​Are your songs not getting results? Is that latest greatest song you’ve written not having the impact on your audience that you were so sure it would. Often the difference in a good song and one that moves the listener is a simple quick fix.
                                                                                                                                                                         
Keep your intro under 15 seconds. One of the most common mistakes in commercial songwriting is the long intro. As a rule, intros should be 15 seconds or less. You will only have the listeners valuable attention for a short time. It’s important to keep that attention and get to the meat of your song. 15 seconds gives you enough time to set the mood and groove of your song and wet the listeners appetite for more to come! Basically your first 30 seconds of your song is the time you have to attract listener’s attention and make sure they are going to sit there and listen to your song. Don’t waste much of this precious time on a long intro. 

​In my mind, the single biggest distinction between a professional and an amateur writer is their way of thinking. Here are some of the most significant differences I’ve observed over the years in my day to day life as a full-time songwriter.
 
Amateurs think “Somebody is going to steal my song.” 
Professionals think, “I’m going to write my idea better than anyone else. If they write it better than I did, more power to them.”
 
Amateurs write when inspiration hits and only when it happens, and they brag about it.
Professionals write anyway.

​​Amateurs think about what they want to write and what they personally feel close to and write about that whenever the inspiration hits them.
Professionals also think about what audiences want to hear.

I have found that going back to my songs with a clear mind a week or two after I write them and running through this quick checklist helps me catch and fix many of the major flaws that can exist in a song. Print this one out and hang it in you writing or re-writing room to remind yourself to check these issues before you consider your song done. They are some minor points, but they have a huge impact on your song’s overall quality. Paying attention to these little details is what makes a difference between a good and a great song.
 
Is my message clear? I like to run my song by someone else and get their feedback. I ask them to summarize the message they understood from the song. If they don’t get out of it what I intended means I didn’t deliver the message very well, I work on it some more and check with them again until they exactly tell me a summarized version of what I was trying to say in the song.

​The basics of lyrics writing. Each song has a structure for its body and the layout. The structure can be different from song to song but there are certain elements that are in all songs and I want to discuss the importance of each of these elements. For those who are new to songwriting or for those who just want to remind themselves of the fundamentals, here are some of the basics of songwriting.
 
Intro. The instrumental piece that starts the song and sets the musical tone for the song. This piece establishes the groove or feel of the song. It’s always good to keep it short and going fast to the point for commercial songs but in some cases, there is not intro involved and the song starts straight from verse or even chorus.
 
Verse 1. Introduces the characters, context and setting for the song. All of these elements give the listener what they need to understand the song and they should set up and point to your big idea – title of your song. 

In any music community I am a member I am always trying to remind everyone around me that we rise by lifting each other up. As some of us improve, the bar gets raised and others improve trying to reach for that bar. This is the healthiest way of competition inside a community that literally benefits everyone. In some ways, the music business is a cut-throat competition, with some similarities to the hunger games. Some people look at it as a “kill or be killed” proposition. This kind of behavior would create what I call dirty competition. These people try to destroy their competitors instead of trying to improve themselves and get better than the rest. If everyone just try to be better than the others rather than destroying the others, the whole team will get better and better and it’s great for everyone.

Playing “kill or get killed” kind of game stifles creativity and it creates crappy music. Our philosophy at Flipside is that if we lift each other up, better music starts to be created. ​

Pop singer-songwriter xs just dropped the perfect party banger this season, Summer Love on 3 Jun 2022.

Published by record label Flipside Productions, the sexy yet cheeky electro-pop song is written by xs and produced by Swedish producer BADCOMBINA. The song expresses xs’ desire to have a passionate summer romance.

​The upbeat track pays homage to the early 2010s nostalgia with influences from K-Pop. Its heavy bassline and infectious lyrics instantly make listeners want to hit the dance floor. Listeners also can’t resist singing along to the catchy hook “Gimme gimme gimme that summer love”.

Of course, any full-time writer prefers to have a proper deal with a publisher and knows their music career is going somewhere. As a general approach, there are two common types of deals that publishers make with writers, but you don’t have to limit yourself to those two options if you can think outside the box.  Here are the two common types of deals plus some ideas for creative options.
 
Staff Writer. In this kind of deal, the writes exclusively for one publisher. Basically, the name is self-explaining. The writer will be the staff of the publisher company and mostly writes on demand when the publisher has an opportunity for the writer and can pitch the song to some artists or producers. Also, the writer will be writing the songs and when they have something, they can provide it to the publisher and if publisher finds it interesting will push and pitch it for the writer. One important note about this kind of deal is that there is a quota of songs per year that must be written by the writer and accepted by the publisher. ​