Mike:

You've so succinctly summed this discussion up. (And thanks for your generous and much-appreciated endorsement).

You are very right that some of the best feedback comes from non-songwriting publishers and/or pluggers. They are out there in the trenches every day playing songs for the market, so they have more than an inkling as to what might get the best reception. The ability to offer constructive criticism is a real gift -- and, in my 40 yrs in this biz, I've only met a handful of folks who do it well (some musicians, some not).

However, when it comes to coaching songwriters -- I think you'd agree that some legitimate, hands-on musical and/or lyrical experience is required. A non-architect couldn't offer much help to a student trying to design a building.

As I remarked in a rather lengthy post on this thread -- few writers would question the contribution a great recording engineer makes in making a song sound great. There's seldom any argument about paying for his or her time and expertise. Why would a serious writer have any quarrel with paying for professional coaching that helps a song reach its highest potential? Screenwriters often pay for coverage on their scripts before they re-write. As you so aptly pointed out, Tiger has a swing coach that I'm sure he pays handsomely. The most accomplished tennis pros have coaches, etc. etc...

And, yes -- it's all about the comfort level of the writer. I used to fear feedback. For years, I was very precious about my writing. Now, I thrive on it. Getting some tough love on my songs-in-progress dares me to rise to the occasion and write the best songs I can write.

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

Rand Bishop
Songwriter/producer/author