Turkey Day Anthem Please
How was your Turkey Day? Mine had all the usual fixings: the bird, the gravy, the cranberry sauce, the family, the utterances of thankfulness, and maybe one too many glasses of wine. A joyous occasion. And yet….a publisher like me can’t help but be bummed out that - once again - a thanksgiving season has come and gone without a transcendent addition to a nearly empty catalogue of Thanksgiving songs.
Does Turkey not deserve an anthem? Does gratitude in November not tug at the heart strings? Does sour cranberry sauce not inspire creatives from across the continent? Do democrats and republicans don’t agree that eating food is good? There is no one on any political spectrum who would show disdain for a song about giving thanks?
This is my yearly lament. This is my cross to bear - to know that a slapping Turkey song is what this world needs and to be fully aware that creatives everywhere refuse to give it to us. So, I make a request: will you be that creative who gives Turkey its anthem? Will you pen the song that transforms Thanksgiving into a sonic landscape on par with Halloween and Christmas? What I wouldn’t give to the person who could make next Thanksgiving complete by providing an epic soundtrack to Thanksgiving dinner!
Still, despite this yearly drudgery I am thankful. Thankful for friends and family, for the community of 700+ songwriters who have attended my retreats over the years, thankful for ears that can listen to the way that young people are expanding what music can be. And, of course, dear reader I am thankful for you
For I know….
That one day soon…..
You will write THE Turkey Day Anthem I’ve been waiting for!
Co-Writing Tips
As many of you know, I preach the gospel of co-writing. I believe (and the Charts and Numbers bear this out) that a lot of our best songs come from a collaborative environment. If you’re new to the co-writing space it can seem like there’s a lot of things to learn. Let me give you some tips and tricks to remember when you’re stepping into a write with a new person for the first time.
Avoid saying “no.” If someone tosses out a line and you reply negatively with a “no” then it can shut down the creative flow. This doesn’t mean you need to accept every line that’s uttered in a session. Instead opt for some positive verbiage. Try out “Let’s challenge that” or “I think there’s a better line out there” when someone offers a lackluster lyric.
In that same vein, offer up ideas knowing that they might get rejected by your peers. Remember that it’s not personal and that you are all seeking to write the best song possible.
Pay attention to the artist. If you’re in a session with an artist then you’re likely trying to secure a cut with that artist. Pay attention to the artist - how do they speak, what language comes naturally to them, what stories do they want to tell. Remember that in an artist session, your job as the songwriter is to help them tell their story. Make sure they’re responding positively.
Stay til the session is finished. Yes, there are situations in which its best to leave (specifically if someone is being a creepy weirdo to you), but for the most part it behooves you to stay til the end of the session. This will demonstrate your commitment to the work and ensure that the end product is in line with your own dreams for the song.
Be kind. This one is self-explanatory.
Come prepared. Make sure you’ve researched your co-writers a bit by listening to some of their cuts. Brainstorm a few concepts in your NotesApp to offer up at the beginning of the session. Identify some chord progressions you’ve been loving.
DO not be afraid to reference. Most sessions start out with folks listening to songs they’ve heard and liked recently. Bring in your favorite songs and help the other writers understand what it is you like about them. Then, try and take some of these bits and pieces of songs you like as inspiration for what you create that day.
Get the split sheet done. At the end of the session, make sure that the producer e-mails you the demo and that you all agree on the publishing splits either in an e-mail or on paper - either will work. This bit of administrative work might save you a fight with a manager or lawyer down the road.
Song Structure + RPM
There is a large bulk of these newsletters where I discuss storytelling or lyric. But, today I want to start discussing the more musical elements of songwriting. Creative folks can argue all day and all night about whether lyrics or melody play a more integral role in a song's success. But, in reality, both have to be excellent in order for a song to take off. So, today, let's talk about what makes a song musically successful: song structure + RPM.
Songs have form. In popular music during the 20th and 21st century, a basic structure has remained static. Most songs flow forth in the following manner: verse - pre-chorus - chorus - verse - pre-chorus - chorus - bridge - chorus. The Beatles, Beyoncé, Migos, Dolly Parton, and thousands of other artists have built careers out of songs with this structure. Musically, each section does a different thing.
Verses, where most of the storytelling will take place, can be approached in many different ways. They can be sing-songy or rhythmic, but tend to contain some space so that the listener has time to understand the story. You have a lot of freedom in the verse. Pre-Choruses typically have a rhythmic melody or short phrase that connects the verse to the chorus, building tension in anticipation of a release. A chorus contains a simple melody that the listener can sing back immediately. Because the chorus will be repeated three times, its simplicity is a necessity. And, the bridge provides some musical turn that can give the song whatever it has been lacking: emotional catharsis, rhythmic bombast, a quiet moment, etc.
With a basic understanding of song form under our belt, I want to make sure you understand how to make each section feel different. Songs that succeed change the RPM or rhythm, phrasing, and melody between their sections. Rhythm here refers to the pattern of the beats of the melody line: is it falling on the down beat or the off beat? Is it rhythmically dense or just a simple whole note? Phrasing refers to how a particular line is being sung: Is it stacatto or is it legato? Finally, melody refers to where the notes are falling: is it high or is it low? is it a single note is it multiple? What's most important is that the RPM changes in each section.
For example, if your verse has a very legato phrasing, rhythms that fall on the off beat, and a melody that remains stagnant with a single note, you'll want to create contrast in your pre-chorus. In your pre-chorus you might want to have a more stocatto phrasing, rhythms that fall on the down beat, and a melody that moves between intervals. Again, when it comes time for your chorus, you'll need to create contrast with both of the previous sections. Perhaps, have a phrasing that mixes stocatto and legato approaches, start your rhythm on beat two of the phrase, and make a melody that is higher than the rest. This is obviously a very analytical way of thinking of the creative process. But, by understanding the need for contrast, you'll more likely be able to apply it in your own songs.
November Songwriting Challenges
Is Thanksgiving so uninspiring as to have nearly 0 notable songs written about it? Its surprising that in this era of capitalist music making no one has come through with a smash hit about Turkey’s that we feel compelled to stream every year. Write something that’ll change Thanksgiving….and the world.
Subvert a cliché. Using a cliché as a title, attempt to pen verses and melodies that will use this cliché in a new or interesting way.
Jack Harlow’s “Glamorous” repurposes a melody from Fergie’s “Glamorous.” Retool the melody of one of your favorite songs to use as the chorus of a new song.
Pick one of the following literary tools to use in one of your songs today: symbolism, irony, alliteration, simile, or metaphor.
Scroll randomly through the photos in your camera roll. Select one to use as inspiration for the song you’ll write today.
Write a song in D Major. Or A Minor. Just pick a specific key before you even get the ball rolling.
Grab a metronome and set a clear and defined tempo. Do not stray from this tempo as you’re writing your song. What happens when you’re locked into a specific tempo?
Olivia Rodrigo’s “Vampire” was produced with dynamics in mind. There are moments of loudness as well as moments of quiet. Construct a song that pulls you in with its dynamic changes.
What was the last concert you attended? Write a song for that artist.
Use a blues form to write a song.
Judy’s Definitive List of Halloween Smashes
So, you’re getting the candy out. You’re putting on that skeleton make up and slipping into an outfit that - on any other day - would get some questionable stares from the citizens of your neighborhood. It’s time to bump some Halloween tunes in anticipation of Earth’s best holiday. What should you play? Well, here’s 10 songs to bump non-stop tonight.
“There Will Be Blood” by Kim Petras. A campy synth bop banger for lovers of Elvira or Buffy the Vampire Slayer. Vampire teeth implants required.
“Monster Mash” by Bobby “Borris Pickett and The Crypt-Kickers. If Mariah Carey is the Queen of Christmas then Bobby Pickett is the King of Halloween. Pay your respects to the specters of the past with this retro smash of a mash.
“Monster” by Kanye West, Jay-Z, Rick Ross, Nicki Minaj, and Bon Over. The artists involved on this song are a veritable who’s who of chart toppers in 2010. Between Jay-Z listing of all the types of monsters we know and love and Nicki Minaj’s iconic star-making verse, this hyper-focused rap song is a monstrous flex.
“Vampire” by Olivia Rodrigo. The lead single from Rodrigo’s sophomore album begins as a piano ballad before ripping into the throat of the song’s antagonist with drums and background vocals and a belted “Oh.” Give the girl some credit on this glorious day of the dead.
“Thriller” by Michael Jackson. This one is self-explanatory. No writing about this song could possibly do it justice.
“This is Halloween” by The Citizens of Halloweentown. The Nightmare Before Christmas is an essential Halloween film. And this opening number is just what you ned to welcome the goblins, ghouls, and ghosts into your Halloween evening.
“I Put a Spell On You” by Nina Simone or Hocus Pocus. To me, this song has two definite versions. Simone drags us into the spell with her contralto lulling us into a false sense of security while Bette Middler and the witches of Salem do so with a sense of unnerving campiness. Both deserve to be listened to immediately.
“Ghostbusters.” You know it. You love. Ditch the movie and blast the song while you hunt for ghosts tonight.
“She Wolf” by Shakira. Women can be monsters too! Shakira makes that well-known as she croons about the She Wolf in the club.
“Superstition” by Stevie Wonder. Funk and R&B can be creepy too. Stevie Wonder calls on us to consider that “when you believe in things you don’t understand/then you suffer/superstition ain’t the way.” When the night comes to a close cast off your beliefs in the creatures of the night and get a good rest!
Song Types
As in any other art form, there are certain thematic motifs that run throughout popular music. Since we are all music consumers, we are aware of how often ideas are re-examined in our chosen medium. I believe that it helps to classify certain types of songs so that we, as listeners, can be aware of what we're consuming and so that we, as writers, can make intentional choices about the types of songs we want to write. Although there are many categories of song, today we'll be examining three in particular: the autobiographical song, the observational song, and the protest song.
The Autobiographical Song. Songwriters have continually mined their own traumas, tribulations, and triumphs for decades. We are excellent at spinning our personal lives into words and melodies. When we do this, we are creating autobiographical songs. Autobiographical songs are emotionally potent because they tell the stories of our real lived experiences. Through song, we tackle the minutiae of everyday life: love & heartbreak, growing up, family drama, joyous occasions, and one million other themes and stories that are true to our experiences. Songwriters who have mastered this form include Sara Bareilles, Taylor Swift, Alec Benjamin, and SZA.
The Observational Song. While autobiographical songwriting looks inward toward our emotional center, observational songwriting turns the gaze outward. Observational writing can examine small town life, characters central to the songwriter's life, characters who might be totally unrelated to the songwriter's life, social movements, politics, and the natural world around us. These types of songs address topics beyond a songwriters own lived experiences and can open up a songwriter's ability to address themes, topics, places, and people outside of themselves. These songs allow us to examine a larger world beyond ourself. Songwriters that have mastered this form include Kacey Musgraves, Kendrick Lamar, Ashley McBryde, Billy Joel, and Childish Gambino.
The Protest song. Some songs are meant to galvanize us toward action. These songs often reflect and respond to the times in which they are created. Some of them are timeless, but they are truly meant fot their time. They address issues like civil rights, poverty, homelessness, racial injustice, environmental injustice, and a myriad of economic woes. Protest songs are meant to inspire folks into action in very specific ways. Historically, we see protest songs become popular in times of social unrest. Songwriters who have mastered this form include Nina Simone, Beyoncé, Kendrick Lamar, Bob Dylan, Joni Mitchell, and Bob Marley.
The Financial Implications of Becoming a Producer
Forget about collaboration for a second. Forget about division of labor within the music industry. Forget about feeling like you need someone else to help you hone in on your sound. Today, we’re talking about why you should become a producer….well, specifically from a financial standpoint.
If you’re an artist, become a producer can save you money on the front and back end. Most artist’s biggest out-of-pocket expenses when they’re independent happen to be paying their producers to finish their tracks. Circumventing this reality will mean that you can put more money toward rent, living expenses, or even marketing for your songs. Negotiations with producers usually involves giving up points on the master as well in order to make up for not being able to pay full fees. This means that - if a song blows up - they’ll earn money that you can earn yourself. If you’re self-produced you are in complete control of what to do with the master and any incomes associated with it (unless you’re signed of course).
The financial benefits do not stop here however! Most musicians collaborate often. And, due to industry standards, producers are able to command fees that writers just can’t (though we hope that changes soon). If you’re able to develop your skills to a certain degree, you’ll be able to turn more of your sessions with independent acts into money making ventures. Artists are used to paying production fees and you might even be able to make enough here to quit any of your other side hustles. Producers, as previously discussed, tend to get master points as well giving you yet another revenue stream option.
Becoming a producer is indeed hard work. How many producers do we know who spending hours, days, nights, and years hunched over their computers learning how to comp the best take or engineer the best sound. This isn’t an easy task by any means. But for those of you who have it in you, I highly recommend learning this skill. The numbers regarding master points and fees should speak for themselves.
Stage Banter
Whether you're an artist who writes songs for yourself or you're a songwriter who writes songs for other people, performance will likely be a part of your life. This is especially true in cities like Nashville where songwriters play out with the same regularity as artists. It is with that reality in mind that we must discuss stage banter - the seemingly lucid and spontaneous conversation performers have with the audience between songs.
Performance has several basic components. Vocal performance - how your voice communicates the lyrics - is obviously of the greatest importance. Choreography - general movement, whether you'll sit or stand, and how your hands communicate - is another aspect worth considering. Today, we'll talk about stage banter.
When we go to shows put on by mega stars, they often speak to us in between songs. Sometimes they crack a quick joke, tell a story about a song, or reveal some quotidian detail about their life that lets us get to know them a bit better. These moments often feel as if they're happening on the fly. However, if you were to see an artist perform several times throughout the same touring cycle, you might notice that you hear the same jokes, stories, or quotidian details over and over again. This is because their banter is rehearsed.
When I counsel artists as they develop their stage performance skills, I often urge them to script their set. Stage banter needs to feel spontaneous but be rehearsed. That way, a set feels fluid and natural. So, for those of us who might just be starting to make stage banter a part of our sets, here are a few good guidelines and things to consider.
1) Plan when you are going to introduce yourself. Saying something like, "Hello my name is____," is incredibly important. If your audience wants to search for you on Instagram, Facebook, or Spotify after a performance, they'll have to know your name. So, make sure to introduce yourself. It is best to do this before or after your first song. In addition, remind your audience of your name before you play your last song.
2) Don't ask an unfamiliar audience to cheer for you by asking, "How're you doing tonight?" Often times, a new audience will struggle to engage with music they haven't heard before. As a new artist or songwriter, you're already asking your audience to acclimate to a new voice or new songs. Mega artists can get away with hyping up the crowd, but new artists and songwriters should opt for something that shows their appreciation for an audience willing to listen. Try something like "I'm so grateful to be here with you" or "I'm very excited to be tonight." This is an effective way to show your appreciate to an audience and gain points with the crowd.
3) Prepare dialogue between songs. Take the time to prepare stories or jokes that help introduce your songs. These quips need to enhance the audience's understanding of a song without simply repeating the main conceit. So, the following can be effective choices: tell us who the song is about, tell us about the emotional space you were in when you wrote the song, or tell us a bit about the writing process of the song. Specificity and detail in these stories will make your audience feel more connected to you.
4) Rehearse your dialogue. Once you have a general idea of what you're going to say, you need to rehearse how you're going to say it. Speak your dialogue and see where you need to pause, where you need to speak quickly, and where your voice needs to raise and lower in pitch. I also encourage you to do this in front of a mirror so that you can see how your face changes throughout the dialogue.
5) Plan when you'll introduce your band and hawk your merch. If you're going to play for other musicians, it is proper etiquette to introduce each of your band members. Doing this near the middle or the end of your set is a good choice. In addition, if you're selling merch, make sure that you alert the audience to its existence. Otherwise, they aren't going to purchase it. Remember, this is a music business, so if you have things to sell then go ahead and sell them.
6) Thank your audience and repeat your name before the last song. Making sure to thank your audience will endear them to you as you make your exit. And, the repetition of your name will encourage them to seek you out on social media and online music retail sites after your performance.
October Songwriting Challenges
Its Spooky Season! It is once again time for you to pen a song that could be as iconic as “Monster Mash.” We need more Halloween themed bangers!
Turn off all the lights and close all the windows. Grab a guitar. What type of song do you write in the still and quiet? How does sensory deprivation inspire you?
Pick a monster - a vampire, goblin, ghoul, or even a kraken! Write them a theme song.
The music in a scary movie can add drama and suspense! Rewatch your favorite scary flick and pen a song that you think represents the thrill of film!
Screams! Squeals! Groans! The sound of running! The percussive slice of a sharpening knife! There are so many scary sounds that can fit into a produced out track either as a memorable moment or the percussive underpinning of a whole song. This Halloween season sprinkle in something scary into your production.
“Trick-or-Treat” is an iconic phrase. What other Halloween season phrases can you dream up? Do we need a new phrase to represent this season? Come up with an iconic Halloween saying and use it as the title of a new song.
Pick a song in a major key and reimagine it in a minor key.
Go out and buy your favorite candy. Take a bite. Now, write a song or jingle that you think the candy brand could use in future marketing.
The full moon is particularly powerful in the fall! Write a song during this month’s full moon.
Take a break. Go out on Halloween and celebrate the magic of the night. Come back restored and ready to write in November. After all, we’re incredibly close to Turkey season.
Production Language Basics
Basics of Production Language
When you step in to record your songs with a producer, you'll notice they speak a different language. They'll talk about plug-ins and EQ and DAWs. For those of us without a surplus of production experience, this can be especially confusing. Let's go over some basic production language so that you can more easily communicate with your producers.
Samples - Sampling is the reuse of a portion of a sound recording in another recording. Samples may be comprised of melody, rhythm, speech, or sound from previously recorded material. If your producer is using the high hats from a James Brown track, then they are using a sample.
Plug-Ins - Plug-ins are computer software sounds. Plug-ins like Absynth or Battery provide a litany of electronic sounds that can create new textures in your soundscapes. These plugs-ins have special pianos or drums to use. Other plug-ins, like Little Altar Boy or Valhalla, can alter the sound of a recorded audio.
DAW - DAW stands for Digital Audio Workstation. These are programs like Logic Pro X, Pro Tools, Studio One, and Ableton. DAWs are where most producers create music.
Audio/Midi - In the recording process, we want to think of Audio and Midi as they relate to each other. Audio is a signal that is recorded directly from an instrument or a voice. Audio will present as a sound wave in a DAW. Midi is a signal generated from a midi controller and contains information about which keys are pressed. Instead of presenting as a sound wave, Midi files will present the keys and rhythms played.
Mixing - Mixing is the process of combining multiple tracks into a final mono, stereo, or surround sound product. If you record guitar, piano, and vocals, then mixing helps finesse those elements to sound like a cohesive track. Mixing has four basic components: equalization, compression, panning, and reverb.
Equalization - The short hand for equalization is EQ. EQ is the process of altering the frequency response of a track. The audio spectrum can be broken down into four parts: low-bass, mid-bass, mid-treble, and high frequency controls. When you EQ a track you enhance or downplay certain frequencies for sonic effect.
Compression - Compression processes audio signals to reduce the volume of loud sounds or amplify quiet sounds. If you were to look at a sound wave you might notice peaks and valleys in the level of volume being received by a microphone. Compression essentially flattens out this sound wave and makes your volume level.
Panning - Panning refers to how sound signals are distributed throughout a sound signal. Within the space of your headphones there is a lot of sonic room. So, you can distribute certain signals to only come out of your left headphone or only come out of your right headphone. Many signals are distributed down to the middle or only slightly to one side which is why you can hear it coming out of both headphones.
Reverb - Reverb refers to the continuity of a sound after it is produced. Most people are familiar with this effect from singing in the spaces with hard surfaces. You can apply this effect through certain plug-ins or capture it naturally by performing in specifically acoustic spaces.
Grit
Let’s talk for a second. The music industry is tough. Cuts you thought were gonna come out fell through last second. Some manager has gotten in the way of your tight-knit relationship with an artist. You’re going through a period of writers drought that you’re having trouble getting out of. The pay that you’re getting from royalties is simply not enough. Indeed, the path you’ve chosen is one that is difficult.
And, I hate to say it because I wish it wasn’t true but the only way out it through. You need to keep pushing. You need to write through your writer’s block. You need to leave certain collaborators behind in search of new ones. You need to keep that side hustle for another period of your life so that you can stay afloat and write the songs you need to write.
In Angela Duckworth’s book Grit: the Power of Passion and Perseverance, the psychologist turned authors shows that the secret to high achievement is not talent but a focused persistence. There are those who - at times that are difficult like this - pivot away from their dreams. Sure, it is possible that some of them outgrow the wishes of their younger selves or discover some new calling in life. But, others have simply thrown in the towel too early. Don’t let that person be you. When the going gets tough, double down on the path you’ve chosen.
You will write more songs. You will find new collaborators who bring you even more joy than those you’ve lost along the way. You will have songs get released and listened to by folks far and wide. The key is to persist through the trying times. Choose your goal. Lock in. And be the grittiest writer you know.
If you want this for yourself, then persist.
2nd Verse Curse
The Second Verse Curse is a term coined by songwriters everywhere to describe the difficulty of penning a second verse. A lot of writers get stuck at this point. Having finished a first verse, pre-chorus, and verse, it can be quite frustrating to figure out what the song needs in order to move forward. So, let's talk about some strategies for overcoming the Second Verse Curse.
So, when you've arrived at the second you've likely established several things in your songs: melodies for each section of your song, a loose idea for a story, and some lyrical focal point in the chorus. A lot of work has been done and its time to dig into your second verse. Typically, you'll apply the same melody as the first verse to the second. This won't always be the case. But when it is, the following are some options for how to approach your second verse lyric content.
1) Ask yourself the following: Where should the story go? Especially when you're working with characters or autobiographical experience, this can be a great question. Fleshing out the direction of the story will inform you of what content you need to include in the second verse. Believe it or not, a great autobiographical story song of the modern day is Ariana Grande's "Thank U, Next." There are three verses in this song and each one focuses on a different time in Ariana's life. The first chronicles her past, the second analyzes her present, and the third considers her future. This chronological storytelling in the verses gives us a clear through line for the story being told.
2) Ask yourself the following: What hasn't been said? A lot of writers can get bogged down in repeating the same content in both of a song's verses. Don't be that writer. Make sure that the lyrical content of your second verse adds to your song instead of repeating what's already been said. Your second verse is a chance to recapture your audience's attention, so make sure not to be redundant. Kacey Musgrave's song "Blowing Smoke" provides us an example for this line of questioning. The song builds out the world of a diner in which the women working there promise to quit, but never do. Kacey uses the second verse to further construct this world by introducing new characters to the collage which draws us back in.
3) Write to the hook. Your first verse and your pre-chorus lead up to some lyrical focal point in the chorus. Songs like "Chandelier" by Sia show us clearly defined motifs for a chorus lyric. After establishing the central conceit of being a chaotic party girl swinging from a chandelier, Sia uses the second verse to hone in on the idea. She's the the one "for a good time call" but when the "sun is up [she's] a mess." By using the second verse to highlight the central conceit of the song, Sia makes her entire song more focused.
September Songwriting Challenges
Set a timer. Type or write words and sentences freely for ten minutes. When the timer goes off put your pencils or keyboards down. Now, go back and read what you wrote highlighting any words or phrases that stick out to you. Use these as titles or concepts in your next write!
Co-write with someone you’ve never met before.
Zoom sessions might be a thing of the past but maybe they shouldn’t be. See what happens if you take one of your sessions over Zoom this week.
A fictional break up can be just as heartbreaking as a real one! Pick a break up between your two television characters and a write a song about their experience.
There’s always 2 sides (or more) to a story. Pick a song from your own catalogue and write it from a different character’s perspective.
Modern pop song structure can feel rigid at times. Allow yourself to break free. Imagine a new structure for a song that is not verse - chorus - verse - chorus - bridge - chorus. What can a song sound like when you’re no longer bound by form constraints?
One of the interesting things about Billie Eilish’s “Bad Guy” is the way in which the outdo it tacked on at the end. Write a song in which the outro feels at odds with the rest of the song.
Songs seems to be getting shorter and shorter - have you listened to the Barbie soundtrack? Write a song that is 2 minutes or less.
Rachel Platten was onto something when she wrote “Fight Song.” Write a song that indulges in its desire to be inspirational!
Schedule an entire day where you do nothing but write. Challenge yourself to write as many songs as possible in a 24 hour period! Does your work get better or worse when you work relentlessly?
Finding a Mentor
“He that is taught only by himself has a fool for a master.” That is why it is important to seek out external opinions from those with the correct qualifications. It can be difficult, as an artist and songwriter, to know who to trust. So let me help you weed out the bad eggs and help you invest in mentorship relationships with the right folks.
Your number one aim should be to seek out a mentor who has had a career in your industry. Avoid opinions from lawyers and doctors who think that songwriting is a pipe dream. Its not. Trust me, I’ve lived this life. Whittle down your mentors to writers, artists, producers, publishers, and other folks who have made their entire life and entire living from music.
Next, ensure that the person you’re seeking mentorship from can deliver critique in an uplifting way. Constructive criticism is far superior to destructive criticism. If you’re seeking advice from someone who frequently tears you down and offers no way for you to improve, seriously consider seeking out another teacher. A great mentor can point out your flaws and demonstrate how to improve through exercises, listening materials, or some secret tidbit of wisdom they’ve acquired along the way.
Of course, you might have met a music industry professional who is constructive who is simply too preoccupied with other projects to help you get to where you need to go. Ideally, your mentor will have the time to sit with you and listen to your songs and your issues. We all lead busy lives - especially in the music industry - so this can be hard to come by. But, a great mentor who believes in you will take the time.
I offer one-on-one critiques and mentorship sessions to songwriters. With decades of experience and success in the music industry, I have always made it my mission to help songwriters develop their craft and solidify their careers. Do not hesitate to reach out if you want someone on your side who can help you reach your business and create goals.
Healthy Choices for Songwriters
Health is wealth as they say. I am one of those folks who oft repeats this old adage. It is essential for the working songwriter to maintain a strong semblance of health. Our voices - our instruments - resides in the throat. The breath that powers those voices needs the undulation of the lungs. It is our fingers that stretch to play chords on the piano and guitar. Our brains need to run smoothly in order for us to churn out hit after hit.
The obvious health choices need apply to all songwriters: avoid smoking whenever possible, limit alcohol intake, exercise regularly, eat a healthy diet, etc. All of those are key. But there are a few extra things we should consider doing to maintain optimal performance.
Hydration is essential - water and decaf tea should be your go to choices. Although caffeine might perk us up in the morning, it will dry us out by mid-afternoon like any dietetic. Therefore, it is best to develop sleeping habits that will help you mitigate the need for that sweet morning bean juice. We need hydration in order to keep the vocal cords properly lubricated. Anything that might stymie that goal is our enemy.
On that same note, a singer-songwriter need be extra careful about what allergy medications they take. When allergy seasons rolls around and you start to feel that post-nasal drip begin to flare up, opt for net pots and Flonase. Clean out your sinuses and get something into them that will decrease inflammation. Again, avoid anything that works by dehydrating you (Claritin for instance).
When traveling long distances for tour, stick that mask around your face. When we develop sinus infections it can keep us from performing or lead to vocal damage so we need to do everything we can to prevent that. Chug vitamin c, eat healthy, and wear a mask. Washing your hands during tour - or any time really - is critical. The use of a humidifier in a hotel room can help your cords HYDRATED.
Singer-songwriters need to always be thinking about the health of their voices and bodies. It is when our health is aligned that we can give our best performances. Do what needs to be done to ensure proper hydration and bodily health.
Sign Up for a Judy Stakee Songwriting Retreat today!
As I’m sure most of you know, I host regular songwriting retreats. A lot of you may have even attended them in the past. If you’re still on the fence about applying to one, let me tell you today definitively that it is time to get your butt to one of these retreats and join our ever growing community of writers!!!
Firstly, let me tell you that it is the right time for you to dedicate several uninterrupted days to the cause of songwriting. When we separate ourselves from our homes and enter a sacred space of art making, our minds shift. We forget everything from the outside world and can focus 100% of our energies on improving our craft, developing connections with likeminded writers, and charting a new path forward to continue our growth.
My retreats give writers five days to strengthen their body, mind, and soul. We do tis with daily meditative yoga, chef-made cuisine, daily lessons in song craft, daily writing sessions in groups of three, discussions about music industry trends, and nightly presentations of our songs. Your songwriting abilities are muscles that need a system. We maximize creativity each day so that you can flex and stretch these powerful muscles.
Over 700 passionate alumni have participated in these retreats. Writer have gone on to multimillion streaming songs, sync placements in television and film, publishing and record deals, and a lifelong pursuit of songwriting. The numbers don’t lie either: 90% felt their songwriting improve, 98% feel like the retreat was essential for their development, and 94% believe that the retreat was worth the investment of their time and resources.
I structure these retreats with your future in mind. Apply today and learn what it takes to make it in the music industry and elevate your career.
August Songwriting Challenges
I know that there’s a lot of unfinished gems in your voice memos. Go back and listen through them. Pick one to finish.
Chord progressions are the beds upon which we write entire songs. Pick a chord progression from a pop song you love. Now, play it in reverse - miraculously it will probably still sound great. Write a song over this reversed chord progression.
Most songs are written in a 4/4 time signature. Write something in 3/4 or 6/8 today for some rhythmic differentiation in your catalogue.
Write a terrible song. The worst song. A truly bad song today. I know it sounds crazy, but what happens if you free yourself from the constraints of having to write something “good”?
America loves a sequel and they love a trilogy even more!!!! Pick your favorite pop song in recent memory and give that song a prequel and a sequel. What happens in the story and music before that song is written and what happens in the aftermath?
Country music is known for its hometown songs. And how many songs have been written about Los Angeles and New York. I can only think of one written about Vienna. Give a city or town a theme song that could put it on the - proverbial - map.
Many writers get stuck in their style. Pick a new genre to write in today.
“Flowers” by Miley Cyrus succeeded - in part - due to a marketing campaign that showed how it responded to Bruno Mars “When I Was Your Man” both in form and content. Write a song that responds to a pop song you love.
Write a song like a short mantra. Use only one lyric and melody that repeats over and over and over finding new ways in the vocal performance and production to build on itself.
Write a song on an instrument that you play poorly.
Media that Songwriters Should Consume
In the whacky, wavy, wonderful world of the internet there is a plethora of good (and horrendous) content out there for songwriters to consume. So let’s review five different types of media - outside of songs - that songwriters should be engaging with.
And the Writer is…is an interview style podcast hosted by Ross Golan. In each episode, Golan sits down with a different hit songwriter to discuss their journey in the music industry, their process, and how their hit songs came about. It is a personal look into the people behind the songs. For songwriters in the industry, it can provide insight and inspiration. There are currently more than 160 different archived interviews for you to listen to right now.
Diary of a Song is a YouTube series recorded by the New York Times. When a song transcends boundaries and enters the cultural mainstream Joe Coscarelli interviews the writers and artists behind the song. Over the course of 24 different episodes, Coscarelli has interviewed Lorde, Sam Hunt, Lil Nas X, and dozens of other folks about their work.
Vox’s Earworm is - similarly - a YouTube series run by Vox. There are 27 episodes in which journalist Estelle Caswell discusses far ranging topics like 70’s trucker music, the take over of smooth jazz in the 90’s, and why the US national anthem is TERRIBLE. Nah episode is a studied examination of musical trends well known or forgotten. Academics will love this series.
In the podcast Song Exploder, host Hrishikesh Hirway invites musicians onto the pod to break apart how their songs were made piece by piece. New episodes are released every two weeks and run somewhere between 15-25 minutes each. They’re excellent listening pieces for a car ride or subway trip. Noah Kahan, Muna, and Fiest are all recent interviewees.
NYTimes Podcast is a podcast in which music snobs and journalists get together to discuss varied music topics. Here, the artists and songwriters are removed from the mic and instead academics seek to contextualize how they fit into a greater musical story and lineage. Each episodes runs for about an hour so it’s a bit of investment. But, I always find this one to be joyful, entertaining listen.
The Power of Quantity
Art making is often thought of as “talent,” some universal magic has blessed the sacred few to write down our stories and sing our songs. The dominant theory will have you believe that songwriting or art making of any kind is simply a gift you are born with. But that is not true. Art making is a skill.
I believe this theory of divinely anointed talent translates to how many of us think about inspiration. Inspiration visits us in fleeting moments and must be captured before it flies away until it decides to miraculously visit us again. It is this exact theory which prevents many of us from truly succeeding. This theory makes it so that many of us write very few songs over the course of our lifetime. If this is how you think about art, I encourage you to cast off this notion.
Increasing the quantity of your output is what will lead to success. Inspiration is not something that chooses to visit us, it is something that we can foster. Let me explain how to do so.
I often enoucrage writers to write daily. Make writing a habit, a practice, and a way of betterment. You can write in journal for 10 minutes each night. You can brainstorm 10 titles in the morning that you put into your notes app. You can schedule sessions for 7 days a week. Whatever the specific task may be, the overarching mission is to write and be creative everyday. In this way, the quantity of what you create increases.
By increasing the quantity of your output, you will better learn the mechanics of songs, increase the size of your catalog, and hopefully iron out a few kinks. The greats that came before you tended to write prolifically - surely there must be more than a little benefit to such practices.
I think the best part about writing regularly and in great quantities is that you will end up with a greater number of songs. In doing so, you will increase the number of great songs that you have. Not be a total capitalist about this, but skill building in art is a numbers game. The harder you work to output songs the more likely you are to write something that you and others around you will love.
Stop waiting for inspiration to strike and instead make writing your number 1 habit.
Networking Methods for Songwriters
Let’s be real: your relationships are as important as your talent. As the saying goes, its about who you know! So how do you as a songwriter break into the networking game and develop key relationships! Let’s discuss.
Reach out to your PRO representative. All songwriters need performing rights organizations like BMI, SESAC, and ASCAP to help them collect their royalties. The music industry is funny like that. Each fo these organizations has representatives dedicated to helping new talent find connections with writers, producers, artists, managers, lawyers, agents, etc. Send an e-mail to a representative of your PRO today to get together and discuss your goals and how they might help you moving forward.
Join one of my writing retreats. My writing retreats are full of songwriters looking to build community with other writers. There are a few hundred folks who have been through my program and many of them work with each other on a regularly basis. Attending writing retreats puts you into direct contact with important creative communities.
Attend live shows. Live shows -especially in music capitals - are frequented by other creatives and music business professionals. Grab a drink and open conversations with the folks you see around you. You’re sure to bump shoulders with the exact types of folks you want to meet - creatives, lawyers, managers, etc.
The Tit-For-Tat Method. Look, we all have friends who write songs who work with folks we wish we knew! It is likely that your songwriter friends want to meet someone in your network as well. Don’t hesitate to ask your friends for intros, but do so by offering them an introduction in return! You scratch my back and I’ll scratch yours.
Cold e-mails to publishers. Look, a cold e-mail can backfire easily so make sure that when you send one it is concise and includes links to no more than three excellent songs. Publishers listen through what they’re sent - its their job. If they like what they hear they’ll reach back out! If not, no worries they might just forget they ever got something in their inbox (their work volume is insane).
Instagram DM’s are a great way forward especially if you’re interested in an act who’s indie. When you hear something you like reach out to someone via DM’s and compliment them. If you really want to meet them, ask to take them to coffee - everybody loves a free treat.
Master your craft.
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