My Song Coach

Cover Songs Are Still a Big Deal

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.

Overcoming “Collab-o-phobia”

I’d Like to collaborate but I’m not sure how or whether it’s even a good idea. Can you help?

Lately I’ve been nudging songwriters toward more co-writing. Joining up with someone to combine your skills, resources, ideas, and energy will help you pick up your songwriting speed, finish more songs, find more opportunities and outlets, and so much more.

But my nudges are often meet with resistance. A lack of confidence or worry about looking foolish can really put the brakes on this idea. I call it collab-o-phobia: fear of co-writing. Here’s list of great tips that will banish it forever!

Be Your Own Music Arranger

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.

Quincy Jones was an arranger before he became a music producer.

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.

A Shaky Start to a Successful Career

I recently discovered an inspiring, fun, informative website called OpeningLines.or g. 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.

Nail a Vocal Performance

Whether you are singing your own song or hiring a singer, know what you need from a vocal performance before you start recording.

THE MOST IMPORTANT THING ABOUT A VOCAL

If you ask most people what they think a good vocal must have, they’ll tell you that it’s all about pitch. A singer has to sing in tune. They might occasionally mention rhythm, but it’s usually pitch.

Truth is, the most important thing about a vocal is how it makes us feel. A vocal performance that creates an authentic, emotional experience for the listener is a great vocal. That’s the only thing that really counts.

So, what are the elements of a vocal performance that are absolutely essential to making this happen?

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THE MOST IMPORTANT THING ABOUT A VOCAL

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