Quote:
Originally Posted by Chicago Sandy
Not being a BMI member, I can't speak to that. I know that they have a different survey and distribution model from ASCAP's--I believe that BMI surveys all spins and pays annually, but ASCAP surveys a selection of stations and pays quarterly, and all things turn out about equal in the end.
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I was just thinking, Sandy, that if you switched to BMI you'd be able to have your songs registered
and play the unlicensed venues, waiving license fees on your own (publishing rights controlled) songs. The only possible problem that I see (from the info in bagelsgirl's thread) is that you may be required to inform BMI, in writing, that you've made such a deal. If that's the case, it would be the equivalent of "ratting out" unlicensed venues as BMI would be tipped off that the venue exists and may be worth putting an ear to. From bagelsgirl's thread, however, its still unclear to me if the BMI-affiliated performer herself/himself must notify BMI of any waiver given to an unlicensed venue. For an originals-only artist, or an originals & public domain-only artist, it might be worth an inquiry to BMI to clarify that point.
Regarding your earlier comment about breaking into the songwriting biz by getting a tune recorded and released by a name artist, it usually happens differently for the struggling writers who manage to break in. More often, they'll have their early successes with newer artists. They'll network and possibly co-write with many new artists and finally get a their "big break" when one of those new artists manages to break thru - or at least get the attention of higher-ups.
A case in point would be Don Schlitz who wrote "The Gambler". That song was first recorded and released by one of his songwriting buddies (and aspiring artist) Hugh Moffatt. It then got the attention of Johnny Cash who recorded and released it. It finally got the attention of Kenny Rodgers who had the commercial success with it.
Even after his huge success with the Gambler, and despite being absolutely
revered by many in the Nashville songwriting community, Schlitz was considered a "one hit wonder" by the Nashville big wheels 'til a few years later when he and his co-writer Paul Overstreet started having consistent success with a new artist named Randy Travis.
My own formula for commercial songwriting success is this: a) be a very prolific and excellent writer with a commercial sensibility, b) live in a music center like Nashville and LA, c) have a good sense for people and make wise decisions about the industry people you associate with, and d) network and/or co-write as much as possible with the folks you feel have the best potential to help you sooner or later. Its as simple and as freakin' difficult as that. If it was easy, I'd do it myself, LOL.
Gary