Questions and Letters
 I
just received my first critique and the screener didn't forward
my song. Does this mean I should quit submitting this song
to any more listings?
Bill Hruby
Portland,
OR
 Absolutely
not. Each listing has different criteria, and a song that
is wrong for one listing may be perfect for another. Also,
TAXI uses over sixty screeners and they are told to give songs
they have heard before, when possible, to a screener who hasn't
heard the song. This ensures that you will get feedback and
forwarding opportunities from a variety of screeners. But
we frequently see a screener forward a song for one listing,
and return it for another listing. Same song, same screener--different
listing.
One
of our successful songwriter friends (and we do mean successful)
is fond of saying that it takes 100 songs written to get one
worth pitching and 100 pitches of one song to get a chance
of getting a cut.
Persistence
and dedication are key ingredients to writing and pitching
songs. Knowing which songs are worth pitching and how to continually
improve your writing are questions the critiques can help
you answer.
I've
been forwarded several times (thanks!) but I've never heard
from any of the companies I've been forwarded to. How long
does it usually take to hear back from these companies? Should
I be calling them to make sure they listened?
Brook
Habar
Pasadena,
CA
Welcome to the institutionalized rudeness of the record business.
Unfortunately, most A&R people (and others in the buyers position)
don't get back to you when the answer is "I'm not interested."
They
receive so much material from so many sources, and spend so
much time listening, that they just don't have time to respond
to everyone. Plus, it's no fun being the bearer of bad news.
The record industry's answer to this dilemma? Silence.
One
gets used to it. Early in my song-plugging career, I would
be crushed when a song written by an established, hit songwriter
(that I was sure was perfect for the pitch) would meet with
silence. "They must not have listened to it," I thought, "because
they would have called to tell me what a perfect song it was,
if they had." I got serious about making follow-up calls only
to find that the songs were listened to and had been rejected.
When
an A&R person hears a song or an artist that he thinks is
a hit, he doesn't put it aside to see if someone will call.
He calls you.. Never has someone said to me, "Oh yes, I completely
forgot about that hit song, I'm so glad you called to remind
me."
Sometimes
it takes months to hear back if you hear at all, but if they
hear a hit--they'll let you know.
I
have a publisher who wants to buy rights to two of my songs.
What are the risks in this? Is it always better not to sell?
jrenna@ix.netcom.com
Despite
the oft-heard cry of "Never give up your publishing!" having
a reputable, active publisher pitching your material can be
an extremely valuable asset in advancing your career. Few
songwriters have the contacts and the time needed to network
and secure covers on their own--and this is what publishers
are in the business of doing every day.
When
others warn you about the evils of giving up publishing rights,
they are talking about having to share the big publishing
royalties that a hit song can generate.
But
having to split wads of money with the publisher that got
your song recorded and which then became a hit, is obviously
a whole lot better than sitting in your room with a demo,
no money, and 100% of the publishing.
The
risk is that the publisher will buy the song, pitch it for
a while, then lose interest in it and keep it on the shelf.
Try to work out a deal that gives the song back to you if
the publisher hasn't gotten it cut within a certain period
of time--anywhere from six months to several years, depending
on how much advance money you were paid.
What
should I do with the suggestions made on my critique? I've
already booked studio time to go make the changes the screener
recommended. Should I send the tape back in for forwarding
when I'm done?
Stephanie
Martin
Tucson,
AZ
Whoa!
Hold on a minute before you go spending a bunch of money and
time re-working a song just to follow the TAXI screener's
advice. We can't automatically forward a song just because
you made changes. First of all, that listing will be long
gone by the time you get your changes made, and second, there's
no guarantee the changes you made will make the song forwardable.
You
need to evaluate the suggestions given. Do you, after consideration,
agree with them? If so, are these tips better applied to the
next song you write or is this song worth the extra attention?
The
TAXI screeners are giving you their honest opinions, not issuing
an order. Take what they offer and apply it as you see fit.
Please address questions to:
TAXI
Q&L,
5010
N. Parkway Calabasas #200
Calabasas,
CA 91032
or e-mail to:
All letters submitted become the property
of TAXI and can be edited for length, spelling, grammar and
sentence syntax. Basically, we can do whatever we want!
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