The longer I live and the more I write, the more I realize that there really is no “destination” in life, unless it is death.
Short of the grave, we are all still on the journey, trying to figure out the world and our place in it. In regard to writing, we all – or most of us anyway – have hopes, plans and dreams. We have places we want to go. Things we want to achieve. Accomplishments we want to grasp before we leave the planet. There is no aspect of my music career that has gone according to my plans. I’ve determined that I may not be smart enough to come up with a plan for life or a career and that, perhaps, I do my best work when I just take each day for what it is.
lottie has released her new single,Indigo.The song is available on all platforms to stream and purchase.
Indigo is the second single to be released from lottie’s debut album, set to be released later this year. It’s an upbeat 80's inspired track, infused with synths and an arpeggiated bass. lottie sings about the thrills of a newly blossoming relationship, the ups and downs and the inner turmoil of falling for someone who isn't quite right for you.
lottie, signed to Flipside, a boutique Singaporean record label, is originally from Essex, England, but has resided in Singapore for the past two years. Working closely with renowned producer Hangi Tavakoli, lottie released her debut EP, 'Dance With You', earlier this year. A proud member of the LGBTQ+ community, all her songs are voiced from a lesbian perspective.
After receiving different song critiques of the same song from two different people, I often hear an aspiring writer complain that the critiques contradict each other. For example: the first person critiquing the song likes the second verse, but not the first; the second person, however, likes the first verse, but not the second. Usually, the aspiring writer’s next statement is something to the effect that it’s just somebody’s opinion, and the song is just fine as it is. This is overlooking the real value of this of song critiques by misunderstanding the feedback, and perhaps, the source it’s coming from. After doing thousands of critiques of my own songs, and of songs from mentoring students in my classes, I have a much different reaction to this type of critique. Here how to weed through seasoned feedback and uncover the real value of a song critique:
I’m a big believer in positive thinking. I have a strong faith that there are some positive thoughts for songwriters which can help keep us moving forward in our music business and can help us to enjoy this long and tough journey, which is hard enough that if we don’t have that strong faith and believe we might give up, just like those thousands or possibly millions of other people who stepped in this path and gave up after a while. We must accept what we started is something that not everybody would dare to start and even from the people who started it, not everyone are strong enough to keep it up. All the financial instabilities, all the long hours of working and all the rejections as conclusion of standing by all these hardships. It needs an iron faith to keep going and keep writing until we get the desired results. Here are some of the topics that fill up my mind during the hard times at work, and they give me more energy to continue what I sacrificed everything for.
Over a weekend someone tagged me in a Facebook thread that had over 500 comments debating heatedly over whether or not a lyricist was an actual “songwriter” or lyricist is just writing the words. Well, I can say it was probably one of the most stupid questions I’ve ever heard. And trust me I get tons of stupid questions on a daily basis but this one was to a whole another level.
All I can say is who cares? I don’t mean that in a harsh way. You see, I’ve had over 150 major artists record my songs on 15 million albums sold. 19 Billboard hits. And you know what? I’ve been on writing sessions where I contributed only lyrics. Other times sessions I did only the music. And often both music and lyric. Some days I play an instrument on the session and others I won’t. Sometimes I just do the arrangement and some other times I do the mixing for the team. I’ve even been on writing sessions that all I needed to do was to record them. Let’s go further, on tons of sessions, I am considered as the “quality control manager” and I just tell the writers to keep this and change that!
I get lots of music business related questions on my inbox and this is a very common one. The business side of music is not as complicated as it seems. The contracts and “rules” can look pretty confusing and complicated but once you get it, it will be very easy. Just need to get that on click in your mind and suddenly it’s like the fog had gone away and you can see everything pretty clear. Here are the basics of Writer – Publisher deals and how money is split:
There are two shares of royalties for each writer when a song is created. Each writer has a writer’s share and a publisher’s share. So, if there are two writers on a song, there are four shares assigned to that song. Two writer’s shares and two publisher’s shares. The way those shares are divided depends on the contracts that the writers have entered into basically it’s going to both of them as a whole and depending on the type of agreement they have between themselves it can be divided. In Flipside’s case, we sign the writers to an exclusive publishing agreement.