Another dream of mine

Another dream of mine is to add a curriculum in our schools that would support the Language Arts Programs starting with upper elementary age students, that teaches them how to tell their stories by learning how to write songs.

Having coached songwriters and artists to find their voice through their songs for over 30 years, I have developed a methodology that teaches storytelling through songwriting.

I would love to start teaching young children this curriculum so they can communicate effectively for the rest of their lives, but no matter what age you are, my methodology and curriculum can help you tell better stories and communicate more effectively in your life.

Learning how to write songs is a simple method combined to enhance your communication skills. At the same time, it is fun and makes the learning easy.

My methodology is based on two very simple but powerful questions. The first question is: What is a song? And the second is: How do you develop yourself so that you can write more effective songs?

What is a song? A song is your perspective on a moment in time. It is a story told by integrating your voice, melody and lyrics.

A song is approximately 200 words and 4 minutes. That’s how long you get to tell one story. This fact amplifies the importance of every word you use in your songs and highlights the significance of words in your writing.

How do you develop yourself into a great songwriter? The answer is you will have to develop facets of your body, mind, and soul in order to achieve results in your voice, lyrics, and melody to effectively create songs. In other words, you will need to be inspired, nurtured, and educated in all of these areas in order for you to succeed as a storyteller.

Can you imagine how your life might have been affected if you would have known how to tell your story better? I believe that If you know how to present yourself with the gift of storytelling: to a potential employer or partner, to whomever you are dating or whomever you are leading, life becomes much more rewarding.

Let’s teach children how to find and stand in their perspective and then how to use their voices and words to tell their stories.

Good things come to those who wait

Written October 2015.

In 2013 For King and Country won Best New Artist at the Dove Awards. This past week on October 13, 2015 they won again for Best Contemporary Christian Band. Congratulations!!!

It reminded me that on Labor day this year I went to the LA Country Fair to see For King and Country to perform. They were only the second Christian band to ever play the fair, and the crowd did not let them down!

My relationship with For King and Country began in 2006, when Shaun Shankel, a great producer/writer, who I had a Joint Venture deal with at Warner Chappell introduced me to Joel and Luke Smallbone. Back then, the band was just a glimmer in Joel’s eye with Luke following close behind. We signed them to the Joint Venture and spent the next 5 years developing their songwriting, sound, brand and themselves. From integrating their voice, stories and ideas, they became one strong voice.

It took a while to get the first record out but the boys were patient. They knew to they had to just let go and let the process happen. They had their faith to keep them going.

They are now on their second record with 2 Grammy wins, 2 Dove Awards, a new tour, and a universe of new possibilities.

So last month when they took the stage and held it in command the whole time at the fair, I was not surprised. Joel climbing the rafters of the stage, Luke beating triumphantly on huge percussion pieces, and their entire band taking turns center stage playing multiple instruments- their performance filled the space with raw energy.

They had an audience comprised of mostly loyal fans but who had never seen them live before; singing- no chanting- their songs. They had always been great performers but there is nothing like the consistency of the road to whip you into shape!

The music filled my soul and I left there feeling nurtured...and I resisted the temptation to eat a fried oreo at the fair.

All in all it was a good night.

Wearing many hats

We used to live in a society where a craftsman's hat signified what he did for a living - baker, welder, banker, butcher. So when someone was described as wearing "a lot of hats", they meant it literally. Nowadays, wearing a lot of hats is what we do for a living.

I recently interviewed Brian Malouf, who is a songwriter, drummer, musician, producer, engineer, mixer and executive. Oh, and father, husband, friend, mentor, advocate and leader. That’s a lot of hats.

I have many parents who come to me with the question of how to guide their child who wants to wear one of the hats I just mentioned. I advise them to keep their children in school as long as possible. That way, they learn as many skills as possible related to their field.

If a child doesn’t want to go to an already established institution, he or she can put a program together themselves. Voice lessons, dance lessons, acting classes, literature classes, debate classes etc. offered “a la carte" are great alternatives to a formal program that can help students hone in their skills. Whether a student chooses a formal or self-made program, it is extremely important to allow room for self discovery.

Learning is one of the best preventative medicines you can take to have a healthy career.

After you graduate, you are expected to get a job, support yourself, and live your life. Usually this happens with no further education. This is one reason why many people get stuck in the same old routine for a long time.

Learning something new gives you psychological real estate to expand your own consciousness. You become more aware and see new opportunities. You also become more valuable when you wear many hats, and I guarantee you will be less bored when you can offer more than one skill.

When Brian Malouf is working with an artist, he may be hired for one job but always brings the others along for the ride, just in case! This makes him more valuable, and gives him new, fresh challenges in any job.

Can you wear more than one hat?

The art of finishing

This moment right now makes up for everything.

Recently, in a room of 20 songwriters, I asked the question, “What bad habit do you want to break?,” and the most common answer was, “Finishing what I start.”

It’s hard work to transform yourself, to learn a new skill outside your comfort zone and actually finish something.

So when I sat down last year and declared I was writing a book, I had not really thought too far ahead of what that actually meant. The bug was planted by my marketing consultant who thought writing a book would be beneficial for my company and for up-and-coming songwriters, so I thought, “Sure, why not?”. I had little idea of the process and journey I was about to begin.

I would sit in my office, after my day was supposedly done, and play either Brandi Carlyle, Cristina Perri, or Joy Wiilams through my speakers while I poured out all that I knew I needed to say. I was trying very hard not to edit or judge myself. I was practicing stepping out of my own way, and letting whatever come through.

Step out of my own way? What a concept!

I could not have perceived how the ‘throwing up your words’ process while writing would affect me. Seeing my words staring back at me was eye-opening! I was re-creating my life right in front of me, shaping it just-so it all fit together seamlessly so that you could benefit from my experiences. It worked, beautifully forI am most proud of the sense of accomplishment I feel.

This book is my voice, my stories, and my methodology. It’s me.

Through all the hard work, I now have a product that will live forever and hopefully touch a lot of you out there.

This moment is worth it all.

Time to reminisce

Before the internet, computers and Ipads, there were paper, pencils and file folders with colored tabs to keep you organizied.

As a Song Plugger in the Music Industry, I was pitching songs left and right, all day, every day to record execs, managers and producers who were looking for songs for their artists. Naturally, I needed a way to keep track!

On my desk I kept white, lined 5x7 index cards, which were alphabetized and separated into two file boxes - A-L in one and M-Z in the other.

At the top left was the name of the person I was pitching to, and below was a list of the artists they represented and which songs I had sent. Songs they liked got circled and songs they actually cut got marked with lots of stars.

Above is a photo of the card I had for Robert Kraft - an award-winning songwriter, film composer, recording artist, record producer and President of Fox Music (1994 to 2012).

I first started sending him songs when he was producing Bruce Willis’ debut album, "The Return of Bruno". Six months later he hired Sheryl Crow to sing backup on the Johnny Mathis album, “Once In A While". During one of their sessions, she told Robert of her dream to be a solo act.

He set us up to meet in hopes that I could help her find some songs. We all went to lunch at a Thai restaurant on Barham Blvd. Afterwards, Sheryl came back to my office at Screen Gems Music, where we spent hours listening to my catalogue of writers and she played me some of her own originals.

That was a great day, to say the least!

P.S. If you look closely, you can see that I spelled her name wrong - lets just say I never did THAT again! and the (pm) after her name is in reference to a band she sang with in St. Louis that we had just signed to a publishing deal.

Always a student

How do you sustain a career? How you keep yourself relevant year after year?

When I interviewed Walter Afanasieff recently, I was fascinated to find out that he still takes piano lessons. I have known Walter for over 20 years and he is an amazing pianist who can really sit down and play anything. And yet he still feels it necessary to take lessons. He feels it’s important to keep himself challenged.

I have found throughout my life, that something that many of the most successful people have in common is that they are great ’students of Life.’ They know how important it is in order to continue evolving and developing. Often, the most paralyzing things to one's life are a resistance to change, refusal to go the extra mile, or hosting an ego that won’t allow room for improvement.

Knowing you don’t know everything can really free up the space in your mind to imagine new things into your life. When integrated with what you already know, it can lead to so many possibilities.

Being a committed and constant student assures a future. Not learning anything new leaves you standing where you are.

Focus

If I could put a picture next to the word focus in the dictionary, it would be of Kevin Kadish. He keeps his eye on the ball, at all times.

I recently interviewed Kevin when he was in town for the ASCAP awards and was instantly reminded of why I loved working with him; his commitment to his craft.

In this episode Kevin talks about how “All About That Bass” was conceived on their first writing trip and has great advice for young songwriters everywhere.

And remember, focus on what you want and need in order to get what you want and need.

Omg, I wrote a book!

2014 was one of the hardest I have had in years.

All the growing pains of creating not only my own business in the last 5 years, but also creating different relationships and a new me, turned into the perfect storm. On top of that, my family was dealing with multiple injuries that took a good part of my attention.

The gift out of it is that I wrote a book.

I spent time a significant amount of time close to home. So with a seed of an idea, I created a book that would allow me to use my voice to help songwriters find theirs.

The first stage was just getting the words out of my head and onto the page. Not surprisingly, I talked to myself a lot during that time. After I said all I could say, I teamed up with an editor who understood exactly who I was and provided me a great mirror. I was so excited I had a real live person to bounce ideas off of. Finally, after a few (or more) edits of the book, I began to understand the connection between all of the chapters. What started out as lots of individual ideas, magically morphed into a book!

And wouldn’t you know it, I wrote my "album." I gained a whole new appreciation for what my writers and artists have gone through over the years, in the process of creating and releasing their music.

And now that it is over, I have to say that it's bittersweet.

There is a huge part of me that is jumping up and down that I don’t have to be constantly writing anymore. However, I am sad to say goodbye to the process. I will always have this book to remember that time by, but I will miss it’s company.

The Songwriters Survival Guide will be released Spring 2015.

If you are at the ASCAP EXPO next week, I am pre-launching 100 copies just for the event. You can come see me in person Saturday May 2 at 1:10.

Interviewed on CT Style

I had the pleasure of speaking with CT Style, a morning show in Connecticut, on how to hit it big in the music industry. It was a blast sharing some examples of clients and students I've mentored to build their career in this challenging industry.

Great songwriting tip

Be an idiot, be stupid, completely embarrass yourself in the first ten minutes so everyone can relax.

– Rune Westberg

He is so right.

As you may know, I teach writing workshops. After a night of co-writes one of the main things that my students usually reflect upon is that at first, they were afraid to speak up if they didn't like a line or a melody. They were afraid to step on their toes or be disliked. So rather than risk ruffling feathers, they keep quiet, and of course, the song suffers.

However, I am always there to reassure them that there is no such thing as perfect and there are no dumb ideas.

During my years at WarnerChappell, I worked closely with producer/writer Jamie Houston for 9 years. Throughout that time he also tried to make it as a solo artist and with his band, Me and Buck. I went to 90% of Jamie’s gigs, critiquing and cheering him on. My favorite part of any gig was when Jamie would mess up something onstage - a flubbed lyric, a broken guitar string, a wrong chord, you name it.

Unlike a lot of artists, Jamie would turn the moment, the mistake, into a whole other experience. He would use it as an opportunity to tell another story or a joke, making the audience and himself laugh and relax a little more. Jamie connected with his audience by showing that there is strength in vulnerability, and going on in spite of it.

Do you consider vulnerability a strength or weakness? Comment below – I'd love to hear.

Katy Perry rocked the Superbowl

The Super Bowl delivered its highest overnight TV rating ever, and I can't say I'm surprised. The football was great, but if you ask me, football is football. Katy Perry's performance, on the other hand, was a total game changer.

She delivered the performance of a lifetime. No easy feat, considering Beyonce and Bruno Mars have set the bar high over the past few years.

What she did do that left me in awe? She delivered not just a concert, but an experience. It felt like the opening of the Olympics. She tastefully pushed boundaries, respecting the sport, her fellow performers, and the audience. It's refreshing to see something so exciting, yet tasteful on TV. What a positive role model.

Her voice penetrated the TV set. It transcended the airwaves. If you didn’t pay attention to her before, you will now. In the time that I’ve known her, she’s done everything she’s set out to do. She’s living her dream.

Congratulations, Katy.

Would you rather?

I had an absolute blast asking my Door To Door interviewees a lightning round of "Would You Rather?" A big thanks to Bonnie McKee, John Shanks, Pamela Shayne and Gabriel Mann for playing along. Enjoy!

Versatility

It used to be that if you were a songwriter writing for other artists, then that’s all you did. You were never the artist too and you very rarely crossed genres. If you wrote Pop then that is where you stayed.

But now, thanks to the evolution brought upon us by things like the Internet, everything has changed. And that is what I love about this point in time. Now, you can be more than just one thing. If you can manage to find your voice and the flexibility to to use it to tell your stories in different structures, then there are no more restrictions.

Sitting down with Gabriel Mann reminded me of the huge playing field that songwriters have the freedom to explore. You can write show tunes, Country songs, compose for Film and TV, write for other artists, write a theme song or a commercial, a lullaby for your first child, or an inspirational song for your staff when you need to keep them going - the possibilities are endless.

It doesn't matter how your voice is heard. All that matters is that it is heard.

Do you know an instrument?

I wish I could play an instrument by ear.

I was 15 years old and so proud of the fact that I had taken 8 years of piano lessons and could sit down and play most any sheet music put in front of me. I couldn't necessarily play everything well, but I could read music, practice and get better. But then one day my buddy Rusty came over, sat down and played the piano like a pro. I gaped and asked “How long have you been taking lessons?” He answered so nonchalantly, “Never, I play by ear. “ And my jaw dropped even further to the ground.

Just not fair. I immediately signed up for 4 more years of lessons.

I was reminded of that story upon visiting Greg Wells at his studio. Each room contained a different variety of instruments that he can play! In one room, he had close to a dozen different kinds of pianos, another room for guitars, and another for percussion.

Greg possesses both the flexibility and strength to know so many different ways to make sound. It isn't that different from knowing many different languages. And what a great gift to have when creating.

I advise my clients that if it’s not too late (and it usually never is) to learn an instrument. You add value to your songwriting, artist and producing career.

When the development process works

A few months ago, Jennifer Paige came by to interview me for her new podcast series, Breakthrough Artist. As we visited, we reminisced about our history together.

Jennifer is a great example of how the Development process works.

I met Jennifer when she was a background singer for Crystal Bernard in 1996 and had just moved to LA . I introduced her to my writer/producer, Andy Goldmark and we took her under our wings and gave her all the tools she needed to start her career.

She,  Andy and various other co-writers (including Mark Mueller, Wayne Kirkpatrick and Jamie Houston) wrote the album. Andy produced it and I gave her all the guidance she needed to grow herself as a performer, writer, singer and woman.

Strategically, we had her cover “Chain of Fools” so to introduce her to the world. But it was her single “Crush” that made her a household name. She sold 11 million singles worldwide and 5 million albums. When it was covered on the Glee Soundtrack, I laughed at the mileage one song can get.

One of the reasons this project worked was that Jennifer, Andy and myself were on the same page. We each had a job to do, independent of one another and integrative at the same time.

We knew what and where the goal was at all times. We were a great team and the proof is in the pudding.

Co-Writing

Relationships are what help propels us towards accomplishing our dreams.

One of my favorite quotes is the African proverb, "It takes a village to raise a child." There are very few people in this world that can achieve greatness on their very own. Most of us need others to help guide, educate, inspire and bounce off of!

When you co-write with someone else, you are entering into a relationship with another human being. You agree to create a product together, that can result in a placement in some fashion (cover, cut, license, etc).

Co-writing songs is no different than if you went into business with someone to manufacture shoes, in the sense that you are partnering with another human being to create a product that combines both of your perspectives and experiences. It is this particular combination that makes it special.

The better you are at having relationships, the easier the co-write can be. Meaning, are you agreeable or difficult? Are you flexible or unchangeable?

I guided a co-write during my weekly workshop one evening, where the woman was badgering her co-writer so much that he got defensive and shut down. How she spoke to him was a big factor in how he reacted. All she had to do was phrase her concerns differently and he would have been happy to meet her in the middle...which is what they eventually did after we spoke about it.

You are part of a team the moment you involve someone else. Team-building results in self-development, positive communication, leadership skills and the ability to work closely together to solve problems.

John Shanks is one of the most versatile producers I have worked with, mainly because he is able to relate to so many people. I have seen him talk fashion with the girls and sports with the boys while at the same time, guiding them to their greatness!

Where John is concerned, I never got the impression it mattered what genre he worked in, as long as he loved the voice, the songs and the integrity of the project. He was happy to be a part of the team. It is that mentality that results in successful co-writes.

Writing a story in a song

A song is approximately 200 words and four minutes. That’s all you get to tell your story. If you are writing a screenplay then you would have 2 hours and over 600,000 words, leaving plenty of time for character development.

In a song, every word has to count, unfolding the story line by line. And that seems to be the challenge – to tell a story in such a short period of time without sacrificing the content.

Your story should still contain plot, setting, characters and theme.

Plot - introduction of characters, situation and circumstances, the action of the story.

Setting - the background where the action takes place.

Characters - living beings in the story that act or think in order to keep the story going.

Theme - total meaning of the story.

A song is a point in time. It’s not the whole story. It's one moment or perspective of a bigger picture.

It’s the story of what the boy is thinking and feeling when he is about to knock on the front door of his girlfriend's house to ask her forgiveness. It’s the moment when he questions whether this is a good idea or not. But the moment he knocks, it’s another story, another song.

Be consciousness of how you frame your stories.

Pam Sheyne figured this out early in her career and in return, has sold over 50 million records!

What does a publisher do?

I used to call myself the "Curator of the Song" or "The Custodian" because a publisher takes care of your creation, from top to bottom. They will market, collect royalties, copyright and protect your song legally, so you can spend your time writing.

A publisher is someone you hire to take care of your business. They are a team in place, that is able to address most issues that may arise.

I was in the Creative Department at WarnerChappell, and was responsible for increasing revenue by selling the product and/or Songwriter. I was mostly called a "Songplugger" - someone who peddles songs to the artists that will record them. I would pitch songs to Faith Hill and if she cut a song then the writers got paid and the Publisher would take a percentage of that.

Beyond that a publisher will administrate 360 degrees, so you can actually make money!

A publisher can also be a big mouth-piece, promoting you to the industry, lifting you up to the peers you have always admired.

They are a partner, a sounding board and a good mirror for you. Most importantly, their responsibility is to represent you in the best light possible.

Writing for film and TV

Movies and TV shows are based on themes; Good vs. Evil, Commitment, Decisions, Power of Words, etc. The songs that underly scenes in movies and TV shows, therefore, need to support those themes.

Music layers and folds into the words spoken on-screen and for the most part, is chosen for its semblance to the motive of the scene - not necessarily because it’s a great song.

If you are writing specifically with TV and/or Film in mind, I suggest that you start your song with a 10-second musical motif that introduces the ambiance right away. You should also know which show and which scene you are targeting.

If you are writing with the goal of getting an end title or theme song, then you would target the assignment differently than you would if you were writing for a specific scene. Lets say you want your song to be chosen for the scene where the doctor walks down the dimly lit hallway to tell the wife standing at the end of it, that her husband is dead, then there is a formula to adhere to. And by the way, that scene is happening all the time, over and over... from CSI to Grey's Anatomy...

Eve Nelson is a very highly sought after songwriter for TV & Film because she knows how to capture the emotion of the scene in her music.

Music is an integral part of making a scene come to life.

CEO of your songs

You have chosen "Songwriter" as your profession. Therefore, your job is to write songs. That's it...right? Wrong. Did you know that you are running a business?

Considering the steps and tools needed to run that business successfully, you could have easily started a shoe company, but instead you are making songs.

Having a lack of awareness as to how your business should be run is ridiculous.

You are now in charge of how and what you write, where you perform, what merchandise to manufacture and sell, how your contracts are drawn up, how you collect your money and pay your bills, what you wear, how you present yourself in an interview, who belongs on your team....need I go on?

No one else can make theses critical choices for you, but you. If you give that power to someone else, then you just lost control of your company.

Dillon O'Brian is one of the most versatile entrepreneurs I know. He does not let one modality define his art but uses them all to his advantage.

Be conscious of what you are creating. Remember, the number one ingredient in magic is intention.

Build and lead your company with intention, and magic will happen!