Perhaps you folks might like an opinion on this subject from someone who actually charges for song evaluations and coaching.

I'm a 40-year music-biz vet with well over 200 cuts, including a #1, a Grammy nomination and multiple BMI Awards. Throughout my career, I've found that getting professional, constructive feedback on my work-in-progress is essential to my songs being the best and most competitive they can be. However, finding people who have the talent to provide this kind of quality input is not easy. Still, when you can find it, getting some objective tough love can make all the difference in a song becoming bullet-proof. And, believe me, we all need to write bullet-proof songs.

Now, you may say what makes a bullet-proof song is a matter of opinion -- and, you'd be right. But, whose opinion do you value? Your mom? The drunk sitting in the front table at the club? Or somebody with some real industry experience and success under his or her belt?

If at all possible, it's always best to play your songs one-on-one for somebody you trust and respect. In those circumstances, you not only get the benefit of hearing what that person has to say, but you can observe body language (which can often actually tell you more than words).

That's not always possible, especially if you live outside of a major music capital. So, getting feedback and coaching on-line is usually the most expeditious and accessible way to go about it.

Writers have to be keenly aware of who is giving the feedback. Beware of feedback you get from live performances -- because there are certain kinds of songs that will always get good response (humor, irreverance, boisterous or pseudo soulful/passionate songs) and because your friends will always tell you they loved your songs. (Again, observe body language.)

Songwriting is a craft. How do people learn a craft? -- first by observing master craftspeople, then by trying things out and getting instruction and coaching from a mentor or mentors. Why should the craft of songwriting be any different?

Songs are about communication -- if one of my songs is not getting the response I intend, it's not the listener's fault. It means that I have more work to do. Writing. Getting feedback. Rewriting. There is no room for ego or pride here. If a writer wants to get better, qualified, objective, professional feedback and coaching can accelerate the process dramatically.

Now, I'm not suggesting that you accept and apply every bit of feedback you get. Far from it. But -- we all have lingering doubts about our work. When we get a couple of comments about a phrase or a piece of music we already feel unsure about, we know for certain that those things need to be readdressed. We all emerge from our writing sessions hyped and energized by our own "creative brilliance." But it takes more than our own enthusiasm and excitement for a song to become a hit. And, unless you're writing purely for self-expression, you have to admit you eventually want to create a little bit (or a whole lotta) commerce with your songs. Right?

When members of my website submit their songs, this is my process:

1) I listen to the song through with my eyes closed.
2) I listen again while reading the lyric.
3) Then, I grade the song -- according to concept, rhyme scheme, opening line, first verse, chorus, second verse, bridge, dynamics, phrasing, etc.
4) Then I point out what is working, where the song is succeeding.
5) Then I point out where the song might be falling short and offer some specific suggestions as to how the writer might go about making those parts better.

This process usually takes between 15 and 20 minutes. How much do you think my time is worth? If I was acting in the capacity of a recording engineer, applying my talent and experience to making a production of your song sound great, would you have any trepidation about paying me for my time? I doubt it. I get a lot of personal fulfillment from helping writers improve their work. But, I pay a site administrator to keep track of the song submissions and credit card companies and gateways, etc. -- and this business rarely breaks even.

But here are the kind of testimonials I receive from my members:

"Your evaluations and your wonderful book have so fortified my writing and confidence." Jim Waxenberg, Phoenix, AZ

"Please pass our thanks to Rand for helping us improve our song and pointing us toward more possible improvements." Jim Berryhill, Nashville, TN

"I just wanted to Thank You Very Much for all your help. I really appreciate it Rand. Thanks Again." Bill Warrington, Nashville, TN

The writers who take advantage of professional feedback and coaching find real value in it and feel like these services are helping them improve their craft, thus giving them a better chance at success.

The pros who evaluate songs for Jason Blume, SongU, Barbara Cloyd, etc. are qualified. Although I am a huge believer in NSAI and that organization's work on behalf of songwriters, the song evaluations there are often done by writers who have not had a great deal of success themselves. So, those evaluations can tend to be just opinions with little real credibility. You get what you pay for, folks.

The members of my site seem to be very satisfied and grateful. They understand the value of feedback and coaching. And, I believe this kind of understanding and self-awareness gives them a distinct advantage over writers who refuse to seek coaching and apply constructive criticism.

Here's to all of us writing better songs...

Rand Bishop
songwriter/producer/author - Makin' Stuff Up, secrets of song-craft and survival in the music-biz
www.makinstuffup.net

Rand Bishop
Songwriter/producer/author