generating energy and momentum on your behalf, it will tell me two important things: 1) That if I sign you, my company will have lots of competent aid from your team, helping to insure your success, and 2) that if I don’t sign you, someone else prob-ably will. First of all, let’s assume that all my questions ’til now have been answered to my satisfaction and I’m very excited about you as a writer and an artist. Another thing that will impress me and tip the scales in your favor is knowing that you have a com-petent manager and producer. Let’s talk about the best situation for me as the record company, and consequently, what’s best for you. The Manager – A manager, among other things, should be able to initiate and negotiate publishing, record company and production deals, know what clubs or concerts you should play and what radio and TV shows you should do and when. He’s the buffer between you and the business; your advisor and alter ego. Ideally, your man-ager is also excited about you and your talent and is dedicated to making You a successful artist. I’d be more impressed if he/she is a manager with a record of success, one who has managed other successful acts, one who knows the record business and understands the functions of all the component parts of the talent machine and the need for coordin-ation and teamwork between every-one involved. I’ll want you to know that you manager knows you, your strengths and limitations, and has a plan for the development of you.r career. So, what if your manager does not have a heavy track record and is not know-ledgeable about the record bus-iness? Unless he/she is willing to learn and take direction, I know I’m going to have lots of problems. There are enough points of argu-ment between record companies andmanagers who know the busi-ness, but it’s particularly crazy to try to deal with someone who has no way of knowing when I’m making important concessions to him/her or suggesting a course of action that, from our experience is advisable, but the manager does not understand. Inexperienced managers may also assume ad-versary roles to cover their ignor-ance rather than finding ways to work with the company. I would rather you had a manager with whom I already have a good wor-king relationship because, hope-fully, our problems have already been worked out, or at least we’ve learned how to argue with each other. So, if you have an in-experienced manager, I’d try to hook him/her up in a co-manage-ment situation with a successful manager so that he/she could learn and you wouldn’t have to suffer from his/her inexperience. (hope-fully). Otherwise, I’d rather you didn’t have one, so I could help you find a good one.

The Producer – If the tape I first listened to was a finished master recording, ready for the radio and was produced by a pro-ducer with a successful track record it gives me another way to hype you to radio, press, etc., as well as insuring that the rest of the product will be competently pro-duced. With a successful producer as part of the package, it isn’t even necessary to bring me fin-ished masters, just demos of ex-ceptional songs and performances. If you bring demos produced by yourself or an unproven producer I have no way of knowing that I’ll get a well-produced finished product. In that case, I’ll want to hear a finished master before I decide or I’ll want you to find a producer who I know can deliver it. If you’re already signed to a producer I believe to be in-competent, then I know I’ll have a sticky legal problem to deal with. Your producer should know your strengths and weaknesses and have a plan for how he/she will produce you to make you as commercially viable as possible. It’s interesting to note that more than 90% of the deals made are producer/artist packages known as all-in deals.

Previously in the Songmine Collection:

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.


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Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny

By on February 25, 2016 in Archive Highlights, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

Songmine: What a Record Company Needs to Know - Part 4: What Makes This Act Marketable?

Accession Number: C000000137-012 Document/Digital File, “Songmine: What A Record Company Needs to Know: Part 3 by John Braheny, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny

Music Connection
February 1 – 14, 1979

Songmine by John Braheny
What a Record Company Needs to Know – Part 4: What Makes This Act Marketable?

So far, as a record company executive, I’ve talked about the value of a writer/artist package, what I want to hear musically and what I’d like to see. Now I have to assess how, if I sign you, I’m going to make people aware of you. It’s easier for me if you’re the brother or sister of somebody famous, though after the curious-ity of the first album wears off, you’d better be able to deliver something substantial and very much your own. It’s also great if you know Linda Ronstadt or any-one else who’s famous and likes to help their friends. That in itself doesn’t get you signed, but it does give me something to talk about.

That’s what I need: P.R. potential! “He/She ‘has been in the background as a musician (Clapton, Hendrix, Glen Camp-bell), a singer (Rita Coolidge, Cher, Nicolette Larson) or a writer (there are legion) and is now coming up front to make his/her own music.” That’s a good hook for us because there may be a bunch of people out there who actually remember you when you were doing whatever you were doing in the background or on stage with the more notorious folks. If not, then maybe we can arouse their curiousity by associa-tion. “Oh yeah, if he played with him, who I really dig, it must be something like it, only different. I’d probably get off on it.”

Beyond all those old, familiar P.R. approaches, which I guess, at least in the beginning, are probably as good as any, I want to look for things about you personally that enhance the mystique; they reveal you as a human being of substance, morbid interest, virtue or character, or ideally, all of the above. Eddie Money was a cop. You have to say, “Hey, what kind of a great rock ‘n’ roll singer was a cop?” or vice-versa. It’s a great interview opener.

Beyond all those old, familiar P.R. approaches, which I guess, at least in the beginning, are probably as good as any, I want to look for things about you personally that enhance the mystique; they reveal you as a human being of substance, morbid interest, virtue or character, or ideally, all of the above.

Can you speak well and confidently and do you have something interesting or funny to say. If not, I’ll make sure Johnny Carson doesn’t invite you to talk to him after you sing and that you don’t do interviews. If you have a strong or well-articulated opinion, on the other hand, I might want you to be interviewed, unless I thought that your views were directly opposite those of your audience. For example, how would Joni Mitchell have fared if she had thought it was wonderful for us to be in Viet Nam and took every opportunity to say so?

Do you have an unusual or interesting bachground that will inrigue people? Jail and the funny farm have always been interesting, unless you were in jail for mugging old ladies or moles-ting children instead of something heroic, like smuggling 20 tons of Columbian into the country.

Have you had some kind of previous success that we could use for P.R.? Were you part of a successful group? The writer of a well-known hit? Do you have an interesting and flamboyant per-sonality or hang out in social circles that automatically attract attention from the press?

Those things are important in that they give us “hooks” that we can use to let people know about you, and the press needs that knid of stuff to work with. More important though, is the market-ability of the music itself. It’s important that the music have a unity of style such that, when we do find the audience, you’re the same artist from album to album.

Writer/artists frequently ask if record companies like to hear stylistic variety. “I can write country, R&B, pop, anything! Why don’t I give them a little of each and see what they pick up on?” That’s commendable if you want to be a staff songwriter, but a record company will have to say, “Rut really, who are you?” If country music is what you write and perform best and enjoy most, what’s the point in trying to market you as an R&B artist and release an R&B single on you? If it takes off, are you going to be trying to sell half an album of country tunes to a rock or R&B audience, or vice versa? So, as you can see, it becomes a market-ing problem. Of course, we don’t want all your music to sound the same and we do want you to grow, we just need for you to have developed your style to the point where you’re the same, identi-fiable artist from one album to the next.

Next time – Attorneys, managers and agents: Your Team.

Previously in the Songmine Collection:

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.


0

Songmine: What A Record Company Needs to Know : Part 3 by John Braheny

By on February 18, 2016 in Archive Highlights, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

Songmine: What A Record Company Needs to Know - Part 3

Accession Number: C000000137-011 Document/Digital File, “Songmine: What A Record Company Needs to Know: Part 3 by John Braheny, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine: What A Record Company Needs to Know: Part 3 by John Braheny

Music Connection

January 18-31, 1979

What a Record Company Needs to Know Part 3
John Braheny

I’m pretending to be a record company again this time, asking the questions I’ll need answered to my satisfaction before signing you, a writer/artist, to my label. Many of the same questions relate to you as a non-writing artist, too. My information comes from my experiences as a student of the industry. I’ve been a recording artist, I’ve attended and taped hundreds of seminars, read the trade magazines, and with my partner, Len Chandler, conducted over 300 interviews with music industry professionals at the Alternative Chorus Songwriter’s Showcase. Among those pros have been many of the record company executives who make the decisions about signing new talent.

Last time, I talked about where I was coming from as a record company executive. My bottom line question has to be, “Can my company make money on this act?” Other re-lated questions are, “Will this act enhance the prestige, and contribute to the image, of the company?” and, “Will I be a hero or lose my gig on the success or failure of this act?” For all those reasons, I need to ask the right questions and get the right answers. I was talking about what I knew I needed to hear on the tape I received, so now let’s assume that I liked what I heard. I thought the songs had commercial potential and the performance was excellent. Those are really the basics. Now I also have to ask another series of questions, not necessarily in order of importance, but all, nonetheless, very significant. –

1) How is your live performance? It would impress me to know that you had spent a few years as a live performer. I’d like to see some great reviews of your performances, preferably by recognized critics (your high school or college paper won’t quite do). But most of all, I want you to do it to a tough audience. Not one where all your friends are stacking the house.

2) I’ll want you to be visually interesting (if you’re good looking it helps, but isn’t necessary), move and speak confidently (remember that we process and retain more information with our eyes that our ears, which is one reason we can sell a lot of records to people who attend your concerts), and have a good sense of you personal identity. I want, as the audience, to go away from your performance with a feeling that I know who you are and I like you, or that you’ve given me enough pieces of yourself in your musical and visual presentation, to create an intriguing mystery that makes me want to know who you are. Sometimes the mystery is more delicious, but you do have to make me care.

3) If I’m watching a group I want to see you involved and interacting with each other, not all standing there like robots, each in your own little world.

4) I want to know you’re giving me something and enjoying it. Live performance bears a lot of similarity to making love; you have to have a sense of drama and dynamics in your movement, choreographed or not. Your choice of songs and their placement in the set, your arrangements and the way you dress (uniform or not) should all be appealing.

5) I’ll want to see that the things I liked on tape can be reproduced live. I don’t expect to see an orchestra, but the basics have to be there. For example, if a significant degree of your appeal to me is based on your group vocal sound, I’d better hear it in your live performance.

6) I want to know that, ideally, I’m dealing with an experienced professional performer who knows and under-stands (and accepts) the hardships of the road and loves to perform. I know that in spite of TV exposure and hit records, there’s no substitute, in the eyes of fans (and potential fans), for the magic of a great live performance. Live performance sells a lot of records and is a great marketing tool for us. It gives us reviews we can use and something for local DJs and fans to talk about. It gives you the contact with your audience so you’ll know what they like about you. It gives you a kind of high that can’t be duplicated and, even if it sometimes takes a couple of years, it provides a major source of income, particularly for non-writing group members.

To be continued next time…

Previously in the Songmine Collection:

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.


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Songmine: What A Record Company Needs to Know: Part 2 by John Braheny

By on February 11, 2016 in Archive Highlights, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

 Jb C000000137 010

Accession Number: C000000137-010 Document/Digital File, “Songmine: What A Record Company Needs to Know: Part 2 by John Braheny, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine: What A Record Company Needs to Know: Part 2 by John Braheny

I’m going to pretend to be a record company this time, except for a few impartial asides, to explain what’s happening or why.

I’m assuming that you’re looking for your first record deal. I’m asking about things I need to know to make a decision about signing you to my label. I know I’ll need to spend anywhere from $50,000 to $100,000 on the recording alone. Then, maybe another $100,000 on promotion to make enough people aware of you that, if they like you enough, they’ll buy your record. If they don’t, I’ll have to eat it. It might take that much again next year, but I’ll spend it if I’m still as excited about the music as I was when I signed you.

Also, I want to see that you’re not sitting on your ass expecting me to make you a star. I want to know that you’re writing and I want to hear new songs. Are you working on your act? The visuals? Arrange-ments? Concepts? I want to know that you’re working to improve your vocal and instrumental chops. I want to know that when I do spend more bucks, both you and your manager know what to do to maximize its effect and return and you’re ready to get out on the road and get those people excited enough to buy that record. We’ll get reviewers out to see you and my ulcer dictates that I be confident that you have your trip together. I can inspire everyone in my company to do their best for you if we know that you’re into it 100% yourself.

Let’s say typically that I received your tape through your attorney, manager, someone in my company, your producer or someone else who’s taste I respect. This is because I’m usually too busy to be out on the street dropping into clubs on the remote chance that I’ll hear something I like. Before I listen to that tape I know what I want to hear: 1) Songs that I think are hits or that will appeal to a large number of people because of your point of view, style, etc (Randy Newman, Tom Waits and Joni Mitchell are good examples of writer/artists who don’t write hits but have a large following. They’re known as album artists, and it takes more time and money to market them successfully because hit singles are proven to be the fastest and most cost-effective way to promote an artist.) 2) I’m looking for craftsmanship that tells me that those songs I liked were not just an accident, and that you know exactly what you’re doing and can do it again. 3) I’m looking for identity. After hearing the record once or twice, I want that audience forever after to be able to recognize you. If your voice sounds like a lot of other people, what you do with it stylistically should be unique. If that isn’t happening, I should be hearing an instrumental sound and production concept that’s unique. I should know that you and/or your producer can continue to recreate that sound once the public has grown to love it (Gerry Rafferty and Al Stewart have strong production identities). 4) I want to hear something that has an emotional impact on me. I want to be moved by the way you sing your song. I want to know that you are totally involved with what you’re saying in your song. If you don’t believe it, why should I? If it’s not the kind of music that’s lyrically oriented, I want it to move my body. If you’ve been playing your songs at your lounge gig every night for the last three years, there’s a danger that they’ll sound tired and unenthusiastic. I want to know that you can get into that song every time that you sing it. 5) I expect and assume that what I’m about to hear on this tape is the very best that you can do. It doesn’t have to be a finished product. It could be a piano/vocal, but I have no evidence to believe you’ll ever perform it any better than on the tape, so don’t tell me “That was a bad day for me”, or “It’s just a demo, I’ll do it better on the master.” When I’m spending this companies money, I’m not taking your word for it; I need to know. I can have some influence and control over the technical quality, so I’m not worried about ‘just a demo in a funky studio’ if the performance is there.

Next time–more record company considerations.

1-4- 1-17-79

Previously in the Songmine Collection:

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.


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Songmine: What A Record Company Needs to Know: Part 1 by John Braheny

By on February 4, 2016 in Opinions, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

Songmine: What A Record Company Needs to Know by John Braheny 

Accession Number: C000000137-009 Document/Digital File, “Songmine: What A Record Company Needs to Know: Part 1 by John Braheny, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine: What A Record Company Needs to Know: Part 1 by John Braheny

This past October, Len Chandler and I presented a two-day seminar at UCLA Extension about “Song and Talent Evaluation”. As a part of that seminar, we discussed the special problems and considerations of writer/artists relative to their making record and publishing deals. Since many of you are writer/artists, both as individuals and in groups, I’m sorting a series on the subject.

VALUE OF THE ARTIST/WRITER PACKAGE

There have always been exceptional writer/artists. Until the 40s and 50s, however, with the increasing exposure of country and western, black music and the birth of rock and roll, most of the popular songs heard on the radio were not performed by the writers. More recently, record companies began to. discover that they could get publishing rights to the songs the artists were writing and thus be able to keep all the publishing income for themselves, as well as the record royalties. It was a lucrative package, because they didn’t have to pay outside writers and publishers that 2 cents per side per unit sold. They could also participate in the airplay royalties collected from BMI and ASCAP. Today, virtually every record company has a publishing affiliate, and though they’ll sign a writer/artist without participating in the publishing rights, it is definitely something they want. Not only is it financially advantageous to a record company to sign a writer/artist, but it is convenient. Record company A&R staff, non-writing artists and their producers go berserk trying to find the right songs for that artist for that particular album. Record buyers, paying more and more for albums, are also becoming more knowledgeable and sophisticated in their tastes and will no longer go for an album with one or two great tunes on it, and the rest schlock filler that the producer’s niece wrote and he just happens to own the publishing on.

The writer/artist, on the other hand, has always had more latitude on that score, since is is often a combination of style, sound and point of view that makes the music of the writer/artist commercial. Joni Mitchell’s music, aside from some of her early work, is not the kind of music you’d ask Helen Reddy or Linda Ronstadt to record. The blend of her writing, performing and personal point of view is so unique that you can’t say “that’s a bad song”. You either like her or you don’t. Non-writing artists would never choose to record a song they didn’t understand or identify with in some way. But a writer/artist group with a strong sound identity can get away with songs that have a little more obtuse or abstract lyric content because people are buying a sound. How about America’s Horse With No Name, or Tin Man. Didn’t they defy interpretation? But didn’t you dig that Crosby, Stills, Nash and Young sound that you’d gotten used to? Those aren’t so much songs as they are records, since they’re not the kind of songs an artist 20 years from now will want to record, and as records, they will possibly get played as oldies only as long as they remain a trigger for the nostalgic feelings of those old enough to have been into something worth remembering at the time of their peak popularity.Songs with strong, accessible lyrics and melodies, like Lennon and McCartney’s Yesterday are adaptable to many styles, and say things in such a simple and poetically beautiful way they’ll probably touch people no matter what style they’re sung in 20 or 100 years from now.

To sum it up, writer/artists, including groups, are valuable to record companies in several ways. If the record company has a piece of the publishing, the value is in 1) the writer/artists’ ability to create a self-contained identifiable sound that allows them to make successful records using their own material (including some that may not be mainstream commercial), 2) the writer/artists’ ability to write great songs that the record company/publisher can collect on for the next 100 years, and more from cover versions, 3) and so the artist, record company and producer, ideally, won’t have to look for outside tunes. One of the basic benefits of he writer/artists’ regardless of publishing participation, is the potential to create a fusion of style and material that is quite unique, and that offers fans the opportunity to get to know the writer/artist in a personal way, i.e. Jackson Browne, Joni Mitchell, Billy Joel, Dan Hill, etc. Next time, I’ll talk about some of the things in particular that a record company considers in signing an artist.

DEC 14 – JAN 3

Previously in the Songmine Collection:

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.


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Songmine: Getting the Most from the Trades Part 4 by John Braheny

By on January 28, 2016 in Opinions, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

 Songmine: Getting the Most from the Trades Part 4 by John Braheny

Accession Number: C000000137-008 Document/Digital File, “Songmine: Getting the Most from the Trades Part 4 by John Braheny, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine: Learning From The Trades Part 4 by John Braheny

Songmine: Learning From The Trades Part 4

Here’s a good game to play with the trades. Listen to a station like KNX-FM (93.1) who’s not afraid to take a chance and add a new song by a new artist now and then. When you hear one you think is a hit, look at the Billboard Hot 100 chart or other trade charts and see if it’s there. Analyze the song stylisticly and predict what charts it’ll show up on. Is it a crossover that will show up on both pop and R&B or Country charts? Pretend it’s your song and get into following it up (or down) the charts. Check out the Single and Album Radio action charts and see who’s adding it to their playlists. What kind of stations are playing it? What other songs are those stations playing? What good is this exercise? It’s a game that record companies and publishers play for real and it gets you into the excitement of 2nd guessing. You’ll compare these songs to your own and it’ll help you 2nd guess your songs before even taking them to a publisher. It gives you the opportunity to critique your own song in the context of the real music world. I’m frankly amazed at the number of songwriters who are totally out of touch with what is going on. I’ll ask them if they like “Gerry Rafferty” or “Boston” or “Foreigner” and they’ll have no idea what I’m talking about. Or they’ll say proudly, “I never listen to top 40 stuff.” Now, people, to be ignorant is one thing, but to be deliberately ignorant is inexcusable when you claim to be trying to write commercial songs. That’s probably one of the reasons why publishers and producers say that over 95 % of what they hear when they have an “open door” policy is not even in the ballpark. That’s why, from their point of view, the Songwriters Showcase is valuable. We showcase less than 10% of what we hear. Songwriting is one of the few professions (alongside parenthood) which people seem to feel they don’t have to learn anything about to do successfully. 

So, back to learning. It’s important to develop your critical abilities and there are good opportunities to develop in that respect by reading record and live performance reviews, not only in the standard trades but in Stereo Review, High Fidelity, Rolling Stone, Crawdaddy and other consumer music periodicals. Listen to the same records they do, go to the same concerts and do your own reviews. There are obviously differences of opinion between reviewers depending on their own personal taste and critical abilities. As to your own learning process, tho, it’s as positive an experience to disagree as it is to have your viewpoint supported as long as you’ve paid careful attention to their critique and given some thought to your own. 

The trades contain some great interviews with music industry people that can be helpful on several levels. First of all, if you see an interview with, say, Linda Ronstadt and you want to write a song for her, you may gain some insight into likes, dislikes, experiences, fears, etc., that will help you write a song that she’ll identify with. It’ll ‘speak’ for her. You may also be a performer or group looking for a manager and you can get an idea, thru the interview, what that manager is like personally and professionally. What does he or she think is important? What kind of acts do they like? Why? What’s the nature of their relationship with record companies? Co-operative or adversary? Are they feared, respected, loved or all of the above? There are interviews with A&R (Artist & Reportoire) execs at record companies. You’ll find out what they look for, their company policies, their personal ex-periences and philosophies. You’ll discover that, although there are basic considerations that all managers, A&R people or others share within their particular field of expertise, everyone has a little different approach or “tricks of the trade” learned from their own experience and from their personal creativity and imagination. There are several “right” ways to do almost anything in this business and it helps to know a bunch of them. While we’re on the subject of learning from the pros, I want to tell you to never be afraid to ask. We’ve found in our showcase interviews, that with few exceptions, music industry people have spoken freely about how they do things, and how they feel about what they do. Even as a struggling writer/artist, whenever I expressed a desire to learn about something, there was always someone who would take the time to clue me in. More on this next week. 

OCT 19 – NOV 1

Previously in the Songmine Collection:

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.

Songmine: Learning From The Trades Part 4
Here’s a good game to play with the trades. Listen to a station like KNX-FM (93.1) who’s not afraid to take a chance and add a new song by a new artist now and then. When you hear one you think is a hit, look at the Billboard Hot 100 chart or other trade charts and see if it’s there. Analyze the song stylisticly and predict what charts it’ll show up on. Is it a crossover that will show up on both pop and R&B or Country charts? Pretend it’s your song and get into following it up (or down) the charts. Check out the Single and Album Radio action charts and see who’s adding it to their playlists. What kind of stations are playing it? What other songs are those stations playing? What good is this exercise? It’s a game that record companies and publishers play for real and it gets you into the excitement of 2nd guessing. You’ll compare these songs to your own and it’ll help you 2nd guess your songs before even taking them to a publisher. It gives you the opportunity to critique your own song in the context of the real music world. I’m frankly amazed at the number of songwriters who are totally out of touch with what is going on. I’ll ask them if they like “Gerry Rafferty” or “Boston” or “Foreigner” and they’ll have no idea what I’m talking about. Or they’ll say proudly, “I never listen to top 40 stuff.” Now, people, to be ignorant is one thing, but to be deliberately ignorant is inexcusable when you claim to be trying to write commercial songs. That’s probably one of the reasons why publishers and producers say that over 95 % of what they hear when they have an “open door” policy is not even in the ballpark. That’s why, from their point of view, the Songwriters Showcase is valuable. We showcase less than 10% of what we hear. Songwriting is one of the few professions (alongside parenthood) which people seem to feel they don’t have to learn anything about to do successfully. 
So, back to learning. It’s important to develop your critical abilities and there are good opportunities to develop in that respect by reading record and live performance reviews, not only in the standard trades but in Stereo Review, High Fidelity, Rolling Stone, Crawdaddy and other consumer music periodicals. Listen to the same records they do, go to the same concerts and do your own reviews. There are obviously differences of opinion between reviewers depending on their own personal taste and critical abilities. As to your own learning process, tho, it’s as positive an experience to disagree as it is to have your viewpoint supported as long as you’ve paid careful attention to their critique and given some thought to your own. 
The trades contain some great interviews with music industry people that can be helpful on several levels. First of all, if you see an interview with, say, Linda Ronstadt and you want to write a song for her, you may gain some insight into likes, dislikes, experiences, fears, etc., that will help you write a song that she’ll identify with. It’ll ‘speak’ for her. You may also be a performer or group looking for a manager and you can get an idea, thru the interview, what that manager is like personally and professionally. What does he or she think is important? What kind of acts do they like? Why? What’s the nature of their relationship with record companies? Co-operative or adversary? Are they feared, respected, loved or all of the above? There are interviews with A&R (Artist & Reportoire) execs at record companies. You’ll find out what they look for, their company policies, their personal ex-periences and philosophies. You’ll discover that, although there are basic considerations that all managers, A&R people or others share within their particular field of expertise, everyone has a little different approach or “tricks of the trade” learned from their own experience and from their personal creativity and imagination. There are several “right” ways to do almost anything in this business and it helps to know a bunch of them. While we’re on the subject of learning from the pros, I want to tell you to never be afraid to ask. We’ve found in our showcase interviews, that with few exceptions, music industry people have spoken freely about how they do things, and how they feel about what they do. Even as a struggling writer/artist, whenever I expressed a desire to learn about something, there was always someone who would take the time to clue me in. More on this next week. 
OCT 19 – NOV 1

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Songmine: Getting the Most from the Trades Part 3 by John Braheny

By on January 21, 2016 in Archive Highlights, Opinions, Songmine, Songwriting Business

A John Braheny Songmine column from the archives…

 Songmine: Getting the Most from the Trades Part 3 by John Braheny

Accession Number: C000000137-007 Document/Digital File, “Songmine: Getting the Most from the Trades Part 3 by John Braheny, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine: Getting The Most From The Trades. Part 3 by John Braheny

by John Braheny

Let’s continue the rap about checking out Billboard’s “Executive Turntable”, Cashbox’s “Executives On The Move” and Record World’s “Copy Writes” to find out where your contacts have moved since you last saw them.

In the case of publishers, a good thing to keep in mind is that if you’ve already signed a publishing contract on a song and you see that the person responsible for signing your song to that company has made an exit, you should call the company and make an appointment with their replacement. If you-don’t bring your song to their attention, it may get lost in the shuffle of thousands of others the new person has to represent. It also gives you a chance to make a new contact and expose some of your newer songs. Call your old contact at the new job, congratulate them and go to see them at their new company.

Occasionally, a whole company will be restructured due to possibly a new president who wants to put together his or her own “team”. This is also valuable info for anyone looking for a job in the business. That kind of news will be carried in the columns and is also likely to be found in a more detailed featured article elsewhere in that issue. In the case of new companies forming or branch offices being set up locally, you’ll have a situation where people are eager to prove themselves by finding some great new local artists or songs. Take advantage of that info by calling right away to make an appointment.

Billboard’s “Studio Track” is another valuable column for writers. If youre the aggressive, creative type, you can find out, like publishers do, who’s recording, what studio, who’s the producer and engineer. If you’re very sure that your songs are appropriate for the artist, you’ll know how to get to them. It’s not a bad idea to meet recording engineers at some of the hottest studios in town. They’re in a position to work with many producers and artists. You might, as an incentive, offer them a percentage of the “mechanicals”. That refers to income generated from the sale of recors and tapes as opposed to income from performances (radio, TV & clubs) which comes from BMI, ASCAP, or SESAC. The percentage can be anything aggreeable to both parties. There is no “standard” for that type of deal. I’d suggest that you just deal with the ‘publishing’ (the 50% of the total pie that a publisher ordinarily takes for getting artists to record your song) as opposed to the ‘writers’ half. We’re assuming now that you’re acting as your own publisher. It’s better to reward them with a percentage of ‘mechanical’ for the particular record where they place your song rather than give them a percentage of the ongoing publishing rights because you may want to reward someone else for placing the song with another artist on another record and it becomes very difficult to do the paperwork when pieces of publishing are goig to several different people who all co-own your copyright. Of course you can also give them some “performance income” (from airplay) but the major problem is that when you get your royalty statements from BMI or ASCAP, they don’t tell you what record it’s from and if you have a song that gets recorded by more than one artist, there’s no way to tell what you owe on each one of them. One way you can do it is to deal with time periods. Say, “I’ll give you 50% (or whatever) of `performances’ for the first three quarters (payment peri-ods).” I believe that it’s a good idea to reward people who help you get a song to an artist, and to set up ‘a financial arrangement in front with people who have those contacts but are not necessarily in the business of publishing. I’ve even heard of groupies placing songs. Roadies and road managers, bartenders, andyone who comes in contact with the artists or
producers. Artists are often intrigued enough by gettin a song from an unexpected source that they pay special attention to it. One of the things this business thrives on is the thrill of discovery. “Would you believe the waitress at Duke’s laid this killer tune on me?”

It’s a very creative business and the trades can give you lots of fuel for your own ideas. We’ll explore more of them next time.

If you’ve discovered any novel ways to pitch your songs, let’s hear from you.

Previously in the Songmine Collection:

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.

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