Q- What was some of the best advice you got early on?Ī- Musically as a songwriter. So we go into the studio together and make a record without having to explore all those options (we do sometimes), but this way I know what you do and do not like going in. What about that song do you love? Is it the vibe, is it the mood, is it the drum pattern, is it the vocal? So it helps me do shorthand. When I produce artists I ask them to make me a list of songs either for spotify or on a CD of what songs they love and why. To me a great song can be the riff, it could be the hook, it could be the melody, it could be the drum part. I think everyone knows when they hear one. I don't really think anyone knows, maybe paul mccartney might know.
A lot of times there’s so much music going on that just getting noticed is a success story these days What Makes a Great Song? Some people will mail it to themselves so they have the postmark on it, but it’s just safer to do through the copyright office (You can do all of this online) Then your song is copy written! If you have some crazy mojo on this vocal or crazy guitar sounds you came up with that's really exclusive to your song, use copyright form SR so the sound of the song is copy written. Whereas form PA you send a recording of the words and music with a lyric sheet. You can do multiple songs so basically if you do a record you copyright the whole record on form SR for one price. It copyrights the recording, not the song. Form SR is the form of the sound recording. So you write the words and the music, that is a copyright for that song. From PA is the actual copyright of the song. For Youtube, I would try it as long as it’s copyrighted. As a writer you have to have this sort of attitude that well if they want to take it and do it better, let them try. That does happen, it’s happened to me! But at the same time where are you going to play? What are you going to do? Just be careful. A publisher will tell a songwriter, “well don’t play that at the Bluebird because someone else will hear it and rip it off.” Half of me is like, well maybe. That even trickles down here in Nashville to even playing the songs live. I’ll be the first one to do an experiment and say, “this probably isn’t going to work, but for me can you just take two minutes and try this.” I’ll never be a guy who says, “No, absolutely not, we can’t do that.” After I hear it and it’s terrible well then I’ll say that, but until then I always like to try.Ĭlick to Tweet What are the Basics of Copyright?
Sometimes you do need to hear it to know it’s wrong. I don’t like to script a lot of stuff so much because then I feel like I’m kind of tethered to that, but it does help when you’re trying to move fast. What About Your Internal Process of Inspiration, How Do You Approach That? It does me no good to produce something for someone that they aren’t happy with because ultimately I want them to be proud of it and give them what they ask me for in the first place. If I did my job right, then they are proud enough to give that without having to say, “Well the producer wanted me to do this, but I didn’t want to.” I’ve had so many people give me projects that they’ve done where they’ve had to qualify virtually every song on the record. I don’t have to say, ‘Eh it’s kind of folky poppy, but it’s blues and it’s cajun. What I’d like for you to do is have a record where you can meet a random stranger in an airport and after they ask, “Well what do you do, what are you all about?” You just hand them the cd and you don’t have to say anything else. My whole philosophy when I produce somebody is I always say. I’ve seen where producers have been that way and it works sometimes, but I don’t like to be that guy. A lot of times I’ll just let things happen and then arrest something that isn’t working too well as opposed to getting too heavy handed and oppressive about it. Typically an artist that I produce usually I’m a fan of, most always now. It’s different for every artist and every production I do is different in one sense and that is that I kind of look at the artist I’m working with and decide how much influence or intervention there should be on my part. That’s a good question and a lot of artists want to know that too when it comes to money. What Do You Do When You Produce A Record?
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