YOUR BEST SOURCE FOR USEFUL SONGWRITING STUFF
Whether you want to get your songs covered by other artists, sing them yourself, or get placements in film & TV, make sure your songs fit the needs of today’s music industry.
by Robin Frederick – Courses, Workshops, & Books.
Unlike radio hits that burst on the scene then fade away, holiday songs have a long, long lifespan. Every major artist records at least one album of holiday songs. Plus there’s an avalanche of holiday movies and TV shows that need these songs, too. Sure they include the classics that everyone knows and loves, but they need to sprinkle in a few potential new holiday hits, too.
Q: I want to learn more about what kind of music is current. Where do you find new music and artists to listen to? Also I want to pitch my songs to film & TV. Where can I hear artists that are being used in that market?
A: If you’ve been getting my monthly emails, you know that I’m big on listening. I recommend that songwriters spend as much time listening as they spend writing. That means listening to successful songs, current songs, songs that inspire you as often as you can.
But there’s a huge amount of music out there—more every week, every day— so much that it can seem overwhelming. So, how do you find new music and artists to listen to? How do you know where to look and how to focus on what will be helpful to you as a songwriter? Here’s my guide to finding new music that will deliver plenty of inspiration, knowledge, and ideas for your own songs.
Since I originally wrote this post almost three years ago, there has been a revolution in the way Film & TV music libraries are dealing with cover songs. Up till then, they would not accept or pitch cover songs from indie artists. But now, all that has changed. In addition to accepting cover songs for pitching, a top catalog like Crucial Music even has a list of cover songs they’d like to have!
The reason? I’m not sure but there are just so many movies, TV series, and commercials using cover songs, maybe it was inevitable. And (my real guess), music supervisors were really tired of trawling YouTube at 2 am to find fresh cover songs from indie artists because that was the only place where we could easily upload them.
Why did music libraries shun covers in the first place?
Short answer: Cover songs are not one-stop.
YOU ARE THE OWNER OF THE MASTER RECORDING BUT NOT THE SONG.
Since you paid for the recording (or recorded it yourself) you are the owner of the sound recording, the master. But you do not own the rights in the song: the melody and lyric.
If you are pitching to the Film & TV market, you can only give permission to use the sound recording. A music supervisor will still have to license the song from the copyright owner or administrator. Music libraries previously avoided signing cover songs, but that’s changing as more and more productions use them and understand, up front, they will have to clear the rights to the song.
The phrase “music arranger” isn’t one you hear very often in today’s Pop music industry, but arrangers used to be an indispensable part of the music scene. In the ’50s, ’60s, and ’70s, record producers hired well known, in-demand arrangers to create arrangements for their recording sessions.
If you didn’t have the money for a Nelson Riddle, Jimmie Haskell, or Quincy Jones, the musicians would make “head arrangements” on the spot in the studio. The arranger might be used just for a horn or string session.
But things have changed dramatically since then. Today’s music producers often build an entire track from the ground up—from sounds, samples, loops, and overdubs through the final vocal recording. That means that the music producer is also the music arranger.
I recently discovered an inspiring, fun, informative website called OpeningLines.org. This blog by Seth Fiegerman takes a look at the very first steps in the careers of the famous and successful.
There are names we all know—actors, musicians, scientists, educators, community leaders, and writers we admire. We don’t think of them losing their first talent contest or being told they have no aptitude for the field in which they later dazzle us all. But that—or some form of it—is what happens to many. So here are a few stories that might help you along when you start to doubt your songwriting career.
