What Happened, Why, and Where the Music Business is Going

Wednesday, January 11th, 2012

Written by Barry DeVorzon – Follow us on Twitter

The Golden Years

In my opinion the golden decade for the record business, publishers, and songwriters would have to be the fifties followed by the sixties.  In the fifties, everyone had their job and it was more of a collaborative effort.  The songwriter wrote the song, the publisher placed the song with an artist, the artist sang the song, the producer produced the record, and the record company promoted and sold the record. We were all one big happy family and there was something for everyone.

The single record was alive and well and was the fastest and cheapest way to launch a career. And when I say a career I mean as an artist, songwriter, publisher, or record company.  Radio was our friend and if you could get on the charts of just one major radio station or city you could break it nationally. Independent record companies ruled and gave birth to Rock and Roll and R&B. The majors hung on to the established pop stars with a few exceptions. There was very little format radio other than R&B and Country, but generally speaking, if it was a hit, radio didn’t care weather it was Pop, Rock, Country, Folk, or R&B.

It was easy and inexpensive to get a record out

There was an immediacy in the business that is not here today. You could record a song on Friday and it could be on the air the following week.  It didn’t cost a lot to take a chance, which encouraged people to follow their gut. The result was a golden era that was immediate, imaginative, and just pure fun.

The British Invasion and how it changed the business

This all came to a screeching halt, beginning in the early sixties with the British invasion. In the fifties, all the world wanted was American music.  For a good part of the sixties, all America wanted was British music. It was during this time that the major record companies rose to power, and there was good reason.

Majors were the only ones with reciprocal rights

In the fifties, independent record companies were focused nationally and usually let the majors handle their foreign distribution.  England wanted our music, we didn’t want theirs, but reciprocal rights were part of every distribution agreement.  When America did want their music, the only companies with reciprocal rights for British product were the Major record companies. As a result, The majors rose to power and many of the independent record companies either went out of business or were sold to major record companies.

Corporate thinking comes to power

This is the period when corporate thinking came into power and took over the business. The first thing to go was the single record.  Corporate thinking determined that selling an album was far more profitable than selling a single, and they were right. But now, serious money had to be spent on an album before you knew if anyone was going to respond to the artist or his/her music.

Singer/Songwriters take center stage

It also became unfashionable for an artist to sing songs that were written by others.  The record companies for the most part were only interested in signing artists who wrote their own songs. This led to a decline in quality and diversity, and the end of an era for songwriters in general.  Don’t get me wrong, there were some great songs written by some great songwriters during this time, but for the most part, you had to be the artist, the songwriter, and you had to be signed to a record company to get your songs heard and recorded.

Hard times for songwriters

It has gone from bad to worse these past forty years and that’s unfortunate for pure songwriters who are not artists. The only place that resisted that kind of thinking was Nashville, but I understand today, it’s beginning to change there as well.

More to come

That’s all for now, but look for part two of this article where I discuss the other ways corporate thinking brought the music business to its knees and to the unfortunate place we find ourselves in today. That being said, I will also discuss why I think a brighter future may be ahead for all of us.

If anyone has anything to add on this subject, your comments will be welcome.

Did this post help you in any way?  If so, please share it with one other person who could use it. Use the links for Facebook and Twitter below. Thanks!

Be sure to check out our Top 5 articles and our Top 3 videos from the right panel on our blog homepage.

If you haven’t already, check out:

The Story of How I got My First Hit – click here
Rule #1 for Songwriters: Follow Your Heart – click here
 The Story Behind the Hit Song Dreamin’ – click here

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Posted in For Songwriters, General | 14 Comments »

The Story Behind the Hit Bless the Beasts and the Children

Thursday, December 8th, 2011

Video by Barry DeVorzon – Follow us on Twitter

We wanted to share another entertaining story of how Barry’s classic, Bless the Beasts and the Children, became a hit and ultimately was nominated for an Academy Award.  Another example of how many things have to fall in place for a song to become a hit.  Click the play button below to hear how it happened from Barry himself.  Enjoy and please feel free to share your thoughts and comments.

Can’t see the video?  Click Here.

Did you enjoy this story?  If so, please share it with one other person you think might enjoy it as well. Use the links for Facebook and Twitter below. Thanks!

Be sure to check out our Top 5 articles and our Top 3 videos from the right panel on our blog homepage.

If you haven’t already, check out:

How an Unlikely Background Cue Became a Giant Hit – click here
 The Keys to Standing Out in  a Transforming Music Business – click here
 Craft Will Save Your Ass – click here

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Posted in For Songwriters, Songwriting Stories, Videos | No Comments »

How an Unlikely Background Cue Became a Giant Hit

Wednesday, October 26th, 2011

Video by Barry DeVorzon – Follow us on Twitter

We wanted to share another entertaining story of how a background cue from the soundtrack of the motion picture Bless the Beasts and the Children became the most important hit of Barry DeVorzon’s career – Nadia’s Theme/Theme from The Young and the Restless. Click the play button below to hear how it happened from Barry himself.  Enjoy and please feel free to share your thoughts and comments.

Did you enjoy this story?  If so, please share it with one other person you think might enjoy it as well. Use the links for Facebook and Twitter below. Thanks!

Be sure to check out our Top 5 articles and our Top 3 videos from the right panel on our blog homepage.

If you haven’t already, check out:

The 5 Ways to Connect to Inspiration – click here
How do you Know When you’ve Written a Great Song? – click here
The story of how I got my first hit – click here

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Posted in Songwriting Stories, Stories, Videos | 7 Comments »

Craft Will Save Your Ass

Tuesday, September 20th, 2011

Editor’s Note: This is a guest post by Rand Bishop

A little bit about me

When I published the book BMI VP Jody Williams dubbed my “manifesto” (Makin’ Stuff Up), I have to admit I was overly confident in my assumption that there were tens of thousands of wannabe songwriters eager and waiting to lap up a veteran’s tips on song craft and chuckle over glib real-life tales of self-destruction and ultimate triumph in the music-biz. After all, I am a journeyman with decades in the trenches, a former major-label recording artist, platinum producer, A&R rep, Grammy Nominated, BMI Award-winning, million-play, number-one songwriter. (Sure, I’m tooting my own horn, but every note is right on pitch; and I think I’ve earned the right to strut a little after enduring 41 years in this brutal game — no mean feat, whatever that means.)

Anyway, I’ve had to adjust my expectations regarding books in general (especially books written for the purpose of deconstructing that odd and mysterious creative concoction known as the popular song). And now I await the publication of my second “manifesto” on the subject: The Absolute Essentials of Songwriting Success. But, if there’s anything that four decades in the music biz has taught me, it’s how to readjust my expectations. (If you don’t know what I mean by that, just stick around in this biz a little while longer, and I guarantee you will.)

Inspiration alone is usually not enough

So, my fine, furry friends, here’s what I’ve discovered since Makin’ Stuff Up hit the marketplace in December, ’08: The vast majority of songwriters are not the least bit interested in developing their craft. Bold statement, I know. Factual, however, I assure you. While dancers, painters, sculptors, classical singers and musicians, even hard-rock guitarists willingly seek qualified teachers, and pay a good price for their hard-won expertise, far too many songwriters assume their very first inspiration has been beamed from the gods, that the Muse’s initial whisper is sacrosanct, and not to be messed with. (While they are absolutely correct in the assumption that we are divinely inspired, it’s what a writer does with those heavenly inspirations that can make ALL the difference.)

A little wisdom from Janis Ian

So, if I may play devil’s advocate for a moment, I’d like to call my first witness to the stand, one Ms. Janis Ian, undeniably one of the hippest, most respected tunesmiths of the last half-century. “Ahem… Ms. Ian, if I may, I would like to ask your professional opinion.”

“By all means,” the diminutive lady responds.

“Inspiration versus craft,” I propose, “which is of more importance?”

“Inspiration is great,” says the Divine Ms. Ian, “but craft will save your ass.” Hmmm, the woman certainly has a way with words.

Sometimes it pays to listen

Yet, over and over again, I’ve seen the posts on Internet discussion boards: “Why should I pay for a song evaluation? It’s just somebody else’s opinion.” Yes, it is somebody else’s opinion. Somebody else who presumably knows what he or she is talking about. Somebody else who has had songs on the top of the charts, cashed six-figure royalty checks, and accepted real awards. What this industry professional is charging for is constructive feedback that can help a developing writer get a little closer to that same experience. Still, so many writers would rather bitch and moan about how they can’t get arrested and how unfair and cruel the business is, while simultaneously refusing to listen to voices of experience and advice that just might contain the keys to the kingdom.

Up-and-comers are not the only writers who can benefit from qualified, constructive feedback. To this day, after 250 of my songs have been recorded — by some of the most iconic artists in pop, rock, and country — I rely on the ears (and opinions) of other industry pros to help me hone my songs until they are as tight and concise as they can possibly be. Do I willingly accept every comment and apply every single syllable of input? No-sir-ee-bob. But, if I harbor even a milligram of lingering doubt as to whether a specific passage of lyric or melody is as strong as it could be, and that bit’s not quite making hearts go pittapat, I’ll go back to the woodshed and carve away at it with renewed vigor. For most of us, great writing is re-writing. The purpose of a pop song is to communicate emotion. If we’re not getting the response we’re looking for, if anything at all needs to be explained, it’s not the listener’s fault. It means the composer and/or lyricist has more work to do. (That’s not to say that every lyric has to be absolutely literal in every pop genre, but leaving a listener confused can certainly be a liability if you’re trying to achieve your very first success, or even your next one.)

Don’t be afraid of constructive criticism

I remember those long-ago days when I strongly resisted playing a song for a peer or professional, for fear they might not love it as much as I did. I also recall thinking that I knew it all, and that anybody who didn’t fully appreciate my obvious genius must be an idiot. The reluctance to seek out and accept constructive criticism comes from those same two unattractive, counterproductive places: fear, and arrogance. To not avail oneself of every resource there is to improve one’s craft, while complaining that the rest of the world is an ass is a surefire recipe for continued failure. If you’ve tried it that way and the deck still seems stacked against you, maybe it’s time to reshuffle the cards and ask for directions to Hit City.

Sometimes a little MasterWriter helps

Speaking of resources, MasterWriter is one songwriting tool I will never do without. In my process, MasterWriter is equally as important as a guitar or a keyboard. I’ve used MasterWriter on every song I’ve written since 2002, when I first installed this brilliantly conceived software. So, MasterWriter and I have probably collaborated on about 400 songs. The original 1.2 version integrated word processing with a very practical, songwriter-friendly rhyming dictionary (including “sound-alikes,” which I absolutely LOVE), thesaurus, a wonderful innovation called rhyming phrases, and a reliable digital recorder. All the basic tools under one roof. No longer did I have to pack a computer, rhyming dictionary, thesaurus, and portable recorder, and keep track of stacks of work tapes and lyrics. MasterWriter provided all of those tools in my laptop, and my words and music-in-progress were automatically linked and date documented.

For me, this essential, all-in-one program had two drawbacks: it was more than a little bit poky, and the thesaurus was sketchy at best. (I could never figure out why ProTools was able to load up ten times faster than Masterwriter.) But, Masterwriter’s strengths far outweighed its weakness. I quickly became dependent on it, and even after more than 30 years of makin’ stuff up, I became a better writer for it.

The newer 2.0 version is far superior and has overcome the speed issue. Added are pop-culture references, word families, parts of speech, on-board midi drum loops, and lots of other stuff I haven’t even explored yet. The new thesaurus is more comprehensive than any I’ve ever seen. I salute MasterWriter as the most innovative and essential songwriting tool available today, bar none. You bring some talent and inspiration, along with the iron will to hone a tightly constructed pop song, and MasterWriter will be your strongest ally in your quest to make the airwaves and climb the charts.

Rand Bishop
Songwriter, producer, author of Makin’ Stuff Up, secrets of song craft and survival in the music-biz (Weightless Cargo Press, 2008, distributed exclusively by Alfred Publishing), the darkly comic novel/mock-memoir, Grand Pop (Eloquent Books, 2010) and the forthcoming Absolute Essentials of Songwriting Success (Alfred Publishing, 2010). http://www.randbishop.com

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Posted in From the Pros, Guest Blogs, Tips & Advice | 19 Comments »

The Story Behind the Hit Song Dreamin’

Thursday, September 1st, 2011

Video by Barry DeVorzon – Follow us on Twitter

Here’s another story that goes back a few years when songwriting and the music business were very different, but I think you’ll enjoy it.  Please feel free to share your thoughts and comments.

Click Here to hear to listen to the song on Youtube.

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Posted in For Songwriters, Songwriting Stories, Stories, Videos | 18 Comments »

The Keys to Standing Out In a Transforming Music Business

Wednesday, August 17th, 2011

Written By: Kenny Loggins

Key lessons from this post:

  • Why most executives only give most artists one CD to prove themselves
  • The danger of trying to follow a fad
  • Why artists are losing their audience
  • The power of looks and video

When I started in the music business, Clive Davis was the hand’s-down taste-maker, the man who far-and-away, “got it”, and lead the way with an ethos of how to do the music business, a style that completely lead the industry. Among his many gifts, I especially noticed:

1. He trusted his instincts, his “ears”, while watching the trends, and he had/has a damn good set of ears.

2. He knew that artists needed time to mature their craft, and would often invest deeply in an act for quite a while (as he did with Loggins and Messina), in order to shepherd that act’s creative growth. He literally invented the term “Artist development”.

In today’s music business, there are precious few record executives who still believe as Clive did, and are willing to hang with an artist for more than one CD.

There seems to be little or no “artist development” any more.

Why is that? Perhaps because when accountants took over the music business, they had no clue how Clive came to his decisions, had no inkling what was “good or bad”, and so they encouraged their “artists” to follow whatever fad was selling at the time. Thus we were launched into an era of copy-cat trends in music that has led to an all-time record-industry crash.

Artists are losing the audience’s attention.

Artists no longer capture the imagination of the public for very long, because Record Companies (interesting that they still use the term “record” in their own definition…) do not encourage originality and don’t stay with an artist’s development long enough to let them. New acts are signed for one “record”, sometimes even two or three songs only!

I suspect the rule of thumb is, “take one shot. If it doesn’t stick, it’s not worth the investment.” I’ll bet money that’s because they don’t “get it” in the first place. They never really “heard it”. It’s all just “white-man’s magic” to them, the incomprehensible whims of the unpredictable masses. In most cases today, it looks to me as if they just throw it all out there and see what happens. Then, if they smell success, they might spend some promotional money on that act and invest in a second song or CD.

How to be an ‘exception’.

Of course there are a few exceptions to that rule, but I consider those acts either left over from the previous era of the music business, as in the case of a U2, or artists so charismatically powerful, so willing to constantly push themselves into new territory that even the company can’t stop them (Witness John Mayer’s continuous self-empowered evolution). But I believe those artists and their managers have had to fight for every leap they’ve taken, and probably against the “better judgment” of their company’s most fearful leaders.

The difference (and danger) with Video Artists.

Clearly, looks and image have propelled Rock n Roll from the very beginning. Elvis had the look, the hips, the outrageous style that would propel him into the ethers of the Rock Pantheon. He would have made a great Video Star, as indeed he DID with his dynamic performance of Jailhouse Rock!

But many artists now owe their entire careers to Video, and have very little substance to back up their stratospheric rise. In all fairness, Music Video has kept the music business breathing during hard musical/financial times, but it has also hampered careers that might have had a chance in earlier times. So it goes.

But Video has also fueled the “fast food” intellect of the consumer by overexposing a new artist right from the beginning, thus usually quelling the mystique an artist might have developed over time. In many ways, it is the illusion that an artist’s music spins that fuels the longevity of the career. We crave more because we are allowed to simmer in the magic for a while.

Short-term hype causes true fans to be replaced with infatuation.

That, I believe, is why today’s audience rarely falls too deeply in love with an act. What I see today is more akin to the white-hot intensity of an infatuation, a “fantastic first date” if you will, and why today’s acts fall so quickly from grace, their promise never quite achieved.

The public simply got too much too quickly, and the act lost its seeming uniqueness right away. The Video too often strips us of the use of our imaginations. I am hardly the first person to say that. Folks have been saying that about TV since the death of radio.

And where there’s smoke, there’s usually fire…

How has the rapidly changing songwriting business affected your career? What changes could we help with? Please share in the comments. Even a short sentence helps our community in a big way.

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Posted in For Songwriters, From the Pros, Guest Blogs, Songwriting Tips, Tips & Advice | 9 Comments »

7 Places You Should be Sending Your Songs To

Thursday, August 4th, 2011

Written by Barry DeVorzon – Follow us on Twitter

You have some great songs…Now what?
You have some great demos of some great songs, and when I say great I don’t mean good or even very good, I mean great!  Now what?  Now is when the songwriter has to become a detective and identify and find the people and companies that he should be sending his songs to.  This used to be an impossible task but today you can find almost anything you’re looking for on the Internet.

Music magazines are also great sources of information and often publish lists of record companies, producers, and publishers.  There are also a great many songwriter resources on the Internet that will give you all the information you need. Spend whatever time it takes, but leave no stone unturned. Your goal is to get your songs in the hands of as many artists, producers, publishers and record labels as you can.  Here are 7 places you should be sending your songs to:

1. Record Labels

In addition to the majors, there are a lot of smaller labels that are even more accessible and just as effective as any major.  Everyday, more independent labels come on line and this is a trend that I think will continue.

2. Producers

Getting your song to the producers of the various artists is one of the most effective ways to get your songs cut.  Who they are is information that is out there, how to get to them is not so easy.  It’s been my experience that less is more, try and keep your submittals to one or two songs and no more than four.  Here again, all you need is for one producer to take the time to listen.

3. Artists

The best way to get to artists is through a personal relationship or mutual friends, or members of their band.  If that’s not possible, try contacting their managers or you can send your songs to the A&R departments of the record companies for a particular artist.

4. Publishers

Publishers are easy to get to but the only Publishers really pitching songs these days seem to be in Nashville and Austin.  There may be some exceptions in LA and New York, but not many.

5. Music Libraries

While you’re trying to get your songs recorded a great place to make money are Music Libraries.  Usages and the subsequent performance royalties can really add up.  Some major Music Libraries are: APM, Killer Tracks, Extreme, 5 Alarm, Megatrax, and First Com.  For the entire list, check out PMA, Production Music Association.  You may have to give them exclusive rights in as far as production music is concerned, but don’t give up your copyrights.

6. Music Departments at Movie and Television Studios

Music Departments at movie and television studios always need production music.  Sometimes they augment the music in a film by adding a song or two from their music libraries in scenes where they need them. If for any reason they are unhappy with the Main or End Title you may even get a shot at one of those.  Sometimes they use songs from their music libraries as a temp track for a movie or television show, and sometimes producers and directors fall in love with those songs and they stay in the film.  That’s happened for me a number of times.

7. TAXI

If you don’t feel like doing all of the above, there is a company that does it for you named TAXI.  Check it out, it’s worked for a lot of songwriters.  Michael Laskow, is the President of Taxi, and he has assembled a great staff to help songwriters in a number of ways.  They not only do what they can to place your songs, they critique them as well, pointing out the weaknesses, and suggesting how you can make them better.

Leave no stone unturned.

Some people will argue that spending the time, effort, and money that is required to do the above isn’t worth it since you’d have to consider taking this approach as somewhat of a long shot.  Some of my biggest hits came as a result of taking long shots rather than following the obvious path.  Most of what I’ve suggested to you will be a waste of time, with the exception of TAXI, but this is a business that is all about percentages, all you need is one or two people to hear something in your songs and the result could be life changing.

If anyone out there has any additional suggestions on how to get your songs heard, we’d love to hear from you.  Share in the comments below.  Thanks for adding to the conversation.

Did this post help you in any way? If so, please share it with one other person who could use it. Use the links for Facebook and Twitter below. Thanks!

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Posted in For Songwriters, Songwriting Tips, Tips & Advice | 13 Comments »

7 Tips on How to Record a Demo that Gets Results

Wednesday, July 20th, 2011

Written by Barry DeVorzon – Follow us on Twitter

Okay, so you have a great song and now you want to record a demo. Once again, a song comes first, and your goal is to do a recording that does it justice. Sometimes, you can take a great song and make it even better with a demo, while other times, great songs can suffer in the recording process. Here are some tips that will help you avoid that and get the most out of your recordings.

1. Start with a good studio.

When recording your song, you want make sure the quality of the recording is top notch.  Whether you choose to record at a commercial studio or a home studio, make sure you are working with quality equipment. This would include effects units, microphones, sequencing software, and the ability to edit easily. The sound of your demo is important so you should do everything you can to ensure that quality.

2. Work with a qualified engineer.

Working with someone who knows the equipment and knows how to get the most out of the equipment is essential. If you work in a commercial studio, do your homework and make sure you are working with the right engineer. If you’re working at home, the right engineer may be you or a friend of yours.

3. Work with the right musicians.

If you’re not doing it all, make sure you work with great musicians. Working with the right musicians is an essential ingredient if you want to wind up with a good recording. You want musicians who can take direction without letting their egos get in the way and who will freely contribute musical ideas to help you achieve your goals. Signature licks and fills can come from the musician while they’re playing that turn out better than anything you may have had in mind. I call these pearls, and you only get them when you work with the right musicians. That being said, the right musician may be you, which makes it all a lot easier.

4. Get a basic track that’s right for the song.

A good basic track is the backbone of any good recording. Start with the basics when laying down a track, you can always add to it. The basics are drums, bass, keyboards, guitar, and last but not least, the right tempo. Before you start recording it is important to capture the tempo the song was conceived in. Sometimes in a studio environment, people tend to forget that and speed up or slow down the original tempo, which can cause you to lose the natural groove for that song.

If you sing the song using your vocal as a temporary guide track while they’re playing, it will help them with the feel. If you’re a one-man band, then I would start with a drum track, add a bass, and then start laying down your keyboard or your guitar. Either way, once you have a basic track, take a moment and see how it feels. If it feels good, make whatever adjustments are necessary to make it better. If it doesn’t feel good, then start again until you get a basic track that does feel good. Now you’re ready to lay down the vocals.

5. Work with the right singer for your song.

If you wrote the song and you can sing, this is as good as it gets. If that is not the case, you first have to decide if the song calls for a male or female singer. Once you make that choice, it is important that you find a singer that relates to the type of song you have written. This is important because most singers are not a jack-of-all-trades, they feel comfortable with certain types of music. Find one that loves and feels comfortable with the style of music your song was written in. Once you’ve identified the singer, sing your song several times so the singer can get the essence of your phrasing.

Then, give the singer a copy of the track with and without your vocal and let him or her live with it for a while. When you’re ready to lay down the vocal, it’s better to do 2-3 takes before making any comments. This gives the singer a chance to relax and get into the song. If you start commenting too early it can sometimes throw the singer off. When you do make comments regarding the phrasing or performance, don’t always expect the singer to sing it exactly the way you sang it. What you’re trying to do here is to capture the essence of the song.

6. Now you can add the “goodies”.

When you have your basic track and vocals the way you want them, now is the time to add some complimentary elements. Now you can add additional guitar or keyboard parts. You may want to add strings or brass. Whatever you do, try not to overdo it, don’t add anything that might fight or neutralize your basic track and vocal. More often than not, “Less” is usually “More”.

7. Now it’s time to mix your tracks

Getting a good mix is the last and most critical part of making a good recording. Unfortunately, there are no hard and fast rules. Mixing is a very personal experience. All the elements have their place in a good mix and your ears and emotional instincts will be your best guide. My only bit of advice is don’t try and homogenize everything, some elements are meant to be featured over others. If you get confused, listen to some of the mixes on your favorite records.

A good demo is almost as important as the song itself. Make sure your recording does your song justice. Follow the 7 steps shown above and trust your instincts. The best way to get a song cut is with a good demo.

Do you prefer doing your demos in a professional studio or a home studio? Do you prefer playing all the parts or do you bring in other musicians? Share in the comments below. Thanks for adding to the conversation.

Did this post help you in any way? If so, please share it with one other person who could use it. Use the links for Facebook and Twitter below. Thanks!

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Posted in For Songwriters, Tips & Advice | 25 Comments »

The Story of How the Theme from S.W.A.T. Came to Be

Thursday, July 14th, 2011

Video by Barry DeVorzon – Follow us on Twitter

Here’s another story I hope you’ll find interesting and inspiring on how the Theme from S.W.A.T. came to be.  Enjoy and please feel free to share your thoughts and comments.

Did you enjoy this story? If so, please share it with one other person you think might enjoy it also. Use the links for Facebook and Twitter below. Thanks!

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Posted in For Songwriters, Songwriting Stories, Stories, Videos | 22 Comments »