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Selling Your Songs •
Earning Money From Your Talent
Writers who have never been to London, Nashville, or Hollywood,
make that initial breakthrough every day of the week.
And if you are unsure how to promote by post,
just click on Song Promotion above!
When you write a novel, you know what to do next - you take it straight to a publisher.
Even though you are well aware that books are actually manufactured by printers, and actually sold by
booksellers, you are not likely to think of going to the printer or to the bookseller yourself with your manuscript.
In other words - the route for the aspiring author is clearcut. Authors approach publishers.
However, with a song, it is not quite as straightforward. True, you can go straight to a music publisher and
indeed most songwriters still do. But you can as easily go straight to the record label, or indeed to the performer
himself.
And it doesn't stop there.
The performer for example, is often represented by managers of various hues, not to mention producers,
sundry agents and lawyers, some or all of whom, may have an input into what finally ends up on record, or are at
least in a position to know what has that input.
So from the ever-increasing and ever-impressive list of superstars, corporations, moguls, would-be moguls
and hangers-on, who should you approach with your song, if you have a specific artist in mind?
THE PERFORMER
Most songwriters think that if only they could get to the star himself, they could very easily sell their song.
Hollywood is as much to blame for this fairytale scenario as anything else.
In the classic movie, the songwriter just strolls up to the singer and hands him a CD, or (if the scriptwnter is
displaying a little more imagination that week), sings the song to him in the back of a taxi on the way to the
airport. By nightfall, the song has been recorded in a state-of-the-art studio (which for some reason or other is
never already booked out), and by the next morning, it is Number One everywhere.
Oh - and the songwriter
always gets the girl as well.
The reality is unfortunately, not quite as romantic. One of our subscribers dines well from his hilarious
account of how, after weeks of tracking and hunting, he finally waylaid the star of his dreams, leaving a hotel.
Pushing everybody else aside, our hero thrust the manuscript of his next hit into the singer's surprised hands.
The stunned superstar made a quick recovery - flashed him his famous winning smile, whipped out his pen,
autographed the back of the envelope, and handed it back to the baffled songwriter just as they bundled the singer into his limousine.
Exit one happy superstar, and one deflated songwriter in a scenario that is, I'm afraid to say, closer to reality
than anything Hollywood has dreamt up to date.
Even when you can persuade a performer, hyped up on a heady cocktail of fame and illicit substances, to come
down to earth long enough to listen to your CD, you can usually see from that faraway look in his eyes, that within
minutes of your bidding him good-bye, he will not remember that you were ever there - let alone what he did with
your CD.
Stars are different - that's why they're stars, and they're rarely equipped to deal with aspiring songwriters, or
indeed, real life. The personal approach has worked outside the movies, but usually, it works because it is a
personal approach from somebody known to the performer already - and somebody who knows when is the most
opportune time to make that approach.
The moral of all this? Songwriter Magazine rarely gives personal addresses for singers, except where the
singer has no current label or no current management - and if that's the case, should you be bothering in the first
place?
THE RECORD LABEL
Theoretically, the people at the record label are the only people who should matter, although when it comes to
making that crucial decision as to whose song is used, this is not always the case. However, if you send your song
to the relevant label, they will at least know what to do with it, and to whom to send it.
Most labels have UK and US headquarters. Although, it makes sense to send a song for an American singer,
to the American office, and a song for a UK singer to the UK office, there is usually nothing lost if you do it in
reverse, as most of the larger labels operate courier services between branches anyway, so your CD should find its
way home no matter where you send it.
Indeed, one of our subscribers, finding that his attempts to contact an American singer via his New York label,
were being constantly frustrated by his CD coming back unopened, marked "unsolicited", sent it to the London
office instead, marked for the attention on the singer. To his amazement, two weeks later, he got a reply from the
same New York office which had kept sending back his material heretofore! Apparently, since it now came to
them from their UK office, they no longer regarded it as unsolicited!
Songwriter Magazine always gives the UK and US record label addresses for any singer.
THE MUSIC PUBLISHER
A word of warning before we proceed. Most American-based publishers refuse to accept "unsolicited"
material from songwriters, and insist on returning it unopened.
There are exceptions, but these are becoming few
and far between.
These companies advise that you should write first asking for permission, and if they give it (and in so doing,
give you a code to use in your address label), you are free to send the song. The problem we notice is however,
that having advised you to write first, they often fail to reply one way or the other to such requests, which puts you
back where you started anyway.
Apart from this little problem with American-based firms, the music publisher is not only the best bet if you
are pitching your song in no particular direction, but is often also the best bet if you are trying to place your song
with a particular star. A letter to any large publisher suggesting a specific singer as a potential outlet for your song,
will (if the song has any potential) often elicit a positive response.
However, if you wish to be more precise with your promotion, then the last publisher to have a chart entry
with that particular performer, is always worth trying first.
Songwriter Magazine will usually only name a specific publisher as the best contact. when the publisher has a
current hit with the star in question.
THE OTHERS
Some singers are represented by just one person or company. Others maintain a battery of representatives,
ranging from personal managers, through record producers, legal advisors, booking agents, business managers,
public relations managers, general dogsbodies of uncertain status, and the wife's brother, whom nobody else
would employ.
Generally speaking, if the International Songwriters Association gives a contact other than a record label, it is either because we
believe that that specific person has some input into the choice of material, or because that particular person or
organisation, has proved an effective conduit for placing material with that performer in the past.
SOME LAST WORDS
If you have a name in a record label, music publisher or management office, you should address your
submission to that person, even if you're not sure as to the relevance of the name you have.
If your letter is
addressed to a named (even if irrelevant) person, the person who opens it will nearly always re-direct it to the
correct executive anyway.
If you have no name - then telephone the company concerned, introduce yourself confidently as though
everybody should know who you are, and in your most polite fashion, ask the telephonist for the name of the
person to whom your letter should be sent. If you sound confident - you'll get the information.
If you are unable to obtain a name, then address the CD to the star for whom the song is intended. Mail
addressed to the star is usually directed to whomsoever handles that performer's affairs, and whoever gets it will
usually re-direct it to the relevant executive handling choice of material.
Above all, try and avoid addressing the CD simply to the company itself. With no name whatsoever on it, the
package will be opened by the lowest staff member around, who may very well not have the slightest idea what to
do next with it. With an executive's name (or a star's name) attached, it will travel higher up the ladder, to be dealt
with by somebody powerful enough to make decisions, or intelligent enough to refer it to somebody who can.
Finally, make everything look professional. Typed labels, clean jiffy bags, and a smart appearance,
help
concentrate the mind of the recipient.
And as an ISA Member, you can learn how to put the package in the right hands anyway!
Selling Your Songs • The Free Book
The International Songwriters Association offers all its members a free copy of
Jim Liddane's 108 page 60,000 word book,"Selling Your Songs".
The contents are as follows:
Lesson 1 - Twenty Songwriting Questions Answered
A quick look at the main points of this business called songwriting
Lesson 2 - Basic Course In Songwriting
Jim Liddane deals with everything from thinking up the idea, to writing the song, copyrighting your work,
making a demo, presenting it to the publisher - and much much more
Lesson 3 - Copyright Or Face The Consequences
The crooks do not arrive armed with crowbars. The carry fountain pens.
Jim Liddane tells you how to copyright a work before the shark steals it
Lesson 4 - Writing The Hit, What The Pros Do
Trouble picking a title? Lyrics as dull as mud? Your melody sounds like another? 28 top writers
tell you what they do when problems arise
Lesson 5 - Don't Get Ripped Off By Your Best Pal
More than half of all songwriters co-write with others. But before you sign away percentages,
read what Jon Edwards has to say
Lesson 6 - Problem Solving For Songwriters
The song is written. Now what? Top international music publisher
Tim Whitsett explains how to get your songs published and recorded
Lesson 7 - How Much Money Can A Hit Song Make?
We explain how to handle your publisher, what to look for in a contract, and ask -
"How much money can a hit song make?"
Lesson 8 - Jingle Bells
There's big money in writing jingles - and what's even better, you can make a fortune without leaving home.
Bill Miller tells you how to sell yourself - by selling others
Lesson 9 - Putting Your Songs On The Internet
Is it the solution to all your problems - or simply a new problem? Jim Liddane examines the internet
Lesson 10 - When Somebody Asks You For Money
At some stage, somebody may ask you for money, in return for a service.
We tell you what to grab, and what to avoid
Lesson 11 - Frequently Asked Questions
Much of what you worry about, has been caused worry for songwriters before you.
Here are the most frequently asked questions - and the answers to them
Lesson12 - The International Songwriters Association
The publications and service of the International Songwriters Association.
The Top UK Music Publishers
A listing of the names, and contact information, for some of the top music publishers
Simply click HERE to download it today now
The ISA Promotion Service
The International Songwriters Association offers contact advice to its members
as well as keeping them informed on which companies are looking for songs at this moment
Simply click HERE to find out who is looking for songs right now
Looking For A Hit ISA Songwriter?
Singers, bands, music publishers, record labels and managers seeking hit songs, contact us daily.
If you are looking for unpublished songwriting product,
our songwriters will happily oblige. Just click the pic!
ISA • International Songwriters Association (1967) Ltd
PO Box 46 • Limerick City • Ireland • Tel 061-228837 • Fax 061-2288379
ISA Website http://www.songwriter.co.uk • Editorial E-Mail jliddane@songwriter.iol.ie
International Songwriters Association Limited
Registered In Dublin, Ireland • Company Number 38917
Registered Address • High Chaperal, Raheen Heights, Limerick City, Ireland
Postal Address • PO Box 46, Limerick City, Ireland
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