I talk here and on other forums about all things music, and questions always come up with people, "HOW DO I MAKE MONEY AT THIS?" Invariably, people want to know where is the money. In far too many things music, IT'S NOT THERE.
"Imagination running wild ever since I was a kid
I could tell you crazy stories about things I never did
Spinning tires, breathing fire, dancing on thin ice
You'd have thought I'd done it all and seen most places twice..."
This is a phrase I have used for many years. I’ve had it on bumper stickers, quoted it in interviews and been asked about it. So it bears explaining here.
When people enter the world of Nashville, and in fact pretty much all of music these days, particularly if you are trying to “up the level of your odds”, by expanding your chances, they find themselves in a co-writing session.
It happens a good deal. An old friend of mine contacted me about helping her with a song written by her husband, who passed away some time ago. It is a "Military" type song, and while I have not heard it yet, I am sure it is a very special song.
Last week, I posted five guidelines I share with people I work with about the demo (recording) process. For those of you interested, having children, relatives, friends, taking the plunge along the musical Yellow Brick Road, this might give you some things to think about.
It used to be that every writer would write songs, do rudimentary, work tapes, with an acoustic guitar, or piano, and be able to wander around the vaunted halls of publishing offices, playing either live, or their “tapes” (that’s how long ago that was), and artists, producers, or labels would hea
So you get invited to a party in the music business, or a conference/workshop, a #1 party or other music industry function and you want to do the right things at these events, but what are they?
