JPF Home Page Forums General Messages Songwriter Message Forum Getting cut by a major artist

Lance Adams started a thread about trying to pitch a song to John Mayer, to which I replied that it wasn't too likely. I, in turn, started a thread lamenting that I thought I had finally written a cut-worthy country song, only to be scooped by an established Nashville songwriter. So...Just how does one go about breaking into that exclusive inner circle of writers who have the ear of major artists and their "people"?
Step 1 obviously is to write GREAT songs,{and face it, many of us delude ourselves that we're better than we really are!}
But where does one go from there?
TAXI is one avenue, but their specialty lately seems to be placement in films and T.V. In the past I've subscribed to some industry tip-sheets, but most of the publishers there seem to be small-time. Any tips from you insiders out there?

Hi, Bob,

This is a great topic for the Mentor, Industry and Nashville Boards. Great questions

Have you checked out the Nashville Songwriters Association International?
http://www.nashvillesongwriters.com

I think networking is the main way that songs get noticed.
Some people here really like TAXI...

One of avenues that I am exploring right now are a number of online set ups for playing indie music, such as myrecordlabel.net - Neil Young's web site also plays indie music -- They accept songs that are related to social issues.

Of course, I am in the same boat as you...so I don't profess
to know all of the answers...

I also think it's great to contact publishers and ask if you can submit music - if it is close to the type that you write...

Good luck

Emily

I would suggest getting some indie cuts under your belt to build some credibility, then go from there.

If you already have that, you should be able to catch the ear of a pretty good publisher or maybe a label A&R person.

And you are 150% correct, it starts with a great song.

In the past a lot of songs were cut by indie artists and then covered by the majors. If you have the song eventually someone will find you.

A Tip Sheet I suscribe asked for songs for Mark Chesnutt recently.

Bob,

Writing great songs is just the ticket in the door. Then, you've got to sell them.

To anyone wanting to get a cut by a major artist: how many songs have you pitched to a major artist today? How many songs do you have that are ready to pitch? Can you put a cd with a great song in the bubble pack envelope right now? Do you know the name of the secretary at the label? Know what code to write on the envelope that gets it listened by the right folks? The established writers can answer all these. They do it every day.

What's the last time you cowrote with someone who's had a big cut? For most established writers, it's probably within a week. Where does Kenny Chesney's producer play golf? Where does he keep his boat? The established writers know things like that.

Now, here's the secret, I'll say it very...verrry...quietly:

NO ONE IS BORN AN ESTABLISHED WRITER...THEY WORK TO BECOME ONE.

Shhh. Don't want that getting out.

So how did those established writers discover that secret, you know, the "w" word? Because they believed. They believed they could do it...not in a "pie in the sky" or "get rich quick" way. They know TANSTAAFL. They know, as my mother once told me, "Wish in one hand and spit in the other, then see which one gets full first." or, uh, something like that. But they believed. They believed that they could do this, that they could figure it out and that they could work hard enough to make it happen.

The indie thing is a good idea, but here's a story. Years ago I was in a band called "White Crow." We were looking for original songs...hit songs...so we called Harlan Howard. We weren't even indie, just had a "name" producer, Chuck Glaser, and not even a demo. Mr. Howard (often revered as one of the all-time great country songwriters, with hits from the 50's through the 90's) didn't just submit songs. He came to one of our rehearsals and listened to us, then sent us some songs, then he came to our showcase and recommended it to some "biz" folks. So yes, pitch to indies, pitch to majors, pitch to outties, pitch, pitch, pitch.

Make sure you're pitching good songs, make sure they fit the artist to whom you pitch (don't know these things? then stop right there, work like crazy until you do know those things and know them ONE HUNDRED PERCENT.)

There's no magic formula, just a few basic things. Have great songs, read everything you can about the business, you may not have to move to Nashville but it would improve your chances about 9,999,999%. Learn how to sell, how to network. Live, breathe, eat, sleep and dream songwriting. Most of all, believe in yourself...not your songs (your songs might not be ready, and if you do have one that is, they'll want to see another one)...believe in yourself and your ability to work hard enough.

All the Best,
Mike

after four years of going to Nashville and hearing dozens of Nashville insiders talk about this very subject I have come away with one indisputable fact.

If you don't live in Nashville....fergetaboutit.

It ain't gonna happen. No matter how good the song is.
Cowriting with an established Nashville writer will help. It is who you know, or better still who knows you, and your cowriter. And they need to see you time and again in Nashville working it before they will acknowledge you exist.

Then if you write a really good song you have a chance.

after four years of going to Nashville and hearing dozens of Nashville insiders talk about this very subject I have come away with one indisputable fact.

If you don't live in Nashville....fergetaboutit.

It ain't gonna happen. No matter how good the song is.
Cowriting with an established Nashville writer will help. It is who you know, or better still who knows you, and your cowriter. And they need to see you time and again in Nashville working it before they will acknowledge you exist.

Then if you write a really good song you have a chance.

JMHO of course...I have been wrong before.

That's the story. It's not impossible to do it, some folks have, but it's pretty darn improbable.

"Must be present to win", and "No one goes thru the front door in Nashville, someone has to show you round' back." are two sayings I've often heard. Your imput is ALWAYS welcome Mike! So being an affiliate of BMI, should I arrange to meet with someone in Publisher/Writer relations to get an assessment of my work and/ or my foot in the door?

Great Thread ...
I don't have anything to add .. sure have a lot to learn .. I will be watching.
Thanks
Joanne

The big problem with the premise of having to live in Nashville is that if you aren't doing country or perhaps Christian music, living in Nashville won't help you one bit. Why do folks seem to think that out of the entire spectrum of music, the only one worth pursuing is country or christian and that you must live in Nashville?

Look, we all know that Country music has the practice of still recording outside songs. Fine. It's a fact. BUT.. and here's what everyone seems to always miss, including me for several years because I was falsely taught the same thing, if you consider that all other outside writers are taught this same info, the odds of getting a cut in a different type of music from a different city that focuses on that type is probably far more likely.

So.. if you do Pop, R&B, Contemporary, Hard Rock, Rap, Metal, Electronic, Latin, Classical, Instrumental, Blues, Rock, Alternative, Industrial, Jazz, Cabaret, Folk or any of the other 100 well developed genres of music there are outside of Country and Christian, there's other cities more worth your move to and certainly other ways of doing things than what is taught in Nashville. So though the advice of needing to live in Nashville is good advice for Country writers (you can actually find Christian music mecca's in other places) it's useless for most other types of music as a needed gathering point.

Just thought someone should state the obvious here. As for Bob, I can't imagine any benefit you'd have to moving to Nashville for what you do. It's hardly country.

Brian

Hate to say so, but I'm afraid the only way I'm going to get cut by a major artist is gonna be if it's somebody like Britney Spears and she does it with a knife,

Formerly Moonless Joe

Good one Joe , LOL . Mind you, "Bungee Jumpin' Jesus" is an underground classic and it won't be long before you're famous, or rather "infamous" yourself.

Brian, good point. The musical universe does not revolve around Nashville. It has it's place on the map for sure, but there's a lot more happening in the world.

As I always say, just write the damn songs, the rest will take care of itself ( hopefully ) If you're writing them to get cuts, you're writing for the wrong reason.

cheers, niteshift

By the way, I couldn't agree more about Nashville. Bob's original question mentioned an "established Nashville" writer, so I addressed it from a Nashville perspective. However, if you're writing German folk songs, you might think about moving to Germany. And, as Brian mentioned, it works the other way around. While Nashville can, may, and does do business in every style of music imaginable, you're usually better off going to the source.

Also, if you pitch a truly great jazz song to a modern country artist, the doors will slam faster than a bebop solo, you'll be labelled as talented but "clueless."

nite, I take exception to one thing: the rest won't take care of itself. To me, it's not a matter of if you are writing songs to get cuts...it's a matter of if you are writing songs that you'd rather not have cut. Then, it doesn't matter. But if you'd like to get the songs cut, they won't cut themselves, you've got to do some work.

All the Best,
Mike

As I always say, just write the damn songs, the rest will take care of itself ( hopefully ) If you're writing them to get cuts, you're writing for the wrong reason.

Why is that? Where does it say that it is wrong to want to be a financial success in the business of songwriting.
I write songs because I like to write songs. I also write songs because I want them to be heard by the world. I am never going to be a performer so the only way that will happen is I get cuts. And, yes, I want to be paid. I want to be paid a lot. A million or two would be nice. set me up , set my grandkids up, hell I'd even set up my brothers' kids and grandkids.
I might even donate a few thousand to Brian's next road trip.

And I might even throw a bit Joe's way cause he is such a nice guy to hang out with.

Brian, I agree that what I do is not "country" per se {more roots rock I guess} but I did write that one particular song that I thought was pitchable in the country vein. I pretty much write for myself,and hope other people like it {apparently they do, cuz I've sold a lot of CD's} and I really don't see myself being cut out for the Nashville songwriting macine. However, as Mike said, Nashville isn't 100% about country/christian, and I have no intention of moving there. {I have it too good in Cincy} But I'm just a 4 hour drive away if I need to get there. I'm just curious about how one goes about getting the foot in the door.

OK I'm not a big insider, but I have a few decent accomplishments, so I'll chime in

1) I have the impression that John Mayer writes all his own stuff, so I don't see much point in pitching songs to him.

2) you wrote: I, in turn, started a thread lamenting that I thought I had finally written a cut-worthy country song, only to be scooped by an established Nashville songwriter.
which song, which writer, I'd love to read that story
got a link?

3) you asked: Just how does one go about breaking into that exclusive inner circle of writers who have the ear of major artists and their "people"?

a. develop your skills and writing ability so you become one of their peers,

b. network, network, network
meet the people you need to meet
get cell phone numbers, email addresses,
take people to lunch
set appointments

c. wait for opportunites and seize opportunites

d. develop a catalog of excellent songs and
pitch pitch pitch

e. be very very patient, develop contacts, build relationships
but don't rush to ask them for a favor,
do favors for them
Wait till you have something AWESOME and AMAZING

Michele Vice Maslin gave a great talk on songu on pitching
you can hear it in their on demand section
www.songU.com/ifs

get to where you cowrite with artists, producers and successful songwriters

Make sure your songs and demos really are amazing and would stand up head to head with songs written by professional writers

I want to hear HITS not EXCUSES

Agree with you Mike, you go about it in a round about it sort of way,......

No, the rest won't take care of itself unless you have put the work and the dedication into it. If you do that, then it will give you what it owes you, in the end, maybe, one day...


cheers, niteshift

Great topic!,I am under the impression the publisher takes care of the pitching(dont laugh lol),thats why u search one out or the other way around.I have some songs to pitch but have been told not to pay a dime for taxi or the like,if the song wont stand up on its own no need to blow money.All these companies promise to pitch for u but I feel like its a rip off,whos to say they r doing it?maybe I am wrong but seek a publisher,if they believe in your music they will take on the task of selling it.Any comments?,I am new to the pitching part and would like know what u all think about my publisher theory?

Mooney,

Don't lump TAXI in with the bad guys. They aren't. I am not saying you would have success because I haven't heard your stuff. But if you ARE doing commercially viable songs they are a great tool to use along with all the other things you should use. And unlike the scam artists out there, if you don't like your experience with TAXI, they'll refund your membership money. I know someone on this post that got a refund from them in the past. I've told people NOT to join TAXI when I thought their stuff wouldn't be successful. But if you have the right material, it's a great tool.

The important thing with ANY tool is not to use it alone and wait for results. You need to do ALL the things people suggest (those that cost no money especially) as a broad based attack on your way to success. And you must be relentless.

Brian

Ande, the name of the thread is "Damn you Jennifer Hanson"in the general forum.

Looks like I'm gonna have to move to N-ville and take the guy with the big-foot out to lunch. very informative thread guys. thanks

Dunno about Nashville,and to be quite honest i don't really care
Iam about as far away from Nashville as you are ever going to get,and geography certainly aint gonna stop me writing,as i said on a previous post, the music centre of the world aint a southern state in the U S of A....you know, people in Europe, Asia ,and the Far East listen to, and buy music as well..lol....not to mention, the punters that come to my gigs and buy my CD's..but back to the original question.."how to get a cut my a major artist?"..in simple terms it is nearly mission impossible..if you are going to approach your talent in writing from that angle..then start howling at the moon between writing songs....there has been a lot of good solid advice given on this thread,and it is bang on,but ALSO,..you need to don a few heads in this business and your writing head is only one of them...networking,contacts,pestering,determination,self-promotion
and that is only a few to get on with...basically the writing part in the main, is the easiest part of the jigsaw....BUT..if you have the talent as a Songwriter...and a total 110% belief in your ability,and this gnawing desire inside you to get there,and that may also include climbing over a few bodies to achieve it..well that is basically what the guys up at the front of the queue have done before you..nobody ever said it was easy...but they all probably agree in the end it was worth it..so it really boils down to ruthless determination,and hopefully meet some punters along the way that can help cut your journey time..in achieving your goals ,dreams, and aspirations...Terry Moore..

At this years Pineyfest a couple different speakers talked about getting cuts in Nashville.
And yes, they both said if you can't actually live there you will need to travel there a lot. at least once a month.

But, they also said it was becoming more and more difficult to get a cut.
For instance; it was reported that Alan Jackson just finished his newest album. I think they said he wrote 14 of the 17 songs on the album. I could be wrong on the exact number but you get the idea.

On the other hand though, George Strait used songs from several different writers on his last CD. So he is willing to look at songs from writers.
I have been noticing that many new singles I am hearing have the singer as the writer or at the very least the cowriter. It has been reported that this is becoming a trend. It does not seem to matter whether the singer actually contributed to the song or not. They are still given a cowrite.
I think this may be a move toward trying to give the singers more credibility. It also may be that the singers are starting to wake up and realize that with falling CD sales the only way they are going to make a buck is through writers royalties. That is a smart move. might not be ethical but hey, it works.

There also was some talk about other avenues to promote your music. Movies, TV, etc.
Brian is right. Nashville is not the only place to promote your music.

But getting a cut in Country will only happen in Nashville. Today....But look at the independent labels. there are new ones popping up every day. Tomorrow may be a new day.

Hi, Bill.

I think the other thing that enters into the "I want writer credit even if I can't spell my own name" routine is that all the performers (at least the ones who haven't been around since Creation) are in thrall to their record companies--all their income is really just an "advance against future earnings," which earnings may never happen if the record company cooks its books right. The writer credit at least ensures the performer is going to get *some* money that's his or her own, that nobody can take away.

Nasty business. And it does discourage one from wanting to be part of it--or at least set up mechanisms to protect one's self if one does become part of it. That may be where all these little labels come in--at least, the little labels that aren't owned by the big labels.

Nashville is a neat place to visit, but I don't think I'm prepared to go live there until and unless they do something about the humidity. I doubt they can or will do that. On the other hand, I rather doubt they're going to be interested enough in me or my stuff to care.

Joe

But Joe, some of your stuff is HILARIOUS!

But Bob, most of the stuff I heard coming out of professionals in Nashville was "emo country," way too full of itself and incapable of anything approaching a sense of humor. (Maybe when you don't allow any competition you can do that.) It's enough to make you want to Flatt your Scruggs, or something like that.

The only good thing I've heard in country music in recent months was by (of all people) Porter Wagoner--and I don't hear it getting a lot of airplay.

Joe

I'm Canadian,so it is unlikely I will ever live in Nashville,I might visit sometime.So I guess I'll never get a major cut on a country song.Oh well.

I addressed this topic -- the first steps I took that led to my getting cuts on Universal, SonyBMG, and others -- awhile back in the General Message Forum. If you do a search for "splitpeasongs", you'll be able to access the thread, entitled "How I Got My Break".

Mitch

http://www.soundclick.com/bands/pagemusic.cfm?bandID=604368
http://www.myspace.com/splitpeasongs
http://www.myspace.com/splitpeasongs4

I went back several pages to find Mitch's post and paste it here for easy access.

By Splitpeasongs,
In another thread the question was asked, "How do I get my break?" At the risk of being voted off the island, I thought I'd share my story. Glean from it what you will.

Awhile back I wrote a song that I absolutely loved. It felt like a hit to me. I truly believed that, with the right exposure, the song could make a boatload of money for everyone involved: the artist, the record label, me.

I called the management of a major artist and requested permission to submit the song. The person on the other end hurriedly gave me the address and hung up the phone. The conversation lasted all of one minute.

I sent the song to the management company.

Every few weeks I would call the management company, only to be told that no one was available to speak with me. I consoled myself with the realization that no news is good news: at least the song hadn't been rejected.

Months pass. I'm getting frustrated. Time for me to pick up the phone and try the management company yet again. Only this time when I identify myself, instead of being told that no one's available, I'm asked to hang on. The voice on the other end sounds excited. Next thing I know someone gets on the phone and begins singing my song to me, telling me that he and the rest of the office have listened it THIRTY times. They all love the song.

I got my break.

The story today: airplay, videoplay, hundreds of thousands of albums sold. Millions hearing my music and lyrics. The dream realized.

Hi Mitch, & Thanks

Before asking a question...
I just wanted to add that having music that fits the mainstream and is what many in the game are looking for is big help in landing a cut. Your material targets the kind of artist who would be open to material.
That and the fact that your songs are catchy well crafted and very effective pop songs
puts you in good position....

Question - Do management companies who represent artist and situations that large take unsolicted music?

They took your CD/package opened it and listened to it obviously... the question is how & why?

Thanks

we'd assume and hope that publishers take care of getting cuts,
most of the cuts i've gotten was due my own efforts or the efforts of my cowriters

Taxi is a good company and has helped many writers and artists

congratulations, now go do it again, and again and again ...

here it is
http://www.jpfolks.com/forum/ubbthreads.php?ubb=showflat&Board=2&Number=506383

If you type " unsolicited song submissions " into google you'll find many companies currently taking unsolicited songs
Just make sure you don't waste their time and send them something irrelevant to what they're searching for

Yes there are a slew of publishers and labels that accept unsolicted music.
They are listed in the songwriters market books to, only problem is most of them are people in there home that have a desk in a room they call there office. It's like sending a song to to my neighbor.
Splitpea mentioned Sony, Universal & BMG no way they take unsoliceted material. Did Mitch start with another company that led to his later material reaching those companies? I think thats what happened.

Does the management companies of Major artist take unsolicted material??

Most people want to go straight to the top with their songs, but the fact is most of them arent at the level yet so these smaller publishing companies who pitch to independent singers is where their best bet is and if your song screams "sing me sing me"
Then you'll likely get a break
Remember companies are looking for original songs with not so many "tired cliches"

Thats what I am talking about!,someone whos dream has come true!,I almost think its about being in the right place at the right time?.I have pretty catchy tunes I think? I wish I knew who to send them to lol,I have known average studio musicians who went to nashville and have more work then we could ever imagine,its all about who u know and where ur at.I also think the internet is a good springboard to pitch ur stuff,if the right person hears it,your golden!

There's an old saying there are are 2 kinds of musicians ones that are really really good and ones that are always available

I think starting out as a writer you should be thrilled that anyone i mean anyone would want to do your song, the band or singer who'll play it in the bar down the street or the one who wants to record it.

Now again- there are artists/singers that are really really good and then there's the ones that will do our songs lol

No but really I think on the collborating situations and situations where you are plugged into unknown artists that show GREAT potential for breaking through
trying to pitch songs that way is the way to go.

Okay there are one million lesser known artists on MY Space contact 10 a day and see if any want your material. Tha's one way to use the internet and not have to worry about solicitation.

Listen somewhere along the way somone on the inside has to give you a break a chance. Then you will be able to get passed the first big obstacle which is NO One WHo Can Make You Rich Or Put You On The Top 40 Radio is gonna listen to your stuff. It's almost like it's illegal for you to send them your music, silly as that sounds.

You gotta do something with someone or some ones that will get you close enough then catch their ear or attention.
It always has to be a story of how you got in, that's what keeps getting missed on all these threads, and this topic that keeps going round and round.

OK..Let's move on to HOW a publishing deal can come about ..and the strange ways it can happen...Let's call my story the tale of two towns...on the release of my first CD,iam playing in HAMILTON SCOTLAND...(local gig)..a lady on holiday from HAMILTON ONTARIO,buys the CD..unbeknown to me,when she gets home,she sends the CD to a Radio show on Radio 747 in Toronto...the radio show host sends it on to a record co back here in the UK, They let a couple of artists on their label hear the song..i get a call from the director of the record co...."we would like to record one of your songs"...me,oh! quite surprised...yes ok..director replied i would suggest you get in touch with a musical lawyer before you sign anything when you come in to meet us...to cut a long story short ..THAT is how my first song got cut (it sold over 80,000 by the way)...all down to a lady on holiday in Scotland from Canada..But most importantly..by that lady's actions...i got my foot in the door...and i became visible
So it is a strange game this Songwriting ....but it does include a bit of luck...and someone giving you the "leg-up"...
All the Best....Terry Moore...

Terry -
That is a wonderful story .. thanks for sharing!
We heard from several speakers at Pineyfest this year saying the same thing ... Play every gig like you are playing to a sold-put room .. always be your best ... even if it's a small crowd .. you never know who is listening.
This is why!
All the best
Joanne

Ande,

All your points have hit it on the nail of what someone should think about doing if they're really serious about breaking IN.

I suppose I've been rather fortunate. I tend to be in the right place at the right time and I end up meeting all the right people.

(no I am not gonna name specifics).

The one thing I'd like to elaborate in addition to networking Ande is that the people you network with, you should be making friends as well in the industry.

Friends help friends more readily than people who have no common ground. That's why it's an insiders' industry. Most people in the industry is friends with each other or they are a family friend of a friend kinda deal.

Be persistent and be likable. AND of course, show that you're worth knowing and being friends with.

great to hear from you greg
we still need to write a song or three

ande

Ande,

Quite right. We will definitely write a song or three soon. I still owe you an in depth phone call as well.

I've just been getting life back on track and it's getting there. A lot of great things going on....

Good to hear from you as well. We will talk soon.

Greg

I've been lurking around the boards for awhile now, and tonight I feel I have to post something. Maybe I missed the thread, but why is no one talking about how the music business has changed?
For years I subscribed to the "writing one good song" would get me in the door mentality. This year I finally sent my demo out to 2 major labels. The first hated my production. (but they got back to me within a week) and a great thing happened with the 2nd. They liked the songs, hated the production, but hooked me up with a producer. The producer didn't want to even hear my past songs. He gave me beats to write lyrics and melodies on top of. Is this a normal thing in the U.S. as well? I'm not complaining, my songs are gettting cut.
Just on a side note, Greg is right. Its really ONLY about the hustle and WHO YOU KNOW. Also, its about being versitile. Don't try to write just one genre.
If you are serious about the business, move to the places where things can happen. I moved to a smaller English speaking market, but in return I met contacts I would never have met in the US.

I saw a program on a group here in Germany just starting out and I wrote them an email about how I could capture their flavor. They wrote back asking for tracks, I sent them one and now I'm writing their album.

Someone asked if meeting with their BMI, SESAC or ASCAP writer/relations person was a good idea and that answer is a YES. It's part of their job to hook up songwriters with publishers (or even a reputable independent plugger) if they believe the writer has potential. You can write the most amazing song in the world (it's done every day) but we are all witness to crap getting cut and played on the radio for political reasons. Someone has to "play the game" and be present whether it be you the writer living and networking tirelessly in the hotbed or a publisher/plugger who fiercly believes in you.

You don't have to live full time in a music town but you'd better be prepared to spend a huge amount of time there even if you are successful in order to compete and be involved in the cowrites (particularly since practically every non-writing successful singer feels the need to have their name thrown in the credits today). Pick your genre and find out where it's happening whether it be LA, Austin, NY, Nashville, etc. Participate in organizations, show up to functions, hang out where industry people go to unwind and do writers' nights.

Have to say though Nashville seems to boast the largest concentration of all genres zipping in to write and record.

Mike,

As I wrote in my original post "How I Got My Break" --

http://www.jpfolks.com/forum/ubbthreads.php?ubb=showflat&Board=2&Number=506383

-- the management company that I contacted was willing to accept my submission. Please note that I made sure to get permission before I sent the company my package. Such a submission is NOT unsolicited.

Mitch

http://www.soundclick.com/bands/pagemusic.cfm?bandID=604368
www.myspace.com/splitpeasongs
www.myspace.com/splitpeasongs4

To get cut by a major artist you first need a publishing deal or you have to know the artist personally.

The publishing companies are first in line when major talent get ready to record. For example, I heard though the grapevine that George Strait is getting ready to record his new CD and Horipro got three songs put on the new project. If it has 10 songs that's 30 percent of the CD! From one publishing house.

I think the idea behind the whole machine is that the publishing companies have already screened the material. The top notch singer, who doesn't write his own stuff, that gets ready to record are going to search the publishing companies first. So if you're not in with a publisher you might as well forget about it.

Gone are the days Kris Kristoferson landed a helicopter on Johny Cash's lawn to pitch him a song. It's sad, but it's the way it is. Good luck!

I had a chance to speak with Brett James last fall, he had basically started to give up on songwriting, registered for med school, moved back out west, when bam he got a call and had 2 cuts, big ones, inside of a week from things he had pitched before he left. Well, he moved back and as most all of us know he co-wrote "Jesus take the Wheel" with Hillary Lindsey, not to mention a slew of other hits. Believe in yourself, don't ever give up. Did I mention, don't ever give up.MJ

Yeah, if your songs hold up and are lyrically strong they'll get cut. That's for sure. You should never give up. I also feel that, with the creation of the internet, you don't have to live in Nashville in order to make it. You just have to have the right contacts and write songs that stand out from the other thousands that record companies and publishing houses hear day in and day out.