Tag Archives: John Ozier

Congrats To Our December 2017 “Play For A Publisher” Winners!

Congratulations to our newest “Play For Publisher” Top Ten songs and songwriters!

First of all, BIG thanks to each of you who took a chance, took positive action, and submitted one or more songs to the “Play For Publisher” event with John Ozier of Ole’ Music.  Ya’ll are just plain awesome.

Out of over 200 songs, it took a while to whittle it down to just 10.  We have country songs, pop songs, cowrites, solo writes, male songs, female songs, full demos and a worktape!

There were a lot of worthy songs sent in, and I felt bad about leaving so many out.  If your song wasn’t chosen this time, it doesn’t mean that it isn’t a good song.

By the way, here’s a little about HOW I pick these songs.  Brave, awesome songwriters like you sent in your song or songs.  I downloaded them and listened – BEFORE I looked at who the writers are.  I picked the Top 10 and On Hold songs, THEN I looked up who wrote them.

So these were picked based on the song, not on the songwriter.  As a result… some folks got more than one in the Top 10 and On Hold.  Congrats to them for doing good, consistent work.

You know, one time I turned a song in to my publisher, and they didn’t know what to do with it, so they didn’t want to do anything with it.  My cowriters wanted to demo it, and the publisher said they wouldn’t pay for a demo.

The song was called, “Crickets,” and we got it cut by Joe Nichols.  It’s the title track to one of his recent albums.

joe-nichols-crickets

That’s right.  The song my publisher wouldn’t even pay to demo got cut anyway.  (My cowriters did an out-of-pocket guitar/vocal, and we pitched it ourselves.)

Welcome to Nashville.  So while I listened to each and every song and did my best to pick the ones that have the best chance of catching John’s ear… I could be wrong.  That’s just the way the music biz works.  So if your song wasn’t selected, it doesn’t mean you should give up on it.

Okay, here are the Top Ten (in no particular order):

“Dirty Oar” by Jen Stricker, Mark Maxwell

“Beautiful Ever After” by Joe Slyzelia, Donna King, Emily Kroll

“The Wrong Spirit” by David Micheal, McLamb

“Mom Life” by Heather Evans

“Vintage” by Dave Quirk, Troy Castellano, Victoria Banks

“Nice Tall Glass” by Marla Rubenstein, Tucker Bouler, Betsy Walter, John Cirillo, Dan Reifsnyder

“Indiana” by Daniel Leathersich, David Micheal

“Be Beautiful” by Donna King

“Your Key Still Works” by Jayne Sachs, Joey Ebach

“In The Sand” by Jonathan Helfand, Todd Dickinson

 

(The Songwriting Pro community would LOVE to hear your songs, so if you have a link you’d like to post to your “Top 10” song, please post it in the comments below or in the Songwriting Pro Facebook Group!)

Congratulations!  John and I look forward to hanging out with you on December 14.  (In the days before the event, I’ll email the winners the instructions about the online meeting.)

Like I said, the 10 songs above aren’t the only good ones I had the pleasure of hearing.  There are several more that were put “on hold” for the top 10 songs.  This list could be quite a bit longer, but I’d like to spotlight a few of them, too.  (Ya’ll feel free to link up your songs in the comments or in the Facebook group, too!)

“ON HOLD” songs…

“The Highway” by Mckenna Hydrick

“Quitter” by Troy Castellano, Brett Mandel

“Friday Groove” by Donna King, Joe Sly, Emily Kroll

“Where Will I Be” by Marla Rubenstein, C. Ising, Susan Giacona

“My Brother’s Black Chevelle” by Buck Wild & Penelope Lane

“Summer’s Gone” by Frank Renfordt

“Forget You” by Pat Aureli

“What Could Go Right” by Jayne Sachs, Les Bowe

“Better Believe My Eyes” by Peter Lewis, Tony Hume

“I Wish That I Was Him” by Anthony Quails

These songs, along with others, were in there battling it out with the top 10, so be encouraged!

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

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God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

SWP 4

You can’t have songwriting success without these people!

You can’t have major success alone.  You MUST have help.  Songwriting is a team sport. Today, let’s talk about who you might need on YOUR team.

Ready to start building your team – or to add the missing pieces?  Read on!

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

Okay, let me start off by saying that not all of these members are necessary for every songwriter at every career stage.  Some are only needed when money is being generated from your songs. So don’t get overwhelmed- you don’t have to find all these folks today.

Also, this list is for pro songwriters or those who want to make money. If you just want to write good songs and you’re not worried about big commercial success, pick and choose accordingly.

1. Your Cowriters.

There are very, very few songwriters who turn pro (and stay that way) who are exclusively solo writers. Your cowriters help keep you fresh and break you out of creative ruts and stale habits. They also provide song ideas so you don’t have to come up with all your own ideas.

Cowriters provide creative strengths to compliment your weaknesses (lyrics for your melodies, etc.) They share valuable information (who’s cutting, what they want, who’s about to get a record deal, etc.). They (and their publishers) help pitch your songs. Cowriting also provides political advantages- writing with the artist, the producer, or with someone in a powerful publishing company.

2. Your PRO.

Performing Rights Organizations (PROs) are basically companies who collect and distribute airplay royalties for publishers and songwriters. There are three PROs in the United States- ASCAP, BMI and SESAC. Every other country / territory has only one.

If you’re blessed to get some airplay, you and your song won’t get a dime of airplay money if you and your song aren’t registered with a PRO. That’s the big service they offer. Other benefits include networking and educational opportunities. EVERY money-making pro must have a PRO.

3. Your Recorders.

All the cowriters in the world aren’t gonna do you much good if all your demos / recordings sound terrible. There’s just too much competition and too many quality demos out there for an A&R person to do the work to hear through a bad recording. They just don’t have to.  Unless you’re an established hit songwriter with a good track record, they’ll just trash it and move on to a recording that sounds like it was done by a pro.

It’s great if you have the musician and production chops to get good sound on your own. But most songwriters don’t have that, so it needs to be outsourced. Maybe your cowriters can perform this function, or maybe you hire a track guy (or girl) or some studio musicians.

With that being said, a good publisher should be able to hear a good song that isn’t fully demoed.  This point is for pitching your song to artists and record labels, not to publishers (who we’ll get to in a moment).

4. Your Administrator.

Somebody better be watching the money. Your administrators are the folks that make sure your songs are registered with a PRO, licensed properly by the record labels, the copyright forms are sent in and that your royalties make it (properly and promptly) from the record labels to the songwriters.

This function is usually done by the publisher, but you can also hire an admin firm for a percentage of what they collect on your behalf. For example, my Major Bob Music catalog is partly administered in-house and partly by The Harry Fox Agency. My personal publishing company, Cowboy Chords Music, outsources my admin to Bluewater Music. They handle my licensing and royalty collections for a percentage of the money they collect.

Team Sport

5. Your Sharpeners.

These are the folks who help you sharpen your skills, both on the artistic and business sides of songwriting. This may include cowriters who inspire and challenge you to do your best, it may include NSAI, Global Songwriters Connection, Songwriting Pro, Frettie, song evaluators, and coaches. It may be your publisher or songplugger. It may be a writer’s rep at a PRO or a publisher who will listen to your songs and give feedback.

The Sharpeners are hugely important for amateurs turning pro and for seasoned pros trying to keep current and to adapt as the commercial market changes. These are the folks who will tell you the truth and challenge you, even when it’s unpleasant.

6. Your Believers.

Who’s going to pick you up when the biz knocks you down? When you’re lost in doubt? You’ll find The Believers in several of the other categories- Cowriters, Publisher, and sometimes the PROS and Sharpeners.

Your Believers may also include folks outside of music- your family and friends. This isn’t just for the aspiring songwriter. We ALL need  Believers! But the most important believer will always be one person. Yourself.

7. Your Songpluggers.

If you want cuts, somebody has to be out there actively pitching your songs and getting them heard by folks who can say “yes.” Oftentimes, this is done by a music publisher, who has at least one songplugger on staff. Many pros also pitch their songs themselves.  I’m an “all hands on deck” kinda guy, so I like to have cowriters to pitch our songs, too.

People who might plug your songs: you, your publisher, an independent songplugger, your cowriters, your cowriters’ songpluggers. If nobody is plugging your songs, nobody will hear them. If nobody hears your songs, nobody will cut them.

There ya go.  A pro songwriter’s team. Like I said earlier, you may not need all these folks right now, depending on where you are in your career. But as you climb that mountain, you’ll add more and more of them.

But what if you don’t have your team put together yet?  What if you don’t know any publishers?  Let me help.

I’m happy to give you a shot at meeting a legit hit music publisher!  I want YOU to join me at Songwriting Pro’s next Play For A Publisher event- and get feedback on YOUR song in person! (No matter where in the world you live.)

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher, no matter where in the world you live (because it’s all online).

On Thursday, December 14, I’m having the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is John Ozier of ole Music, but the deadline to submit your song is TODAY!  That’s right- if you don’t reserve your spot and get your song in TODAY, John won’t hear your song.

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE THIS GREAT OPPORTUNITY!

MEET MUSIC PUBLISHER JOHN OZIER

Ozier’s track record includes placing songs recorded by Garth Brooks, Tim McGraw, Florida Georgia Line, Lee Brice, Randy Houser, Rodney Atkins, Clay Walker, Love & Theft, Ronnie Dunn, Jo Dee Messina, and many more. In 2010, Ozier was responsible for four songs in the Top 15 on the Billboard country charts, including the longest-ever running single, Lee Brice’s “Love Like Crazy,” at 56 weeks. More recently, he was responsible for No. 1s by Rodney Atkins (“Take A Back Road”) and Lee Brice (“A Woman Like You” and “I Drive Your Truck”).

He is also a published songwriter with cuts by Lee Brice, Kelli Pickler, Charlie Worsham, Josh Thompson, Tyler Farr, American Young, Air Supply and others. He co-wrote Lee Brice’s multi-week No. 1 and platinum single, “Hard to Love,” which won a BMI Award in 2013, as well as an NSAI Award for ‘Top 10 Songs I Wish I’d Written.’ Ozier also co-wrote Tyler Farr’s  34-week #1 and Gold Single, “Whiskey In My Water.”

DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE THIS GREAT OPPORTUNITY!

God Bless and Enjoy the Journey,

Brent Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Before You Pitch Your Song, Ask Yourself These 6 Questions!

You’ve just written your new favorite jam, and you can’t wait to pitch it to every artist and label in town.  Congrats!  But DON’T pitch that song just yet!

Before you send that email or make that call, you need to ask yourself these 6 questions that can keep you from wasting your time AND your songwriting reputation.

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

Let’s say you have the opportunity to pitch to an artist.  Maybe Aunt Agnes knows a guy that mows the lawn of the guy that cuts Blake Shelton’s hair.  Or maybe you’re a staff writer who knows you shouldn’t leave all the pitching to your plugger.  Either way, you want to make the most of your pitches.  Here are some questions to ask yourself as you’re going through your songs.

1.  Does my song fit the artist’s brand?

Artists are brands.  Simply put, if your song is a french fry, don’t bother pitching it to Taco Bell.  They don’t DO french fries- it doesn’t fit their brand.  Likewise, don’t waste an artist’s time by pitching him a song that doesn’t fit what he does.  You’ll look like you just didn’t bother to do your homework.  That doesn’t respect the artist’s artistry or their time, and you come off looking bad.

 2.  Can the artist sing the song?

I was in an A&R pitch meeting at a label, and I pitched a certain song for a certain artist on their roster.  The A&R rep said the lyric was right up his alley, but she didn’t think he could sing it.  Pass.

My buddy, Anthony Orio, has pitched songs to a publisher before, and the publisher told him, “What guy can sing this melody?”  Well, Anthony could.  But the point is that not a lot of guys could sing a song that rangy, so it wasn’t as attractive to a publisher as a song they could pitch everywhere.

3.  Does the artist already write this type of song?

For example, Keith Urban tends to write his own feel-good mid-and-uptempo songs.  Most of his ballads and darker songs, however, tend to be written by other writers- “Raining On Sunday” “You’ll Think Of Me” “Making Memories Of Us” and “Stupid Boy,” for example.  Your best bet for getting a Keith Urban cut is probably to bring him something he records but doesn’t typically write himself.  The same goes for most artists.

4.  Is it a quality recording?

I’ve gotten cuts from demos.  I’ve gotten cuts from good guitar/vocals.  But unless it’s something I wrote with the artist, I’ve never gotten a cut off a worktape.

There are writers that can pitch a worktape, but they’ve had enough success that the listener expects to hear a great song because of who wrote it.  Also, they can probably play it directly for the artist or producer.  Depending on how close you are to the project, your song may have to get past an A&R intern, a production assistant, and who knows who else before it can get to someone who can give you the “Big Yes.”

I personally don’t count on every person in that chain to be able to hear through a worktape- especially when it’s sandwiched between great-sounding demos.

5.  Is this song a step into the artist’s future?

Right after Brad Paisley hit with “The Fishing Song,” he got blasted with fishing songs from everywhere.  Notice how he STILL hasn’t put another one out as a single?  I’m sure he didn’t want to get pigeonholed as the fishing guy (although that was an important part of his brand at the time).  Besides, he can write a great fishing song on his own- he doesn’t need to pay me for mine when he can make money on his.

Successful artists evolve over time.  Plenty of writers will be pitching them their LAST hit.  You need to pitch them their NEXT hit.

6.  Is this a great song?

I’ve made the mistake of pitching songs that were the right brand, but just “okay.”  It’s like kicking a field goal perfectly straight… but five yards short.  No points.  There are too many really good and great songs out there- why would an artist cut yours?  It has to be on-brand AND great.  Never, never, never pitch a song that you know isn’t great.  It’ll reflect poorly on you as a songwriter.  It’ll damage your reputation.  And in this business, reputation is huge.

I hope this list is helpful for you.  It’s not an exhaustive list- each pitch opportunity comes with it’s own particulars.  But I think you’ll be well served to keep these questions in mind.

But what if you don’t have your own pitch contacts?  What if you don’t know any artists or producers? 

Well, you’re probably going to need a publisher.  And I’m happy to give you a shot at meeting one!  I want YOU to join me at Songwriting Pro’s next Play For A Publisher event- and get feedback on YOUR song in person! (No matter where you live.)

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher, no matter where in the world you live.

On Thursday, December 14, I’m having the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is John Ozier of ole Music.  John has had his hand in a bunch of hits, but the deadline to submit your song is coming up NEXT MONDAY!  DON’T MISS OUT- CLICK HERE TO TAKE ADVANTAGE THIS GREAT OPPORTUNITY.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

In Today’s Music Biz, Songwriters Must Have THIS Skill

Hit music publisher, Dan Hodges of Dan Hodges Music, was our most recent Play For A Publisher guest, and he dropped a HUGE value-bomb on us!

It was just too good and too important to keep to ourselves, so I decided to share it.  If you want to become a pro songwriter, read on!

________________________________

To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

At Songwriting Pro’s most recent “Play For A Publisher” event, Dan Hodges was asked about the importance to a publisher of a songwriter being able to play, sing, record their own demos, etc.

His answer was surprising.

Here’s basically (paraphrased) what Dan told us.

In the 1990’s, it was really important for a songwriter to be able to write solo.  That way, you could put that writer in the room with anybody (or nobody), and you were confident that he or she could come out with a good song.

But these days, it’s different.

Now, Dan places a big value on work ethic.  Is the writer a hard worker?  Does he or she show up consistency, putting in the effort and the hours?

Then Dan hit us with something surprising.

It’s really important that the writer is a good hang.  A publisher is always looking to network, and it’s very important that the writer is LIKABLE.  Just like in the ’90’s, when publishers wanted a writer who could go into a room with anyone and come out with a good song, these days, they often want a writer who can go into a room with anyone and come out with a good RELATIONSHIP.

The social aspect of the music business is vitally important.

He told us the story of one of his songwriters.  According to Dan, this writer is a very positive person.  He just makes everyone around him feel good.  This writer recently landed a #1 hit country song, which he cowrote with the artist.

Basically, as Dan explains it, his writer got a #1 not only because he is a good writer, but the artist enjoyed writing with him.  They became friends, and after that relationship garnered 30 or so songs, one of them landed on the artist’s debut album.  It was released as a single, and eventually hit #1.

Now Dan’s songwriter has a #1 hit to go with his winning, positive personality.

Now, here’s my (Brent’s) take on that.

I know some writers who hate to hear these kinds of stories.  They hate to think of the music business as “high school all over again” or a “popularity contest” where only the “cool kids” get the attention.

That’s a loser mentality, and you can’t afford to think that way.  

(Those are my words, not Dan’s, just so we’re clear.)

The music business is FULL of writers with a ton of talent.  It’s full of writers with a good work ethic.  And there are a lot of writers trying to get into the biz who also work hard and have talent.

Bringing a good hang can be worth as much as bringing a good hook.

Why?  Because being a good hang can get you in the room again and again.  Yes, you need the talent.  But once the talent-bar has been cleared, the artist (or hit writer) still has more potential cowriters than they have time for.  So…

What’s going to get YOU in that room instead of someone else?

Be a good hang.  Be likable.  Be someone other people want to be around.

Like it or not, personality matters.  People just have too many options to be stuck spending their time with people they don’t like.

If an artist or cowriter doesn’t HAVE to write with you, it’s your job to make them WANT to write with you.

 

I want YOU to join me at the next Play For A Publisher event- and get great advice and feedback on YOUR song in person! (No matter where you live.)

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher, no matter where in the world you live.  That’s right- it’s all online, so you can join us from anywhere!

On Thursday, December 14, I’m having the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is John Ozier of ole Music.  John has had his hand in a bunch of hits, but the deadline to submit your song is coming up THIS MONTH!  CLICK HERE TO LEARN MORE ABOUT THIS GREAT OPPORTUNITY.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Advice For Songwriters From Hit Music Publisher, Dan Hodges

Hit music publisher, Dan Hodges of Dan Hodges Music, was our most recent Play For A Publisher guest.  And, boy, did he have some great advice for our songwriters!

Wanna know what he said? Read on!

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To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

If you couldn’t make it to the event or watch the replay, here’s some of the great advice Dan had for us.

Put yourself in the artist’s shoes.  With every song, ask yourself, “If I were an artist on a label, would I want to sing this song every night, saying ‘This is me.  This is who I am.’?”

Go with what you know.  Trends change, but a great story and a melody are always relevant.  Sam Hunt’s “Breakup In A Small Town” may have progressive production, but it still has some brilliant lines (especially the one about the grass growing back where she used to park her car).  That’s great writing.

Show me a “moment” in your song.  Create a moment or paint a picture that draws the listener in.  Avoid having too many generic lines.  Get something tangible in there.

Don’t make the listener connect too many dots.  Country music is a very spelled-out market.  Don’t make the listener work too hard to understand what you’re talking about.

Regarding how progressive a country demo can get:  Anything goes.  Just keep the lyric a country lyric.  But the demo can get “out there.”

Is there an advantage to working with a publisher?  Yes, Dan says.  A publisher will hook up cowrites and help you with networking.  You must have artist/producer relationships, and a good publisher will have those.

Stay away from curse words in a country lyric.  It makes it harder for the song to get cut.

Don’t put the singer in a negative light.  They have to sing the song every night and “become” the character in the song.  Make the main character in the song someone the artist WANTS to be.

I want YOU to join me at the next Play For A Publisher event- and get feedback on YOUR song in person! (No matter where you live.)

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher, no matter where in the world you live.

On Thursday, December 14, I’m having the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is John Ozier of ole Music.  John has had his hand in a bunch of hits, but the deadline to submit your song is coming up quickly!  CLICK HERE TO LEARN MORE ABOUT THIS GREAT OPPORTUNITY.

God Bless and Enjoy the Journey,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

4 Reasons A Music Publisher Won’t Meet With You (And 1 Thing You Can Do To Change That)

For many songwriters (and possibly you), trying to get a publisher meeting is like trying to get a date with a supermodel.  You know they exist, you cyber-stalk them as best you can… but you can’t find one who will give you the time of day.

Why is it so dang hard to get a publisher meeting?

Here are 4 reasons a publisher won’t meet with you- and one thing you can do to change that.

________________________________

To BE a pro, you need to THINK like a pro, and this FREE ebook will help transform your thinking, your songwriting, and your success.  Get it today!

Click Here For The Book

_________________________________

1. Knock, knock… Math.

Publishers simply don’t have enough time to meet with every songwriter who wants some of their time.  Math just dictates that there aren’t enough hours in the workday for every “quick 15 minute meeting” that is asked of them.

Unfortunately, publishers just can’t get to everyone.

Oh, and math also says that the vast majority of songwriters just aren’t good enough to solve the publisher’s problems.  The odds are actually better that you’ll either be needy or crazy and add to their problems.

2. You made a bad (personal) 1st impression.

Maybe the publisher met you out at an event… or the grocery store… and you gave off a creepy vibe when you shoved your CD into her cart alongside her avocados.  Or maybe you reached out through social media and she saw that post where you ranted about how much radio sucks and the songs suck and the artists suck.  Now the publisher has no desire to give you a 2nd chance to make a worse impression.

Yes, unpleasant people might still have a great song.  But a publisher is looking for something more valuable than just one great song.  She’s looking for a great songwriter she can have hits with for years to come.

If the publisher doesn’t like being around you for 5 minutes, she’s sure not excited about being around you for 5 years.

3. You made a bad (musical) 1st impression.

Let’s say a publisher was out at the Bluebird Cafe or The Listening Room to hear one of his writers, and you were in the early round.  If your songs just aren’t exciting to him (too slow, too cliche, too boring, whatever), he’s not going to be in a hurry to sit down with you for a half-hour.

There’s just not a compelling business interest for him to NOT meet with someone else so he CAN meet with you.  After all, publishers know writers tend to play their best stuff out.  So if that’s your best, he doesn’t need to hear any more- at least not until after you’ve worked on your craft for a few more years.

4. The publisher doesn’t know you exist.

Literally.  How can a publisher agree to meet with you if you’ve never stepped into her awareness?  If you and your songs never leave your bedroom in Boise, that publisher meeting is simply NOT GOING TO HAPPEN.  You have to get over your fear or whatever and DO SOMETHING.

Or maybe you’re ready to do something, but you just don’t know the steps to take.  How do you approach a real-deal music publisher in a way that gets his or her attention in a positive way?  Do you have to belong to some sort of private club?  Is there a secret handshake?

Let me introduce you to a legit music publisher.

If you’re ready to connect with a publisher, I have a path for YOU and YOUR great song to get to a real, legit, successful music publisher.

On Thursday, December 14, I’m having the next round of Songwriting Pro’s “Play For A Publisher.” Our guest is John Ozier of ole Music.  John has had his hand in a bunch of hits, but the deadline to submit your song is coming up quickly!  CLICK HERE TO LEARN MORE ABOUT THIS GREAT OPPORTUNITY.

God Bless and Enjoy the Journey,

Brent Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.