#91
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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 |
#92
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I hear ya. In their book on 30 steps to getting your first cut, Jerry Vandiver & Gracie Hollombe stress that you MUST either live in (or w/in 100 mi. of) or at least monthly visit a major music center (depending on your genre, Nashville, L.A. (pop, rock), NYC (urban contemporary, edgier rock), or Miami (Latin). Chicago and Austin are off the radar, alas. And you have to co-write. (Any takers?)
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Sandy http://www.sandyandina.com ------------------------- Gramann Rapahannock, 7 Taylors, 4 Martins, 2 Gibsons, 2 V-A, Larrivee Parlour, Gretsch Way Out West, Fender P-J Bass & Mustang, Danelectro U2, Peavey fretless bass, 8 dulcimers, 2 autoharps, 2 banjos, 2 mandolins, 3 ukes I cried because I had no shoes.....but then I realized I won’t get blisters. |
#93
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#94
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John,
ASCAP's method of "paying a little to everyone" is also one of their ways of tracking down unlicensed venues. The writer must submit a list of all the venues where his/her licensed songs have been performed thoughout the year. See posts #13 and #14 in this thread. (start with post #13, paragraph three, about the ASCAPlus Award) http://www.acousticguitarforum.com/f...=ASCAP+license Gary |
#95
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BTW, the ASCAP-surveyed stations tend to be almost exclusively the major chain AAA, rock, pop, country and urban-contemp. stations--thus ensuring that actual per-spin royalties and venue license fees alike go to those writers who are already receiving the highest exposure. As I understand it, BMI surveys a greater variety of stations. Not familiar with SESAC, other than that membership is by invitation-only (you need to be recommended by at least one member) and until recently covered only country, urban, and Christian music. Interestingly, in the early 1980s it had been founded as the grassroots alternative to ASCAP and BMI--it was easier to join, but I was not yet recording (except for one song on a comedy LP) so I declined.
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Sandy http://www.sandyandina.com ------------------------- Gramann Rapahannock, 7 Taylors, 4 Martins, 2 Gibsons, 2 V-A, Larrivee Parlour, Gretsch Way Out West, Fender P-J Bass & Mustang, Danelectro U2, Peavey fretless bass, 8 dulcimers, 2 autoharps, 2 banjos, 2 mandolins, 3 ukes I cried because I had no shoes.....but then I realized I won’t get blisters. |
#96
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