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STOP ASKING THE WORLD TO LISTEN TO YOUR MUSIC AND WRITE SONGS SO GOOD THEY WANT TO HEAR THEM11/2/2021
They are great with sync and pop pitches, but not really a player at all when pitching film music – which is my specialty in composing and in my heart, it is my personal preference to compose film music more than anything else. So, this writer and I wrote what we thought was a great pitch for one of major artists. I spent about an hour and a half the morning of our write working on ideas and found a great one that we used. I came in with it all mapped out and part of a chorus. We quickly wrote the song. Two days later, he sent me a demo. I got it pitched to that singer we had in mind and she put it on the hold. If we get it cut, we make the same amount of money since we have similar pub deals. So, what do you think? Should I have paid him to track the song? Should he have paid me to pitch it since we used my connections for pitching and he admitted, “never leaves his basement”? Is a great demo that never gets heard worth anything?
These are really advancing on royalties that have to be repaid out of incoming royalties. Once your catalog is recouped, the publisher pays you semi-annual royalty checks for money they have collected. This part can be taken as the “bonus” in business world. Basically, the more you write, the bigger your catalog would be, and the bigger your catalog is, the more semi-annual royalties will come to you.
You cannot expect them to open your song and listen to it while it is irrelevant to what are searching for something else. This action will have no result other than you, shouting to them that you are unprofessional and basically asking them to put you in the blacklist and never to open your emails again.
“I want more than anything to get one of my songs recorded by a major artist on the radio.”
On the other hand, I know people living in the same town as those major artists, tried to work with them and still didn’t get a cut on. Yes, I agree it’s hard to work when you are living somewhere far away from the music centers, but it also is far from impossible.
She’s already had success with Demi and by connecting the dots, you have given yourself a good chance at getting your song to Demi. Knowing who a publisher has had success with in the past can help you decide which publisher to approach and what to play them. Pitch smart and you have a better chance. Don’t work like a machine gun to shoot one thousand bullets and one might hit the target. Instead, be like the sniper. Take your time, check all affecting elements, and shoot one bullet at the right moment and hit the target
Even let’s move one step further, what are the odds for a guy who couldn’t speak more than 20 English words to leave Iran, and next year get his first English song that he wrote, recorded, and then more than 1,000 English songs later, he starts writing books and blogs all in English? Yet, you are reading his blog right now. So, please don’t ever tell me that there is such a thing as “impossible”. I am a living proof of my claim, and I personally know people who proof it even stronger by the things they’ve got done!
The longer I live, the more I realize that it’s really not about the odds unless you are playing the lottery. In that case, there really are odds that are stacked against you. Those odds are measurable and accurate. They are based on math. They are real! In any creative endeavor, however, the odds are not so fixed. You can figure out ways to cut them way down. How do you do that?
I went to college and got a degree in Industrial Engineering, but I never gave up my music dream and eventually at age of 20 I ended up studying the degree course again in major of Music Production (instead of studying Master of Industrial Engineering).
The list is long and sad. And these are maybe less than 5 percent of the disappointments. But important is if you are going through these disappointments, you don’t give up and just use these rejections or unfortunate indicants as lessons and start again, stronger. So, how do you stick with it when the “downs” start to pile up? I learned the hard way that you have to have a plan. The plan I came up with was this.
Record labels, producers, managers and artists themselves put songs on hold. Publishers do not. If someone tells you that your song is “on hold” and it’s not one of the groups listed above, they are blowing smoke and hyping you up.
Come up with your own ideas and respect the ideas of your co-writers. Unless if something is your idea and you are the one coming up with it and it is not being used in the co-write session, then later you can work on it alone or with another co-writer but if the other person comes up with it, it is not yours, no matter what.
You know the feeling you get when you are listening to the radio and all of the sudden, a song comes on that is way better than the previous song? It stands out because it is just flat out better. If you have songs that are undeniably great, it won’t take many meetings or shows for you to garner some interest. If you aren’t getting that interest yet, then just take a deep breath and invest your time and energy into writing better songs.
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