Traditional Songwriter Revenue Streams
In the short history of recorded music, American songwriters have been entitled to certain revenue streams. I believe that all songwriters who seek to make songwriting the primary economic engine of their life, must have an understanding of the different revenue streams that songwriters collect on. Today I present you with a listicle defining the classic revenue streams for songwriters and how that money is collected: mechanical royalties, performance royalties, sync fees, print royalties, and writer’s fees.
1. Mechanical Royalties: compensation paid to the copyright holder of a musical composition for the authorized reproduction and distribution of that composition. These royalties are generated when a third party, such as a record label or digital streaming service, manufactures and distributes physical copies of a song (e.g., CDs, vinyl records) or when the song is digitally downloaded or streamed. The payment is based on a statutory rate per unit (e.g., per copy sold or per stream).
Example: When an artist records and releases a cover or their own version of your song, you earn mechanical royalties for each sale or stream. For instance, when other artists cover “Yesterday,” McCartney earns mechanical royalties for each copy sold or streamed.
Payout Mechanism: Mechanical royalties are often paid out through performance rights organizations (PROs) like ASCAP, BMI, or SESAC. Record labels or distribution platforms pay these organizations, which, in turn, distribute the royalties to the rightful songwriters based on established formulas and agreements.
2. Performance Royalties: compensation paid to the copyright holder of a musical composition for the authorized public performance of that composition. These royalties are earned when a song is performed or broadcast in public settings, including on the radio, in live concerts, on television, in clubs, and through digital platforms
Example: Each time your song is played on the radio, performed live, or streamed on platforms like Spotify, you earn performance royalties.
Payout Mechanism: PROs play a crucial role in collecting and distributing performance royalties. They monitor and report the public performances of your music and ensure you receive fair compensation. Live performances are often tracked through setlists and venue reports.
3. Sync Fees: Compensation for a synchronization license, which is a legal agreement that allows the licensee (typically a filmaker, producer, or ad agency) to use the song in conjunction with visual conten such as films, television, commercials, video games, or other audiovisual products.
Example: Getting your song featured in a hit TV series can lead to a sync deal, bringing in revenue and increasing exposure.
Payout Mechanism: Sync fees are negotiated and paid upfront, typically through music publishers or licensing agencies. Additionally, performance royalties may be generated each time the synced content is broadcast or performed.
4. Print Royalties: While less lucrative in the age of online guitar tabs, print royalties are earned from the sale of printed sheet music or lyrics.
Example: If your song becomes popular, printed sheet music featuring your composition may be sold, and you receive print royalties for each sale.
Payout Mechanism: Music publishers often handle print royalty payments. The royalties are calculated based on the number of copies sold and are typically paid on a quarterly or semi-annual basis.
5. Writer's Fees: Like a producer’s fee, writer’s fees are payments received by songwriters for their creative work during a collaborative writing or recording session.
Example: If Sia Furler is hired to write with an artist, they may pay her in advance of her session.
Payout Mechanism: These fees are negotiated and paid upfront, often through agreements facilitated by managers, agents, or music publishers. The payment terms and structure depend on the specifics of the collaboration and the parties involved.
Bad Mentors
Over the past several decades, I have made it my mission to cultivate talent in songwriters. I advise them in various writing exercises, help them link with potential collaborators, and reflect back at them what their strengths and weaknesses are, which allows them to identify optimal strategies for self-development. My years of experience as a publisher of financially successful and culturally impactful songwriters is evidence that my methods are widely applicable. What I’ve noticed is that a lot of young writers (young in the sense that these writers are new to the industry), don’t know how to identify when one of their mentors is having a negative impact on their work output. So let’s identify some traits we DON’T want in a mentor.
A lack of relevant experience in the music industry. There are so many people dolling out poor advice about creativity or music business who have never had a successful career in the industry or who, more alarmingly, have never written or released a song. Please, for the love of G-d, avoid these types of self-procliamed know-it-alls who lack the requisite experience to help you propel yourself forward.
Feedback is always negative. Look, it’s no secret that the music industry can beat you down. When you’re already on edge from it all, you want to be able to connect with a mentor who can affirm your talent and give you tips for how to improve. There are those who thrive on giving out destructive criticism to their acolytes, diminishing the fire that burns inside of them. If you find that you frequently leave interactions with your mentors feeling negatively, you may need to seek out new mentorship.
Selfish Motives: A mentor should prioritize the mentee's growth rather than their own personal gains. If a mentor is more focused on exploiting the mentee for personal benefits it can lead to a toxic mentor-mentee relationship. If you’re feeling taken advantage of financially, spiritually, or even physically, then you are in a dangerous position! Get out of there fast.
Failure to Foster Independence: A mentor's role is to guide and empower the mentee to become independent in their career, both creatively and financially. If the mentor micromanages or restricts the mentee's decision-making, it can hinder their ability to develop their own identity and skills. A good mentor knows that one day you should fly out from the nest.
Unwillingness to Share Industry Insights: There are those in the industry who, for whatever reason, feel precious about sharing wisdom about creativity or navigating sticky business situations. They feel that the next generation should go through what they went through, as opposed to ensuring future generations are instilled with knowledge that allows them to circumnavigate hardship. A good mentor shares industry insights and knowledge generously. A bad mentor may hoard information, limiting the mentee's access to valuable resources and preventing them from making informed decisions.
Choose your mentors wisely young Padawan. The information you intake will help you with your output! Always surround yourself with people who’s love and care and wisdom is self-evident!
Black History Month: Required Listening
Get out your notes! This is required listening for 2024’s black history month.
Jazmine Sullivan. While already established, Sullivan’s husky contralto voice is reaching new heights. Her recent effort, "Heaux Tales," and a live performance of The Black National Anthem are essential texts of black female sexuality and love and Black American identity respectively.
Bibi Bourelly. Bibi Bourelly is a German-American singer-songwriter known for her raw and authentic approach to music. She penned “Bitch Better Have My Money” for Rihanna, as well as Thousand Miles on Miley Cyrus’ recent record.
Flyana Boss. The rap duo who changed the TikTok gain have garnered opening dates with Janelle Monáe and remixes by Missy Elliot. They’re brash and they’re fun and you can’t help but smile when you bump their tunes.
Jensen McRae. A guitar weilding singer-songwrter, McRae’s lyrics are bound to win a Pulitzer Prize someday, not unlike Kendrick Lamar. With her contralot voice and poetics, McRae is sure to break soon.
Kara Jackson. A folk artist and contrato vocalist, Jackson has been championed by artists at the forefront of culture like Solange. As we experience the folk revivals of led by acts like Noah Kahan, Jackson is primed to enter the mainstream fold.
Coco Jones. One of Def Jam record’s brightest stars, Coco Jones has recently collaborated with Renee Rapp and Justin Timberlake alike. Her voice is golden and her music recalls the magic oc 90’s RnB. When people talk about great vibrato, they’re talking about Coco.
February Songwriting Challenges
Imagination Station: Create a song about your favorite imaginary place or adventure. Actualize the imaginary in melody.
Seasonal Sensations: Describe your feelings and experiences associated with a particular season. Seasonal songs are great because they can be released at a specific time each year.
Modal Exploration: Write a song using a specific musical mode (like Dorian, Mixolydian, etc.) and explore its unique mood.
Extended Chords: Oftentimes, writers can get bogged down in basic minor or major triads. Experiment with seventh chords, ninth chords, or other extended chords to add richness to your song.
Sound Palette: Create a song using a specific instrument or sound as the focal point (e.g., a vintage synth, a sampled field recording).
Collaborative Remix: Take an existing song and create a remix or reinterpretation by adding your production elements and arrangement. If you’re a more lyric/meldoy focused writer, use an interpolated melody in your chorus.
Conversational Tune: Write a song that feels like a conversation between two people. Give each person a different line, as if they’re trading bars or melodies.
Hook-Centric: Develop a song focused primarily on a catchy hook or chorus, with a brief verse.
Album Concept: Develop a song that fits into a larger album concept or thematic collection of songs. You can use one of your favorite albums to center the sound.
Mini-Opera: Compose a song with different acts or sections, conveying a narrative or story arc…Bohemian Rhapsody anyone?
An Examination of Concept Records
Concept records have had a bit of a resurgence in the past few years as artists of all genres seek to delve into hyper-specific worlds of their own invention. Definitively, concept records are albums where all the tracks are unified by a central theme or narrative, often telling a story or exploring a specific idea. They appeal to listeners hoping to escape their own worlds and see reflections of their own realities in music. Today, let’s analyze different concept records that have defined the past 20 years or so of music!
"Lemonade" by Beyoncé (2016):
Concept: A visual album exploring themes of marital infidelity, black female empowerment, and black southern cultural identity, "Lemonade" takes the listener on a journey of emotional turbulence and self-discovery, as Beyonce moves from a space of pain to healing. As Beyoncé stated in her Grammy’s acceptance speech, her intention “was to create a body of work that will give a voice to [Black Southern female] pain, our struggles, our darkness and our history, to confront issues that make us uncomfortable -
Why it Matters: Beyoncé's "Lemonade" is a groundbreaking work that blends music, poetry, and visuals to address personal and universal struggles within relationships, particularly the experiences of Black women. A game-changing visual album, Lemonade posits that the visuals are just as important as the music in creating an artistic identity.
Album Sales/Chart Position: Certified Platinum; debuted at #1 on the Billboard 200.
Judy’s Track Picks: "Formation," "Sorry," "Freedom"
"The Suburbs" by Arcade Fire (2010): A reflection on suburban life, exploring nostalgia, societal change, and the struggle for individuality within the constraints of suburban existence. It paints a vivid picture of the tension between personal memories and the shifting landscape of suburban America. Win Butler of Arcade Fire said, "I was in my late twenties, and there were all these details of my childhood in Houston… I would close my eyes and imagine riding my bike through town and trying to find the edges of my memory. There was kind of all this emotion that came up through that, and I wanted to capture it.”
Why it Matters: Arcade Fire's exploration of universal themes resonates across generations, creating a sonic tapestry that captures the essence of a shared suburban experience, an American experience deserving of its own artistic record.
Album Sales/Chart Position: Certified Platinum; peaked at #1 on the Billboard 200.
Judy’s Track Picks: "The Suburbs," "Ready to Start," "Sprawl II (Mountains Beyond Mountains)"
"The Black Parade" by My Chemical Romance (2006): "The Black Parade" unfolds as a rock opera, chronicling the journey of "The Patient" through death and the afterlife. It explores themes of mortality, identity, and the pursuit of meaning in the face of one's impending demise. In one quote that captures the band’s artistic mission during this particular era, Gerard Way said “The difference we wanna make is, number one, to let these kids know that they’re not alone, that they’re actually not that messed up and that they can do whatever they want. They can express themselves however they want without be persecuted or called a ‘f***ot’ or some kind of racist thing.”
Why it Matters: My Chemical Romance's theatrical and emotionally charged approach to storytelling pushes the boundaries of the rock genre, making "The Black Parade" an iconic piece of mid-2000s music culture. Bands like Twenty One Pilots and Waterpark are inheritors of sonic palettes perfected by MCR.
Album Sales/Chart Position: Certified triple Platinum; peaked at #2 on the Billboard 200.
Judy’s Track Picks: "Welcome to the Black Parade," "Famous Last Words," "I Don't Love You
"To Pimp a Butterfly" by Kendrick Lamar (2015):
Concept: Kendrick Lamar's critically acclaimed album, released in the wake of the BLM movement, is a nuanced exploration of African-American identity, institutional racism, and self-discovery, using the West Coast as its focal point sonically and aesthetically. It unfolds as a complex narrative, utilizing a variety of musical influences—jazz, poetry, hip hops— and Pulitzer Prize winning lyricism. Speaking to the political moment and his place in it, Kendrick Lamar said in an interview with The Gaurdian, “It’s already in your blood because I am Trayvon Martin, you know. I’m all of these kids.”"
Why it Matters: "To Pimp a Butterfly" transcends the boundaries of hip-hop and establishes itself as a landmark cultural commentary and Lamar as a power player in that world.
Album Sales/Chart Position: Certified Platinum; won the Grammy for Best Rap Album; debuted at #1 on the Billboard 200.
Judy’s Track Picks: "Alright," "King Kunta," "The Blacker the Berry"
"The ArchAndroid" by Janelle Monáe (2010):
Concept: Janelle Monáe's concept album serves as a sci-fi epic, featuring an android messiah named Cindi Mayweather. The narrative explores themes of identity, love, and rebellion within a dystopian future, drawing from various musical genres.
Why it Matters: "The ArchAndroid" showcases Monáe's versatility as an artist, blending funk, R&B, and rock in a genre-defying exploration of societal issues and personal empowerment. It was a pre-cursor to future concept albums by black female artists like Beyoncé
Album Sales/Chart Position: Certified Gold; peaked at #17 on the Billboard 200.
Judy’s Track Picks: "Tightrope," "Cold War," "Q.U.E.E.N. ft. Erykah Badu"
10 Ways to Overcome Writer’s Block
No matter where you are in your creative endeavors, you’ve run into that beast we call Writer’s Block. Whether go through it, over it, or under it, you will inevitably meet this repetitive creative virus at some future point. Its best to have some strategies prepared for overcoming Writer’s Block, so…today I present you with 10!
Freewriting Exercises:
This is my initial suggestion to all blocked writers. It should really be a daily practice, so if its not yet, make it one!
Set a timer for 10-15 minutes and write whatever comes to mind without worrying about structure or coherence. This can help loosen up your creativity.
Join a Songwriting Community:
Connect with fellow songwriters in online forums or local communities. Sharing experiences and feedback can provide valuable insights and encouragement.
Sometimes a block can come from a feeling of solitude. If that’s the case, reach outward and let connection re-inspire you.
Collaborate with Other Songwriters:
You knew this one was coming from me! Collaboration is everything!
Join forces with fellow songwriters. Collaborative efforts often bring fresh perspectives and break the monotony of working alone.
Write in a Different Medium:
Experiment with poetry, fiction writing, or even a spat of journalistic music criticism.
Sometimes departures from our medium of focus, can help us refocus in that given medium.
Take Breaks and Rest:
Allow yourself breaks to recharge. Overworking can lead to burnout, hindering your creative flow. Rest is essential for sustained inspiration.
Revisit Old Material:
Look back at unfinished songs or ideas. Sometimes, a new perspective or skillset acquired since the initial attempt can breathe life into older material.
The added benefit here is that your old material might already be half done!
Use Visual Stimuli:
Look at photographs, paintings, or other visual stimuli to trigger emotions and inspire songwriting. Create a narrative based on what you see. Getting into someone else’s visual world can help you get unstuck from your own perspective.
Create a Songwriting Ritual:
Establish a consistent routine or ritual before you start writing. This can signal to your brain that it's time to enter a creative space.
For example, I tend to eat a healthy meal and do a bit of meditative yoga in advance of creative output.
Experiment with Songwriting Games:
Play songwriting games, like Brian Eno and Peter Schmidt’s “Oblique Strategies” Cards. Random word generators, constraint-based writing, or playing with songwriting apps can also serve to inject a bit of playfulness back into your process.
Take a Songwriting Workshop:
Join a songwriting workshop or class. Interacting with other songwriters and learning new techniques can provide fresh perspectives. Perhaps, even, one of my retreats! Being in a deliberate environment of creation surrounded by songwriting peers can only serve to energize you!
Spotify Retools Payment Model
In November, Spotify made public their new royalty model as well as plans for its implementation in early 2024. Per their website “tracks must have reached at least 1,000 streams in the previous 12 months in order to generate recorded royalties.” Rather than keep the extra money for themselves, Spotify will instead “use the tens of millions of dollars annually to increase the payments to all eligible tracks, rather than spreading it out into $0.03 payments.” Spotify stipulates that %99.5 of all streams are of tracks that have at least 1,000 annual streams,” so this new model will be more impactful for “those dependent on streaming revenue.”
The issue is that this new model, obviously, benefits those at the top. Labels with access to Spotify’s editorial playlists and more well down indie acts will see revenues increase. But, then, the question is how does this impact the bottom run of the earning later. Luminate recently published a report, concluding that “north of 150 million tracks could cease earning recording royalties under Spotify’s new compensation model.”
Indeed, Spotify’s decision is polarizing. Long seen as an accessible streaming service, Spotify’s move will cancel payments—albeit payments that come out to be fractions of a dollar—to millions of tracks. Ethically, does Spotify have this right? Or should all tracks generating any semblance of listenership be guaranteed compensation?
One wonders what this will do to fringe artists or artists on the come up. If they never see an initial payment, then why would they upload to Spotify? Will people still see Spotify as a platform that needs to be uploaded to?
UMAW, United Musician & AlliedWorkers which is positioning itself to be a songwriter and artist union, posits that “all artists deserve to be paid fairly for our work, not just huge artists on major labels.” Obviously, they have a point.
It will be interesting to see how this plays out in the long and short run. One has to wonder if this will further galvanize the economically marginalized classes of artists toward a greater unionization effort, eventually spiraling into something like the SAG-AFTRA and WGA strikes of last year!
January Songwriting Challenges
Reverse Songwriting: Start with the chorus or bridge and work backward to create the verses. See how shifting where you start impacts how you end!
Found Objects: Use random objects or items around you as inspiration for a song (e.g., a book title, a piece of furniture).
Instrument Swap: Write a song for an instrument you're less familiar with or try composing without your primary instrument. If you don’t have another instrument to try, start with a beat you drum on your lap.
Song Deconstruction: Take an existing song and reconstruct it into a completely different genre or style. Then amend the lyrics to be your own.
One-Word Inspiration: Choose a single word and build an entire song around its meaning, emotions, or associations. A one-word chorus can go a long way….
Silence as a Tool: Intentionally use moments of silence or space in your songwriting to enhance its impact.
Personal Manifesto: Write a song that encapsulates your artistic manifesto, beliefs, and values as a songwriter.
Uncommon Song Settings: Craft a song specifically tailored for a unique performance space (e.g., a cathedral, a cave, a moving vehicle). Consider what type of song might be useful in that space.
Historical Retelling: Rewrite a historical event through song, adding a modern twist or alternative interpretation.
Interview-Based Songwriting: Conduct interviews with people and use their stories, quotes, or experiences as the foundation for a song.
The Financial Implications of A Christmas Smash
Internet estimators wager that Mariah Carey’s “All I Want For Christmas Is You” generates roughly $2-4 million every year. Yearly streams and radio play make up the bulk of this yearly gift from Santa Claus. 30 years after song first debuted, Mariah Carey is still making a yearly fortune on the song.
Even lesser known hits are cash cows. According to NME, Slade’s Merry Xmas Everybody (1973) generates $600,000 per year and Wham’s “Last Christmas” pulls in over $500000 per year. When you’re flipping through the radio, walking through the grocery store, or just examining the front page of Spotify you can practically hear the sound of the cash register opening up for the songwriters behind these songs.
This is why every year I encourage young writers to take a big ole swing at Christmas music! If your song enters the zeitgeist your financial future is essentially set in stone. Most songs for Christmas are written earlier in the year with plans made for releases not unlike a standard album cycle. Artist with successful albums tour during this season on the strength o those songs alone.
So, if you’re feeling inspired this Holiday Season, dream up some songs about egg nog, Santa Claus, the winter snow, hot chocolate, whatever floats your boat!! Capture that Christmas spirit so you can capture that Christmas cash.
And if you’re celebrating today, Merry Christmas!
Evaluating 2023
The end is nigh! Well, actually the end of the year is nigh. I know that I have a lot to be proud of and a lot of ways I hope to improve in the year to come. I’m sure you feel the same. Here’s a list of questions songwriters should ask themselves as they evaluate all they’ve accomplished in 2023.
On Co-Writing
Who were my favorite co-writers? Who did I write the best songs with? When did I feel the most comfortable? When did I feel the most uncomfortable? Was I in the right the amount of sessions or should I be in more? Should I be in less? If I got cuts, what contributions did I make to those sessions that helped the song come out? Was I someone that people reached out to to co-write with again? Where can I improve as a co-writer?
On Song craft
How many songs did I write? Did I write often enough? Which songs were my favorite to listen to? Which songs were my favorite to write? Where did I improve my songwriting? Are the songs I wrote this year better or worse than the songs I wrote in years past? Did I develop any new skills in harmony, chordal arrangements, melody writing, or lyric writing?
On Networking
Did I expand my network? Could I have gone to more live shows or did I meet enough folks? Which relationships fell through the cracks that I can reignite next year? Did my networking lead to more or better co-writing or additional cuts? Did I network with folks who can help me push my career forward? Who were my favorite new music industry professionals that I met? Who would I like to continue building community with?
On Listening
What were my favorite new songs? What qualities do these songs have that I can bring into my own work? Did I listen to enough music? Did I discover any new songs to listen to outside of my typical genre? Which popular songs did I dislike and what can I learn from those? Which album did I listen to most this year? What new artist did I fall in love with? What did I learn from listening to music this year?
I hope these questions help you think more clearly about this year and how it will fit into your life moving forward! I wish you all a beautiful end to this year and a beautiful beginning to the next. Thank you so much for reading along this year!
Split Sheets
Many songwriters I know are singularly focused on their creative pursuits. They hustle hard in their home studio and spend hours toiling away at the proper lyric. And yet, they are not so concerned with the business side of things, namely cataloguing their songs through the use of split sheets.
Back when I worked at Warner Chappell, I made sure that my writers were fastidious about filling out split sheets after every co-writing session. In fact, I refused to accept any songs that didn't have split sheets available. Split sheets are documents that record the title of the song, the song's date of creation, the percentage of ownership owed to each songwriter, each songwriter's PRO information, and the name of a writer's publishing company. These split sheets allowed me, the publisher, to have all the necessary information for cataloguing the song. When a song was placed on an artist's album or on a television show, all the business ran smoothly thanks to these pieces of paper.
Some of my songwriter's have filing cabinets full of these split sheets and, recently, I've gotten calls from them thanking me for being so annoying about documentation. These days, music supervisors, folks who places songs in film or television, have been getting into contact with my former writers about using their songs. Because my writer's have all of the information about each song readily available, the music supervisor is able to use the song immediately. This allows my songwriters and their co-writers to get paid quickly and establishes them as credible business people who the music supervisor can rely on in the future.
Until you as a songwriter or artist secure a publishing deal, an agency representative, or a record deal, you are a cottage industry. You must handle the creation of your product (the songs), the distribution of your protect (getting songs to Soundcloud or Spotify or iTunes), the collection of monies (through PROs or private contracts), and the cataloguing of all relevant song information (i.e. split sheets).
I know that keeping these records may seem benign or counterintuitive to an artist's free flowing spirit. However, split sheets will ground your business and allow you to take advantage of opportunities when they show up at your door step. At the end of the day, your songs are your business so you must do what you can to protect them and make them viable money making projects.
December Songwriting Challenges
Can Mariah Carey - the Queen of Christmas - ever be dethroned? Will there be a song we stream more than “All I Want For Christmas is You”? The answer is probably no but I still think its worth all of us trying. Write a Christmas song that can stand with the greats!
Christmas. Hanukkah. Kwanza. Yule. There are plenty of holidays in December in need of new songs. Hell, there’s holidays all year that need new songs! Pen a song for a holiday that isn’t Christmas.
Take the chord progression of your favorite Christmas song and write a new Christmas song over that chord progression.
Snowmen. Winter storms. Cozy fireplaces. Hot chocolate. The sun setting at the ungodly hour of 4pm. There are so many things that remind us about winter. Write a song with a wintry setting and mood.
Winter reminds us how much joy the sun can bring us. Absence makes the heart grow fonder. Write a song inviting the sun back into the sky.
Write a duet between a man and a woman that has nothing to do with love.
Chosen family is just as important as blood ties. Write a song dedicated to your chose family.
The New Year is right around the corner (scarily). Write a song about new beginnings.
Write a love song that never uses the word love.
The year is coming to a close. Free yourself from all constraints and internal critiques. Let go of fear at least once. Write recklessly, dangerously, with abandon. Who are you when you write simply for yourself.
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.
Master your craft.
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