BLOG - FLIPSIDE

KEYS TO WRITING COMPELLING SONGS

7/13/2021

Let’s face it, there’s nothing better than playing a song for an audience, a publisher, or a friend and having it move them. Excite them. Make them dance. Or leave them tearing up. As writers, we want to reach out and touch people with our songs. As a professional songwriter, I have written many songs that for one reason or another, have failed to move people in the slightest. I have also been blessed to have other songs reach millions and sell millions of records. Over the years, I’ve compiled a checklist that helps me move people more consistently with my songs. On a good day, I’m lucky to get these elements firing on all cylinders.

Believability. This might be the number one thing I check and recheck as I write a song. Asking yourself, “Is this believable?”. It is essential to writing a compelling song. “Does it feel real?” This seems like a simple thing to master, but it’s perhaps the hardest.

HEART VS. HEAD: HOW TO WRITE YOUR BEST SONGS?

6/29/2021

Songwriting is beautifully complex and yet simple. I am often reminded when I’m working with aspiring songwriters how simple, and yet complex, writing a great song can be. It’s a beautiful mix of emotions, wit, determination, and being in the moment. A very common obstacle I see to great writing is what I call ”Heart vs. Head.”

Too much emotional attachment. When a song, let’s say a ballad, means a lot to the writer, they throw in a ton of feelings and emotions, and often they tend to get so close to the subject matter that not enough thought goes into the lyrics. Therefore, the song is weakened by a lack of perspective, which leads to the listener to actually feel less emotion!

Too heady. On the flip side, if the song is fun and up-tempo, often it’s too “heady.”

DON’T GET IN THE WAY OF THE SONG

6/15/2021

One morning was one of those “don’t get in the way” moments. One of my co-writers had posted on our website that very morning about “Writing The Song In The Room” and I thought of that when another co-writer came in and said “My girlfriend and I just broke up and I’m writing my way through it.” This co-writer and his ex-girlfriend are both long-time friends of mine, so I listened as he told me the story of their demise as a couple. I forgot to mention, my co-writer also just got a record deal. So, I thought, “Let’s see where this breakup train goes.” I asked him if he had any ideas he wanted to write. He replied “OH YES I DO!”. He began to play me a beautiful ballad melody and an AMAZING idea. The hook bowled me away. Within 30 minutes, we had written one of the better songs I have written in a while. Typically, after one song, we call it day. But not that day. As soon as we had finished our work tape, he said “I’ve got another one”. This time, he plays me a rocking up-tempo song with ANOTHER great hook. Thirty minutes later, we are putting down a work tape for that one. I think he just might cut the first one. I would bet the farm that he cuts the second one.

HOW TO GET MOTIVATED TO WRITE MORE SONGS

5/25/2021

Over the last couple of years, I have personally responded to thousands of emails. Many want to write better songs but can’t seem to get motivated to commit to writing on a regular basis. If this is you, you are not alone. We all feel the pull of emails, social media, answer to that WhatsApp message you wanted to answer for past 3 hours, or that new movie downtown that we just got to go see; instead of writing songs. We see videos of other songwriters and artists and we think they are doing well. We think it must be easy for them. The truth is, no writer that is doing well, does so some without struggle. When we choose to start writing songs or dedicate ourselves to writing more songs, we are really deciding to make a lifestyle change.

Think about those times you’ve decided to start eating healthier, drink less, get to the gym more often, or spending more quality time with your family. Even though these were all good decisions, the decision was the easy part. The follow-through was the real challenge.

So this is the main lesson I want to leave you with. No matter how much you desire change, you have to take action to get the momentum rolling your way. Here are a few things you can do now to help you change old habits get your writing back on track.

DID HE STEAL MY SONG?

4/13/2021

A couple of year ago, I was searching for song titles by reading through quotes on the internet. I found what I thought was an amazing quote. It said something like “How can you be old and wise if you were never young and crazy”. The next day, I threw that title out and my co-writer and I wrote an great song. As soon as we could, we demoed it and started pitching it around town. Six months later, I turn on the radio one day to hear “And here’s Frankie Ballard’s new single – ‘Young And Crazy'”. I knew right away that it had to be the same idea. Sure enough, it was – which killed my chances at getting my song cut – for a long time at least. Recently, I had just written a song with an artist that he loved. The day he turned it in, his label said, “You know that’s the title of Kenny Chesney’s next single, don’t you?” Game over for my great song.

Did anyone steal my titles? Did I steal theirs? The truth is, you can’t copyright a title. The bigger truth is that I got those ideas from someone else anyway.

COMMERCIAL VS. CREATIVE MUSIC

3/30/2021

One of the big questions I get over and over is whether writing commercial music requires you to sell your soul, abandon creativity, and forsake all that is good in this world. The answer is an emphatic “NO.” Basically this discussion of “art for art, or art for public” had always been going on and I never been solved, but here is my opinion about it. Any time this debate arises, there are those that say “Well, Jackson Browne did it his own way. He was poetic and commercial” or “Bob Dylan didn’t sell out; he wrote whatever he wanted”. It’s curious to me that every example that is ever thrown out to “prove” that you shouldn’t try to be commercial is a person that was commercially successful. No one ever says “I want to be like my neighbor Bob Smith. He writes crazy stuff that no one understands and plays it alone in his garage.”
The people from the past that we try to model our work after were almost without exception successful commercial writers. They wrote what worked in their time. Those that are successful today are doing the same.

ARE YOU KEEPING YOURSELF FROM GETTING THAT FIRST SONG RECORDED?

3/23/2021

I’ve been reading a book called “Big Magic” by Elizabeth Gilbert, the author of “Eat, Pray, Love”. In the first few pages of the book, Ms. Gilbert writes, “If you argue for your limitations, you get to keep them.” That hit me squarely between the eyes. I can’t count the number of times in the past that I have done exactly that. “I can’t play basketball”. “I’m no good at art.” “My songs aren’t good enough to play for anyone.” By defending my weaknesses, I strengthened them. I made them true. I can’t play basketball if I won’t play basketball. I won’t get a song cut if I don’t ever play them for anyone. The list goes on and on.

Turns out, I’m ok at basketball and it’s fun to play, I am decent at painting abstracts, and my songs are good enough to play for people. Who knew? The only thing that changed for me was getting rid of the debilitating fear that had held me hostage for years. I was afraid to do much of anything unless I was guaranteed success. I was a perfectionist and a coward.

I don’t know which one or maybe both. When I finally decided that the pain I was feeling from not doing things was greater than the pain of trying and failing, I was set free. Not instantly. Not magically. Day by day. Courageous choice by courageous choice – I changed me.

HOW DO I WRITE COMMERCIAL MUSIC WITHOUT SELLING MY SOUL?

3/16/2021

Often songwriters ask, “How do I write commercial music?” They are writers who would like to have commercial success and hear one of their songs on the radio or an album. But they want to know how to accomplish this and still be true to themselves. They don’t want to sell-out. The definition of commercial music generally means the music that is heard by millions and/or purchased by millions. That number could be hundreds, depending on your level of commercial success. Over my years as a professional songwriter, I’ve lived a rollercoaster ride of commercial success, some years with three songs playing on the radio at once, and some years with no songs playing. In the commercial music, I can say the only person who was pretty stable in his position was Max Martin. He was on the top for almost all of his professional career until he stepped down a little bit and in one interview, he said that’s because of his personal reasons. Else than him everybody have to work hard to get to commercial level and work even harder to maintain it.

ARE YOUR SONGS REAL OR REALLY CLEVER?

1/26/2021

Perhaps the most common songwriting mistake that I’ve seen kill a song. If I had to choose one songwriting mistake I’ve seen over and over in publishing and mentoring sessions through the years, it would be “writing clever instead of writing real.” Throughout the entire writing process, I am asking myself, does this feel real? Could this have really happened? Does this sound like something would say or does it just sound like a clever line? When someone hears your song for the first time, real hits them first before they even fully understand what your song is about. Nothing loses the listener faster than a line in song that’s not believable or sounds “written.” Here are a few ways to make sure your song is “Real.”

Always write true statements. “Everyone knows love is just a game” is not a true statement because not everyone feels that way. But- “Some may say that love is just a game” is true because some people feel that way. This may seem like a small point, but it is huge.

Always write true statements. People can’t argue with truth. It’s real and affects people, even if they don’t like it, it affects them. Even if you’d want to use metaphors in your lyrics, use them the way that sounds real. Stay away from unnecessary exaggerations and be frank with yourself, defining if you’re writing real or just trying to be clever.

QUESTIONS TO ASK BEFORE YOU WRITE A COMMERCIAL SONG

1/19/2021

Who would want to say this? An artist is a brand. If a song doesn’t fit their brand, they aren’t going to sing it, no matter how good the song might be. If you can come up with a handful of artists that might think your song fits their brand, you are on the right track. If you can’t, you probably aren’t writing a commercial idea. For instance, I once wrote an amazing song about a boy catching his father cheating on his mom. It was a GREAT song. The only problem was, no one wants to stand on a stage and call his or her father a cheater in front of 60,000 people every night. The audience would believe that it was true. That’s not going to happen. Asking myself “Who would want to say this?” would have saved me some disappointment.

How does this make the artist look? If you are not painting the artist in a positive light, you have almost no chance of getting a song recorded.

Again, not many artists are interested in getting up every night on stage and singing about being a cheater, a drunk, a jerk in general or any negative thing. People buy less t-shirts from cheaters, drunks and jerks. The artists want the audience to think they are hip and cool people. Paint them any other way and your chances go down to almost zero.

WILL YOU BE READY WHEN YOUR DOOR OPENS?

12/8/2020

“He got lucky. That will never happen again.” After celebrating my first number one song, a friend of mine told me that a big successful songwriter spoke these words about me. I can’t blame him. He had been writing big songs for years and he’d seen a lot of young songwriters come and go in this industry and maybe it was a bit surprising for him that a new boy is in the industry and got a number one hit. He understood that while it’s not easy to write a hit, and it’s even more rare to write another. If you don’t believe that, there are lots of example of one hit wonders to back up his theory!
Here’s what usually happens; A songwriter writes a great song, has success and the door opens. All of a sudden, artists, producers, and A&R folks notice him and say, “Show us what else you have.” This is where 90% of songwriters fail.
They play everyone the few songs they have, and often, there are no songs on the same level as the hit they wrote. And the door closes. Their success comes before they have developed their skills.

THE SONGWRITER’S PITCH TO PUBLISHER CHECKLIST

12/4/2020

Before you even agree to the meeting, ask yourself – “Are my songs really ready for recording and for going to the radio? Are they my songs going to compete with everything this publisher hears every day?” If you can’t honestly answer that question, then you don’t need to take the meeting. I will be just a waste of time for yourself and more importantly for the publisher. I said more importantly because when you waste their time, they will put you in their “waste of time” list and next times when you actually might have something to offer, they will refuse to meet you because, well, why should they? The last time the spent time to meet you, they got their time wasted. I have heard songs pitched to me – as publisher – that were so bad that an artist would never cut them in a million years. Get lots of good feedback on your songs from the people you already trust that they don’t hesitate to tell you if your song is bad, and you know for sure they will tell you the truth. I refer to those people around me as “safe people” that I know no matter what, tell will tell me the truth.

Safe people are people that aren’t going to hold it against you if you play them a bad song and they most probably will tell you what they think is wrong with your song and even they might give you some suggestions to make your song better. You can consider their opinion, work on your craft and then show it to them again and see what they will tell you. Publishers are not safe people. They usually give you one chance and it is best for you to use your that one chance wisely.

5 LYRICS PITFALLS FOR SONGWRITERS

11/27/2020

Saying the same old thing in the same old way. The hardest part of songwriting is saying the same old thing in a new way. If you say the same old thing in the same old way, you’re dead in the water. Why we say same old thing? Because writing songs is all about emotions. Human emotions are limited to a few emotional senses and you can’t go any further than that. Therefore, you need to talk about one or more of those same old emotions, but your creativity is where you can do so in a new and creative way. For example, your better half had left you and you are heart broken about it. Write about it, but look at it from your very own point of view. Make it unique. There is only one “you” in this world so there is only one point to look at this one particular story between the unique you and the unique her! You see? Just in this one example, there are so many things that make it pretty unique and you just need to see it this way. Then you can write it as is, even you can add some more drama to it for the artistic purposes if it’s not already enough of drama involved.

FOUNDATIONS OF A GREAT SONG

11/20/2020

A recognizable structure. People can get confused if a song does not fit one of the common song structure patterns. This is an unwritten rule in listeners brain that a song have to have certain structure and if your song isn’t following that and they can’t say which part is which part of the song, you’ll get your listeners confused and we'll, nature of human being will make them to avoid what makes them confuse, isn’t it? They are used to hearing songs being in some variation of the Verse, Chorus, Verse, Chorus, Bridge, Chorus format. Straying too far from that can leave a listener wondering where they are in a song. “Pretty Woman” is a hit song that wandered all over the place because of its beautiful lyrics and super catchy melody. But, most people I have polled can’t sing that song to me. They can sing pieces of it, but they can’t put them together. Song structure is important.

WHAT MAKES A SONG GREAT?

11/10/2020

A great song connects with people. Timeless songs connect to millions of people and continue to do so over time. When you play a great song for someone, they are able to connect to it emotionally. That connection is what causes someone to love your song. If your song about your broken heart connects me to a time when I had a broken heart, I’m connected and interested.

A great song causes a reaction. The listener is compelled to do SOMETHING when they hear a great song. It might cause them to dance, laugh, cry, sing along, etc – but they will do something in response to a great song. It’s almost impossible to avoid reacting when you hear a well written, great song.

A great song stands the test of time. A great song will usually be relatable and relevant 25 years or 50 years after it was written. There may be exceptions, but a great song sticks around.

HOW TO FIND GREAT SONG IDEAS

10/23/2020

Ever wonder where your favorite artists or songwriters consistently get those great song ideas from? I like to think of ideas as a creative river, constantly flowing by. It’s simply a matter of learning to catch them. I always have my antenna up. Basically, everything around us can give us hundreds of very interesting ideas to be used in the songs or to have the songs being written around them. Here are some simple techniques that you can use to find hit ideas right away.

Watching movies for song ideas. Many classic songs have used lines from your favorite movies as titles. Kenny Chesney wrote the hit song “You Had Me From Hello” after watching the movie Jerry Mcguire. Kenny called songwriter Skip Ewing after hearing the line spoken in the movie and the duo turned it into a blockbuster hit. In a lot of great movies, specially the classic ones there are tons of quotes and sentences that each of them can be translated in at least one great song.

Just think of how many love ballads you can write with the famous quote of “Offer them something they can’t refuse” from the Mafia movie, The Godfather! Totally unrelated yet can easily turn it into at least 5 or 6 great songs. And this is even much easier to do with the romantic movies. Just keep watching and keep your ears sharp for catching some awesome lines from the classic movies.

ARE YOU THINKING LIKE AN ARTIST?

10/16/2020

If you are trying to write songs to pitch to artists, then you must learn to think like an artist. You must understand their concerns and – in most cases – their weird mindset. Here are some example questions that artists ask when they choose songs. They are also the questions I ask myself as I’m writing to make sure I’m writing something an artist would want to say.

How does this song make me look? Image. You must know the image is the first marketing too for an artist. One wants to have a badass image in public while another wants to be known as the cool one. Before you write the song, you should study your targeted artist and find out what image they have, and write your song based on that. As an almost general rule, if a song makes an artist look bad, they will almost never record it. – except for Miley Cyrus!

LEARNING TO THINK LIKE A PROFESSIONAL SONGWRITER

10/6/2020

The difference between a professional songwriter and a person who just writes for their own joy is a difference in their goals and they way they look at songwriting as a whole. Basically, can say their difference is in their way of thinking. Those two types of writers are coming at writing from vastly different perspectives and at the end of the day they want to achieve very different things. Here are the primary differences in thinking that enables the professionals to get their songs recorded.

Professionals realize that they are writing for someone else. Just like how a political speechwriter is trying to craft words that sound natural and believable coming from their candidate, a professional songwriter is trying to craft a song that is going to cause the listeners to think that the artist wrote it by themselves and they truly experienced every single word of what they are singing. Professionals make choices when they write based on what their target audience will or will not say.

5 THE SECOND VERSE'S LYRICS CAN DESTROY YOUR SONG

9/29/2020

There are many ways that a song can start great. Have a perfect starting and a stunning hook that drives the listener crazy, but everything can go wrong in the second verse. Don’t let these “song-killers” crop up in your second verses! Here are some of the prime “killers” to watch out and stay away from them and keep your songs away from them. They can be pretty harmful for your songs, therefore for your reputation in the industry.

Say the same thing as the first verse in different words. You have to give the listener something more in the second verse. Saying the same thing again bores them and they’ll turn your song off. When you are telling them a story in your first verse and you’ve sat an environment, introduced your characters and prepared them for the hook, and you’ve already made them listen to the hook and wait for the second verse to see where this story is going, it can be the worst answer for them to just give them the same thing as your first verse just in different words. Even worse than that is when I see in some songs, they just repeat the exact first verse again even with the same melody and lyrics, as if they couldn’t come up with anything anymore!

KEY ELEMENTS OF A GREAT SONG

9/18/2020

We have readers here that are all over the spectrum. Some of you just want to write songs for your own pleasure. Others are hoping for staff writing deals and to make a living getting songs recorded. This post is for all of you. Whether you are writing for yourself or for the masses, you want to write a great song. Here are my views on what makes a song great.
People often ask me what makes a song a “hit” song. The answer to that question is long and complicated. But, based on my experience, here’s what you have to have in order to have a hit song:

Great songs cause a strong reaction. It makes me laugh, cry, dance – something! I FEEL something when I hear it.

I can relate. Usually I feel something because it touches on some emotional memory of mine.

A SONGWRITER’S CHALLENGE

9/15/2020

One of the first things I did when I decided to seriously pursue writing as a career was to attend a Songwriting Camp. I submitted my application and nervously awaited a response to let me know if I was accepted or not. Finally, the day came. There in the stack of mail was a letter from the management. I opened it excitedly, hoping and praying that I got in. I did not. The letter very politely told me that I didn’t make it in, but I was on the waiting list in case someone dropped out.
Several weeks went by and the camp was rapidly approaching. I had given up when I got a call letting me know that someone dropped out and I could come if I still wanted to. It kind of had the feel of a girl telling you that she would love to go to the prom with you, but you were not really her first choice. It hurt a little, but I swallowed my pride and accepted. Looking back, I’m glad I did. It gave me a great beginning place. Most importantly, it showed me where the bar is. Once I realized how high the bar is, I was motivated to work even harder to get over it. During the camp of the instructors said something that has stuck with me to this day.

REASONS TO CO-WRITE

9/11/2020

People often ask me, sometimes skeptically, why I co-write so often instead of writing alone. “The songs you write on your own are great, why you need to write with others?” I heard these many times. I have some reasons that I find pretty compelling.

Not many people I know are world-class at melody and lyrics. There are plenty of people who do both but doing both and excelling at both are different things altogether. To succeed at the highest level in the music business, you have to have a world-class melody and lyrics (unless you are writing with an artist, but that’s a whole separate topic). In order to get a song at that level, 99.9% of us have to co-write. I always recommend that writers define what they are strongest at and really work hard to become world class at that. You can find someone to work with that is already world-class at whatever you are weaker at.

WRITING BETTER SONGS CHECKLIST

9/4/2020

Does you intro make the listener want to hear the song? Let me start with a concept you might know, called the elevator pitch, which basically says to make a sell, you must be prepared enough to convince your potential buyer to buy whatever you are selling, in a elevator trip which takes one minute. In music, it is taken to whole another level, specially with the current technology and the fact that people just keep bouncing their mind from one place to another, you have 30 seconds to get your song to its interesting part – which we call “the hook” of the song. But to get there, the intro of your song must catch their attention to make them sit down and listen until you get to your hook. To do so, you would have less than 10 seconds. The intro seems to be just a simple start of the song, but it is extremely important and you should pay a lot of attention to it, no matter how good the rest of your song would be, if it is not a great intro, your listener will skip the song and they don’t get to enjoy your super catchy hook!

HOW TO INTERPRET FEEDBACK ON YOUR SONGS

8/28/2020

Often, it seems like song feedbacks leave people confused. In one of my attempts at getting feedback early in my career, I send a song to a very prominent songwriting organization that I belonged to. The was called “It Don’t Get Better Than This” and it was about the way the “this” changed throughout a boy’s life. In the first verse, the boy held his first puppy and as it licked his face, he was thinking “It don’t get better than this.” The second verse has him kissing his first girlfriend and thinking the same thing. Finally, the bridge has him standing in his wedding ceremony and while his bride walks the aisle toward him, thinking the chorus again. The feedback I got was “Pretty well written, but it’s not possible to have three things that it doesn’t get better than.” I couldn’t imagine how the person giving feedback didn’t understand that what we imagine to be “the greatest thing ever” can – and does – change over time. The feedback left me confused and frustrated. Years later, as I gained more confidence in

my writing, I took another look at that song and realized that the feedback I got was not good at all. I’ve since discovered the reason for the weak feedback. The organization that I had gotten feedback from hired people to do feedback who had never had cuts. They were aspiring writers who were struggling and needed a paycheck, not professionals or hit songwriters who knew what they were talking about. Over the years, I have found these thoughts to be helpful in interpreting feedback on my songs:

WHERE IS THE BAR?

7/3/2020

How high is the bar for songwriters? When you mention the word “bar” to songwriters, most of them start craving a beer. But that’s not the bar I’m talking about here. I’m talking about the “How good does my song have to be to get it recorded by an artist?” kind of bar. Not every songwriter wants massive commercial success. But if that’s your goal, learning where that bar is may be the most important thing an aspiring commercial songwriter has to do.

The biggest hurdle. The problem with many songwriters, when confronted with the height of the real bar, is that instead of taking steps to learn how to get over the bar, they start trying to find a lower bar that helps them feel better about their music. It’s the equivalent of an aspiring NBA basketball player trying out for the Celtics and not making the team on his first try. So, instead of getting more coaching and improving his game, he goes to the Y and signs up for a pick-up basketball league. He feels better. He finally “made the team”.

ABOUT FLIPSIDE

ABOUT PRODUCTIONS
ABOUT MARKETING
NEWS
BLOG
PODCAST
MUSIC STORE

FOR ARTISTS

OUR ARTISTS
ARTIST LOGIN
MUSIC RELEASES
TALENT DEVELOPMENT PROGRAM
MUSIC COURSES

CONTACT

hangi@flipsidepm.com
+65 8558 9773

Mon - Fri 9:00am - 8:00pm

SUBSCRIBE

©2014-2021 Flipside Productions & Marketing Pte Ltd
All rights reserved.