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iwbfinterviews · 4 years ago

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Jake Brown Interview

When did you first realize you wanted to be a writer? Is there a particular reason you chose to write about music, singers, etc?

I didn’t actually, lol. I’m a songwriter/producer first, I grew up playing and writing music but always wrote as a way to kind of get through school because I was terrible at math, sciences, tests, etc. I think there’s alot of people in the music business who started out like that. It kind of happened accidentally, I was working for a record label right out of college and started writing copy for their catalog titles, press releases, etc and it just expanded from there. I met a literary agent through that who suggested I try to write a book, and we sold the Suge Knight memoir to Amber Books, who gave me my start. Another big early foot in the door moment was when I had the opportunity to write books with Ann and Nancy Wilson & Heart in 2007 and in 2009 with Lemmy Kilmister and Motorhead. Then the book nearly 10 years into my career that really kind of made me appreciate this career was the opportunity to work with legendary guitar player Joe Satriani on Strange Beautiful Music: A Musical Memoir. I’d also started specializing in anthology-style books that feature LOTS of exclusive interviews in one book in chapter profiles so you could tell a bunch of people’s live stories at once, including the BEHIND THE BOARDS series, which began 10 years ago as a Rock & Roll producers’ series, the aforementioned In the Studio series with Heart, Motorhead, and others, and then finally about 10 years into living in Nashville I began working on the NASHVILLE SONGWRITER book series and most recently the BEHIND THE BOARDS: NASHVILLE book. SO: the long answer to that question is, because I love telling the behind-the-scenes stories of both the hits and those who make them, be it songwriters or producers or drummers in the case of the BEYOND THE BEATS rock drummers series, or Hip Hop producers with the DOCTORS OF RHYTHM audiobook and upcoming physical version in 2021. I’ve also been fortunate to write memoirs with some interesting characters like Kenny Aronoff, country rapper Big Smo and upcoming Freddy Powers The Spree of ’83 book which features Merle Haggard and Willie Nelson. So it's been an interesting run.

How long does it take you to write a book?

I work on several at once usually, that’s kind of my process, half day on one, a day on another, but for BEHIND THE BOARDS: NASHVILLE, I spent 4 straight months day in and out writing this book exclusively as it was over 600 pages. I was reading the audiobook for Blackstone as I was writing it too, which was the first time I’ve ever done that. Usually the audiobook is read after the book is completed. Then it’s about a month of editing before its handed into the publisher. So this was a real push, but it was worth it because of the feedback I’m getting first from the producers I worked quite extensively in many cases with on their individual chapters, and collectively in the book being a first of its kind for country music fans where they can read about how their favorite hits by country’s biggest stars were made while listening along on Spotify, iTunes, Tidal, etc.

What would you say is your interesting writing quirk?

Oh, I don’t know... I write every book thinking from the outset before I’ve even started putting words down to paper thinking about how that book will be marketed and promoted upon release. There’s no point in writing something no one is going to read because when you get to the finish line you don’t have a gameplan on how to make readers aware of it. Publishers, to be honest, can only do so much in that arena, every publisher’s publicist is usually like a social worker with 30 cases on their desk, so yours can only get so much attention. So for instance, I always recommend to a writer to hire a great publicist and know that while that’s a considerable expense, it may be the best money you spend in getting the word out about your book because that publicist is working for YOU, not for 30 authors at once. It's just a fact of the business that I think should get more light shed on it because you’re competing with that number I mentioned above of 60,000+ books a YEAR coming out. I also negotiate the right to press my own promo runs of 100 if needed because if not, you’ll wind up with a paltry 10 copies from the publisher, who for their own budgetary reasons, might not for instance be able to service all the physical review copies you’ll have to give away during the book’s promotion, whether to a disc jockey interviewing you on the air or the listener he or she is giving away a free copy to during that broadcast, as just one example. If you don’t plan ahead for that, you’ll wind up paying that publisher $6 or $7 per promotional copy, which is something I’m SURE some of my own publishers would hate for me to pull the curtain back on, but its true. Writers are paid LAST usually in the royalty chain, especially early on, but you move up in that order as you build a value into your name as a writer, which only comes with people hearing about you and your book. So again, HIRE A PUBLICIST, HIRE A PUBLICIST, HIRE A PUBLICIST! Your agent can be helpful too, but its typically up to you as an author to maintain your own social media presence and look for every available avenue to spread the word about your book so it has a chance to be read. This is equally important for newer or more established writers, because there’s always a new generation of equally-as-talented new wordsmiths knocking on those publishers’ same doors...

What do you like to do when you're not writing?

In a studio making music or writing books for the various publishers I work for, or recording audiobooks for Blackstone Audio, so it’s pretty time-consuming. I did just sign a worldwide music publishing deal for my songwriting catalog with Streets Music and David Gresham Company. So I’m lucky to stay busy, to be honest, you have to too make a living in the entertainment business. I have a wife and a dog too, so I spend what time I have left with them. ☺

Your 50th book is coming out June 23rd, “Behind The Boards: Nashville”. Can you give us insight on what it will be about?

First, I exhale deeply every time I get asked that because it's finally DONE! I spent 2 years collecting extensive, first-hand – many for the first time in a book – interviews with 30 of country music’s biggest producers, and in some cases, that meant waiting for a break in their busy studio schedules to talk, in others it meant multiple conversations over a couple years as we wanted to make sure we had all their current hits as they kept banging them out, and in other cases, because of the sheer volume of their catalog – some of these guys have been in the business since the early 70s – it took that long to chronicle it all. That’s just the interview process too, then I had to write it and I write everything in one shot vs. a chapter here and there. Its to me like staying in character as an actor throughout an entire performance, and when you’re writing a book like this, you’re in a headspace that never lets you sleep because creative narrative is CONSTANTLY hitting you about specific hits, and there’s over 300 # 1s in this book. Additionally, there’s an EXHAUSTIVE amount of research I do to source out certain critical quotes of praise, for instance, from way back in the 80s, 90s, early 00s, etc from magazines that aren’t even in print anymore, as well as supporting quotes from the actual superstars these producers work with in the studio, which also takes a great deal of time. So after all of that prep, once you begin writing, there’s another 3-4 months before the manuscript comes to life as a finished product.

As a result of that, country music fans here are given arguably the MOST definitive to date book chronicling the stories behind the making of their favorite hits in the studio, again how those artists specifically and uniquely work at their craft – i.e. does George Strait sing each hit over 3 or 4 vocals or 25 or 30 takes, etc – as well as how specific # 1s within those individual catalogs of Greatest Hits were created in the studio. Then from the other side of the boards, so to speak, you get the producer’s first-hand recollections of their own personal journeys from the time they could first crawl and walk and started discovering music to their teenage bands and first tape-recorder or 2-inch reel to reel or 4-track or laptop home recording sessions all the way up through their rise to become the biggest names in the business working in country music today.

Collectively, BEHIND THE BOARDS: NASHVILLE features Dann Huff, James Stroud, Jim Ed Norman, Dave Cobb, Justin Neibank, Ross Copperman, Zach Crowell, Chris Destefano, Jesse Frasure, Norbert Putnam, Josh Osborne, Luke Laird, Clint Black, Frank Liddell, Shane McAnally, Jimmy Robbins, Josh Leo, Nathan Chapman, Paul Worley, Jeff Stevens, Jody Stevens, Bobby Braddock, Michael Knox, Don Cook, Frank Rogers, Joey Moi, Ray Baker, and Buddy Cannon, who did the Foreword, which was a TRUE honor. Frankly, it was an honor to have every one of these legends speak to fans so candidly and openly about both their personal and professional lives in the music business. Their stories are inspiring, ear-and-eye-opening, exciting, insightful, and hopefully educational for those kids growing up on their records now hoping to break into the same business. So hopefully, there’s something for everyone who opens the book.

What were the methods you used to get ‘the’ interview with all the big names you’ve written about?

When you’ve been around this long, fortunately you can get in touch with just about anybody, whether they say yes or not to the interview is another story! (laughs) But I’ve been pretty lucky, especially for instance with my NASHVILLE SONGWRITER book series, which has TWO volumes and 50 of the biggest songwriters in country music in the first two volumes, and a THIRD volume with another 30 legendary songwriters coming out at the end of 2021, and especially with BEHIND THE BOARDS: NASHVILLE, which has 30 of the most legendary record producers in country over the past 50 years, guys like Norbert Putnam, who ran Quad and produced Jimmy Buffet’s “Margaritaville,” Jim Ed Norman, who produced Hank Williams Jr’s Born to Boogie album, Ray Baker, who produced that whole 70s Honkytonk soundtrack including Moe Bandy, Whitey Shafer, and Merle Haggard and Freddy Powers among others. Then you have the Millennial generation’s biggest names like Joey Moi, Dave Cobb, Dann Huff, Jesse Frasure, Ross Copperman, Shane McAnally and Josh Osborne, Ray Riddle, and on and on.

What do you think makes a good story?

Well, for this book, the most common thread woven throughout many of the chapters/live stories of these producers were the long-term working relationships they’ve maintained with many of country music’s biggest stars throughout their entire careers or the majority, for instance, Jeff Stevens and Luke Bryan, Byron Gallimore and Tim McGraw, Buddy Cannon and Kenny Chesney, Michael Knox and Tony Brown, Frank Rogers and Brad Paisley, Miranda Lambert and Frank Liddell, the list goes on and on as long as the Greatest Hits track listings do. Equally as importantly for a book like this, is the fact it takes the reader quite literally inside the studio and pulls back the curtain on how their favorite country music stars record their biggest hits, and almost literally re-creates their recording from behind the boards by the producers interviewed. Then on a totally separate front, from the academic side, its a 600-page book full of tips about how the recording process works from all sides, points of views, approaches, ages, and technologies, old and new, from analog to digital and the hybrid of both in the “in the box” generation of record making. Hopefully, we’ve covered all sides of the process, that was the aim anyway so readers get a 3-D look, so to speak, at how the recording business really works.

How did publishing your first book change your process of writing?

I sold my first book to my first publisher, Amber Books, in 2001 and Tony Rose gave me my start in the business and I wrote for them almost exclusively for the first 5 years and 10 books of my career from 2002 to 2007. So having a stable and still exciting publisher willing to take chances on you and equally-as-importantly, the kinds of books you might approach them with, is KEY for any new writer because writers must remember EVERY time a publisher takes a chance on their book, they’re putting real money behind it before they ever see a dime back. It's a big leap of faith, and carries with it alot of obligations for the author, where it doesn’t just end with handing the book in, but also helping promote it and building a brand for your name so it can become more and more reliable for both readers and new publishers, as any writer’s goal should be to eventually build a catalog where they write for as many publishers as possible throughout their career. But be prepared to start out writing for one, or anyone for that matter, who you can verify has a good track record as a publisher, or if they’re new to the game, doesn’t just want to put out an e-book, which anyone can do without a publisher, and is willing to commit to a physical pressing, and promotion of that pressing. I wouldn’t go looking for advances on your first or even necessarily second book out, but start asking for them as soon as possible as its an important piece of the income stream for any working author, as much as royalties are later on down the road. An advance lets an author know a publisher first can afford to put money into their book, and values them, vs. Alot of these starter deals that promise big back-end but nothing up front. You have to be able to afford to take that hit once or twice out of the gate, but its not a career model any writer should plan on if they want to make a living as a working author. The other reason I mention all this is because being a working writer is not just about the creative side of the process, but the entrepreneurial one too, because you have to be a self-promoter, and not be shy to doing interviews or promotion on social media, etc, as you’re competing with a THOUSAND new titles a week minimum these days between all the digital e-books and print books out there. I think the statistic was to be something like 60,000 books published in 2018 alone, so that tells you the competition you’re up against to even get a book sold to a publisher, let alone compete on bookstore shelves for the reader dollar.

What’s your favorite under-appreciated novel?

Of my own books, I wouldn’t say any are underappreciated, I’m grateful for the fact that people still read my books after 20 years and 2 or 3 generations of teenagers (which are a primary part of my reading audience) still buy my stuff. I try to give them consistently interesting reading subjects, either in the personalities I co-write with – like country rapper SMO, whose memoir My Life in a Jar: The Book of Smo, was released in 2019, or the Freddy Powers Spree of ’83 memoir, which is presently in film development and that I co-wrote a screenplay for with Catherine Powers last year, that was also something different, and say something like legendary R&B producer/artist Teddy Riley’s forthcoming memoir Remember the Times, which we’ve been working on for the past 6 years off and on and is looking like it might be heading to Teddy’s fans’ hands in the next year. One key thing I tell new writers when asked for input into starting a career in the current climate for our business is be prepared to commit as much time to a book as the artist needs, its similar to an album – if the publisher wants it on a deadline, be prepare to deliver, but getting an artist to open up in depth about their life takes time, both to build trust and to physically take the time to do the interviews not only with them in principle but also with the huge list of supporting cast members between peers in the band and business and family members and friends, record executives, peers, etc that usually wind up on those lists. It's a process you should NEVER RUSH yourself, only move at the rhythm of the people you work with and for, and you’ll wind up working alot longer in the business than those who are in a hurry.

How many unpublished and half-finished books do you have?

Haha, I actually have a folder called “Projects That Probably Won’t Happen” and its filled with all kinds of “famous” bands/musicians books that just never got off the ground for one reason or another, but they’re all under contractual deals where I can’t talk about them in case they want to put a book out in the future, and I hope they all do. Sometimes you encounter someone who is thinking about writing a book but is really 10 years before they’re ready to, or they aren’t really committed yet past the concept, so you do some sample chapter interviews but it never gets past that starting line. I’ve thankfully left on good terms with the majority of those names, but with 50 published books in my catalog, most of what I have committed my time to has thankfully made it to store shelves. That’s important for any new writer to remember, because with every new book project you take on, you’re committing a year to two years of their life to that process from the start of interviews through the completion, handing it into the publisher, editing, etc. Anyone in a rush usually isn’t going to get anywhere is what I’ve found, it takes time, even if your mind is moving a million miles a minute, and your ambition even faster, pace yourself and you’ll last a lot longer in the race I’ve found anyway (cheesy sports metaphor aside ☺).

Do you read your book reviews? How do you deal with bad or good ones?

Haha, I’ve had some good and bad experiences there over the years. I have NO problem with a consumer buying my book and then reviewing it one way or the other on say Amazon or Audible, etc, because that’s part of the business, but as far as book reviews from other writers, I just have to hope they like it and write fairly about it as it does matter impressionistically what readers then think of it as a potential product to buy and read themselves. Sometimes, in walking the fine line I have to be between the technical and the creative in a series like this or Nashville Songwriter or say my In the Studio series, which has over 10 books in it alone, so you never know. Its something I don’t pay alot of attention to as well because by the time a review comes out, the book has been out a couple months usually and we’re on the back-end of a promotional push, so if its a good review, it's a nice 4th quarter boost of coverage, and if it's not, then it's pretty buried vs. hurting the book’s launch on the front end. I’m just being honest, sorry, but book reviews play a very MINIMAL role in most books’ launches if they’re properly promoted via author interviews, premier placements as we’ve done with American Songwriter, CMT, SoundsLikeNashville.com and others coming up, and for any newer writer, accept ahead of time that you’re GOING to get a bad review here or there, it's just part of the subjective review process, and doesn’t speak for your larger reading audience.

Do you believe in writer’s block?

Not when you write for a living. It's not a luxury I think any of the writers I know who work professionally writing books can afford, that’s why you have to follow the simple rule of A.B.W. (Always Be Writing) ☺.

Where do you see yourself in 5 years?

Probably doing the same thing, writing is how I make a living, so it's will be with me until arthiritis set’s in, but I’ve got 2 screenplays in development and hope to have at had at least one of them produced into a film. I’m not unrealistic to think that it will go to theatres, but I’d be happy to see a streaming service selection with my name on it as a screenwriter, there’s 3 or 4 of my books fortunately in that cycle right now so we’ll hope one or two of them make it that far. Beyond that, I’m in the studio every week as I have been the past 20 years making music and will continue doing that, hopefully to a greater degree with these new publishing deals I’ve signed as I have over 200 released songs in my own catalog, none in Country lol, but I just try to keep putting out new creative product across multiple mediums at as prolific a pace as the muse allows without the quality of the end-product being compromised. That’s the point at which I’d stop I guess, if the quality of the writing lessens to where people don’t want to read my stuff anymore. Thankfully, I have built up a pretty loyal reading and retail-buying audience over the past 2 decades, and hope to keep putting out books that help music listeners understand how hard and still rewarding a business the record business is. It's an amazing world to wake up working in every day, and I love helping musicians tell their stories on paper, so we’ll just have to see. I hope to have hit 60 books by then, although my ultimate goal is another 50 over the next 10 years! (laughs) Thanks again for your time and support of this latest project!

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romanceboys · 6 years ago

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tracklist — the second mini album want (hq) 01. want lyrics by kenzie composed by tooji keshtkar / mats koray genc / saima mian / anne judith stokke wik / nermin harambasic / ronny vidar svendsen / jonas bjordal / martin mulholland arranged by ronny vidar svendsen / mats koray genc 02. artistic groove lyrics by jo yoon kyung composed &arranged by david bjork / didrik thott 03. shadow lyrics by min yeon jae / january 8th / oh sae rom (lalala studio) / lee jae hee (lalala studio) composed by maria marcus / daichi / katerina bramley arranged by maria marcus 04. truth lyrics by jq / kim hye jung (makeumine works) composed by g’hara “pk” degeddingseze / omar andres tavares / joshua scott chasez / vmp / jayrah gibson arranged by g’hara “pk” degeddingseze 05. never forever lyrics by hwang yoo bin composed by jesse frasure / nolan sipe / calynn green / josh kerr arranged by jesse frasure 06. 혼잣말 (monologue) lyrics by lee seuran composed by robert gerongco / samuel gerongco / andrew michael briol arranged by robert gerongco / samuel gerongco 07. want ~outro~ composed &arranged by steven lee

#shinee #taemin #190201 #want #p:official #p:taemin #e:want

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actualhumansunshine · 5 years ago

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potential NH2 co-writers/collaborators so far:

julian bunetta

john ryan

tobias jesso jr

jamie scott

dan bryer

mike needle

julia michaels

greg kurstin

sarah aarons

diplo

ruth-anne cunnigham

teddy geiger

scott harris

eskeerdo

rhett akins

jesse frasure

thomas rhett

dan wilson

TMS

phil plested

#solo niall #nh2 #songwriting #text #05.20.19 #mine #m:text #plus there have been follows of producers here and there that i wouldn't say are enough proof to go on this list #but definitely [eyes]#ryan tedder; pharrell; benny blanco; mark ronson #all the big names basically hasldkjf

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myipop · 7 years ago

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¡Agotadas las entradas para el concierto de Kylie Minogue!

Entradas agotadas para el esperadísimo show de Kylie Minogue en Barcelona. Tendremos oportunidad de disfrutar de este concierto tan especial el próximo 16 de marzo en la sala Bikini. El legendario Café de Paris de Londres acogerá el 13 de marzo el primer concierto de esta gira exclusiva, que continuará por Manchester, Barcelona, París y Berlín. (more…)

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gibsonmusicart · 5 years ago

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5 Tips for Improving Your Song’s Melodic Hooks

Melodic hooks can be the heart of a song. These tasty bits of ear candy can make the difference between an “almost” – and a life-changing hit. They can be instrumental or sung and can occur in any section of a song – the intro, verse, chorus, pre-chorus, post-chorus, bridge, or outro. Catchy musical phrases hook in your listeners and keep them on the proverbial line. They can occur in multiple sections of a given song (i.e., a verse, a pre-chorus, and chorus) and although it is not typical, there can be more than one musical and/or vocal hook per section. But they are most frequently found in choruses and post-choruses. Ideally, unforgettable hooks pop into our heads–or pour out of our keyboards or guitars–spontaneously. But when they don’t, we can apply craft to create these extra-memorable melodic moments and add additional hooks to maximize our songs’ chances for success. Let’s look at five ways to embellish our melodies and help them burn into listeners’ brains. 1. Use a Stutter A stutter in a song occurs when melody is crafted so that part of a word—typically the first syllable—is repeated one or more times by the vocalist. A perfect example of a song with a st-st-st-stutter is Carrie Underwood’s smash hit, “Undo It” (written by Underwood with Kara DioGuardi, Marti Fredericksen, and Luke Laird). The title is sung “Uh-Uh-Uh-Uh-Uh-Uh-Uh-Undo It,” turning the stutter into the primary hook in the chorus. For another example, listen to Elton John’s “Bennie and the Jets” (written by Sir Elton John and Bernie Taupin). It’s hard to imagine that #1 song without its signature stutter, the “Buh-Buh-Buh” that precedes the name “Bennie.” 2. Repeat a Rhythm Write a melody that includes a unique, instantly memorable rhythm in the vocal melody of a given section of your song (i.e., verse, chorus …). Then repeat this rhythm multiple times within the same part of the song. In order to accomplish this, each line that has the same rhythm needs to have the same—or approximately the same—number of syllables in the lyric that accompanies it. This technique resulted in a powerhouse hook in GRAMMY winning Best Rock Song, “When I’m Gone” (recorded by 3 Doors Down and written by band members Brad Arnold, Todd Harrell, Matt Roberts, and Chris Henderson). Note how the last note of each line of the chorus is emphasized, and that every line of the chorus melody repeats almost the same rhythm, creating a melody that delivered it to the top of Billboard’s Top 40 Mainstream and Hot Mainstream Rock charts. To hear another great example of the power of this technique, listen to the quirky rhythms in the melodic phrases that repeat in the verses of Old Dominion’s “No Such Thing as a Broken Heart” (written by Jesse Frasure, BMI’s reigning Country Songwriter of the Year, with Matthew Ramsey, Trevor Rosen, and Brad Tursi). Also note the musical phrase that repeats in the choruses. 3. Include a “Nonsense Syllable” In this context, a nonsense syllable refers to a sound that is sung but has no meaning. These include: “Ooh,” Oh,” Yo,” “Ay,” “Ahh,” “Ooh,” and “I.” These (and other sounds) can be joined together to create vocal hooks that combine melodies with sounds such as, “Oh-I, Oh-I, Oh,” “Ooh, Oh, Oh, Oh, Oh,” and “Ay-Ay-Ay-Ay-Oh-Ay-Oh.” Camila Cabello’s breakthrough smash, “Havana” (featuring Young Thug, and written by Cabello with Jeffrey Williams, Frank Dukes, Brittany Hazzard, Ali Tamposi, Brian Lee, Andrew Watt, Pharrell Williams, Kaan Gunesberk, and Louis Bell) added the sound “ooh-na-na (ay, ay)” to the title to create an unforgettable hook. Similarly, Sugarland used “Whoa-oh, whoa-oh” to take their song, “Stuck Like Glue” (written by Jennifer Nettles, Kristian Bush, Kevin Griffin, and Shy Carter) to the #1 slot on Billboard’s Country Digital Songs Chart, racking up more than 2.6 millions digital sales along the way. 4. Add a catchy post-chorus A post-chorus can be defined as a part of a song that occurs after the chorus, providing an additional hook that typically includes vocals. It introduces melody that is not heard in the chorus or elsewhere in the song, and in many instances, it has few lyrics that have not previously been heard in the song. It often reiterates the title and incorporates nonsense syllables. Examples of strong post-choruses include Keith Urban’s “Wasted Time” (written by Urban with James Abrahart and William Wells). For more information about post-chorus references, check out “The Power of Post-Choruses.” 5. Include a Catchy Instrumental Lick A musical motif, sometimes referred to as a signature lick, is a melodic phrase that is typically introduced in a song’s intro and recurs throughout the song. Some hit songs, such as Vanessa Carlton’s “Thousand Miles” and Jason Derulo's "Talk Dirty" have multiple instrumental phrases that serve as hooks. Carlton’s #1 hit includes a motif that is played on piano during the intro and in the verses, as well as the instrumental hook played by the strings in the second half of the verses. One of my favorite instrumental hooks is the guitar lick that introduces Rascal Flatts’ recording of “What Hurts the Most” (written by Jeffrey Steele and Steve Robson). This version of the song reached #1 on Billboard’s Hot Country Songs and Adult Contemporary charts and received a Country Song of the Year GRAMMY nomination. The same lick can be heard (with slight variations) played on a synthesizer in Cascada’s pop/dance recording of the same song. At a recent songwriting workshop, I led my students through an exercise during which they applied each of these techniques to one of their songs. They explored including a stutter, repeating hooky rhythms, adding nonsense syllables, writing a post-chorus, and incorporating a catchy musical lick. One unforgettable hook can be your song’s ticket to the top of the charts. But why stop at one, when multiple hooks can maximize your chances of success? Try these tools in your own songs. Not every song will be benefit from each of these techniques; the decision needs to be made on a song-by-song basis. But you won’t know whether one or more of these melodic tools might take your song to the next level unless you try.

https://www.songwriting.net/blog/5-tips-for-improving-your-songs-melodic-hooks

#songwritingtips #songwritingblog #songwritingarticle #songwritingindustry #musicindustryarticle #musicbusinessarticle #unsigned artist #musiccareertips #musiccareeradvice

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lyrics2world · 3 years ago

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Death Row Lyrics - Thomas Rhett

Death Row Lyrics – Thomas Rhett

Death Row Lyrics from Where We Started is the latest English song sung by Thomas Rhett and featuring Tyler Hubbard, Russell Dickerson.Death Row song lyrics written by Ashley Gorley, Zach Crowell, Thomas Rhett and produced by Jesse Frasure, Dann Huff.This song published by Death Row Song Details Song: Death Row Album: Where We Started Singer: Thomas Rhett Written: Ashley Gorley, Zach Crowell,…

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#Thomas Rhett #Where We Started

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getbestlyrics · 3 years ago

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One Mississippi Lyrics – Kane Brown

Presenting the lyrics of the song “One Mississippi” sung by Kane Brown. The producer of this song is given by Dann Huff. Song Details Song: One MississippiSinger: Kane BrownProduced by: Dann HuffWritten By: Kane Brown, ERNEST, Levon Gray, & Jesse Frasure Song Lyrics You and IHad this off and on so longYou’ve been here then you’ve been goneSo many timesAnd every nightYeah, I’m always bumpin’…

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#Kane Brown

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bringinbackpod · 4 years ago

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Interview with Brett Kissel

Together with American Songwriter and Sean Ulbs of The Eiffels, we had the pleasure of interviewing Brett Kissel over Zoom video!

One of Country music’s fastest rising stars, Brett Kissel, recently released his new album, What Is Life?.

Released on OneRPM, What Is Life?, is a 14-track collection of original material with ten musical compositions produced by the 18-time Canadian Country Music (CCMA) award-winning musician Brett Kissel, Bart McKay, and Jesse Frasure, and four short monologues reflecting on the title What Is Life? from Kissel and his children.

While fans were still buzzing about last year’s Now Or Never album, Brett started looking towards his next release, but couldn’t get three words out of his head – What Is Life? The search for something “more” weighed heavily on the country star’s mind, and with the new album, Brett Kissel invites fans to take a deep-dive with him into songs about love, celebration, and gratitude.

Brett Kissel is on Warner Music Canada and has had tremendous success in his home country. His charismatic personality, energetic stage presence, and music style have propelled him to the top of the Canadian Country music charts, with two Gold-certified albums, a Platinum and eight Gold singles, and 15 top-10 radio hits to his credit. 2019-2020 was a storybook year for Brett, winning the JUNO Award (equivalent to the American Grammy) for Country Album of the Year and earning the Canadian Country Music Association's Fans' Choice Award, following a record-breaking 112-date tour that reached every single province and territory. In 2019, he completed two legs of his headlining tour, marked as one of Canada’s most extensive tours, selling out venues and reaching nationwide status. The Canadian Press crowned him "The New King of Canadian Country." The accolades continued in 2020, when Brett was the big winner of the CCMA Awards, earning four trophies, including Fans' Choice, Male of the Year, and Album of the Year.

As one of the top acts on the Canadian Country music scene, Brett Kissel is on the brink of becoming a household name across the United States. Having toured with artists such as Garth Brooks and Brad Paisley, the young entertainer is no stranger to the stage.

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onecountrycom-blog · 6 years ago

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[Listen] Dan + Shay Team Up with Kelly Clarkson For Powerhouse Ballad "Keeping Score"

Two of the most powerful voices in music have joined forces for a new country ballad "Keeping Score," the latest release from Dan + Shay. Of course, I'm talking about Kelly Clarkson and Shay Mooney of Dan+Shay, both known for their extraordinary vocals. Each takes turn on a verses in the new tune and join on the chorus with Dan Smyers adding background vocals. “It is such an honor for us to sing this duet with Kelly,” said Dan Smyers. “Not only is she one of the most incredible vocalists of our generation, she is one of the most genuine, kind-hearted people we have ever met. We’re glad this song resonated with her as much as it did with us.” The new song, written by Smyers, Jordan Reynolds and Laura Veltz, finds the trio singing about being in love, slowing things down and focusing on what matters most as opposed to "keeping score" of things they won't remember down the line. "I know I'm only human / Don't know how many sunsets I got left / And I don't wanna ruin / This moment by wondering what comes next / I just want to love you like it's all I'm living for / Hold you close, enjoy you more / And spend a little less time keeping score," they sing in the chorus. "Keeping Score" is the fifth new track released from the duo’s upcoming self-titled album, due out June 22. It follows Dan+Shay's current single "Tequila," as well as tracks "Alone Together," "Speechless" and "All To Myself." DAN + SHAY TRACK LIST: 1. “Alone Together” (Dan Smyers, Shay Mooney, Jesse Frasure, Hillary Lindsey) 2. “Tequila” (Dan Smyers, Jordan Reynolds, Nicolle Galyon) 3. “What Keeps You Up At Night” (Jordan Reynolds, Jordan Minton, Chase Foster) 4. “All To Myself” (Dan Smyers, Shay Mooney, Jordan Reynolds, Nicolle Galyon) 5. “Keeping Score” feat. Kelly Clarkson (Dan Smyers, Jordan Reynolds, Laura Veltz) 6. “Make or Break” (Dan Smyers, Shay Mooney, Emily Weisband, Jordan Reynolds) 7. “Speechless” (Dan Smyers, Shay Mooney, Jordan Reynolds, Laura Veltz) 8. “Stupid Love” (Dan Smyers, Shay Mooney, Jon Nite, David Hodges) 9. “No Such Thing” (Dan Smyers, Shay Mooney, Matt Dragstrem, David Lee Murphy) 10. “My Side of the Fence” (Shay Mooney, Benjy Davis) 11. “Island Time” (Dan Smyers, Shay Mooney, Andy Albert, Jimmy Robbins) Read the full article

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un-enfant-immature · 4 years ago

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Apple launches Apple Music Radio with a rebranded Beats 1, plus two more stations

Apple is revamping its streaming radio service. Starting today, its flagship radio station Beats 1 will be rebranded to Apple Music 1 — a change that more closely associates the station with Apple’s subscription-based streaming music service, Apple Music. In addition, the company is launching two more radio stations: Apple Music Hits, featuring top songs from the ’80s, ’90s, and 2000s, and Apple Music Country, focused on country music.

The expansion aims to help differentiate Apple Music from current rivals, like Spotify and Pandora, both known for their personalization efforts with algorithmic-driven playlists tailored to user interests. While Apple Music offers its own, smaller selection of personalized playlists, it also wants to better establish itself in the role of tastemaker and a tool to connect fans with artists. That’s where the streaming radio stations come in.

On Apple Music 1 (previously Beats 1), the company offers artists interviews, global exclusives and premieres, and other breaking music news. The station is led by presenters Zane Lowe, Ebro Darden, Brooke Reese, Dotty, Hanuman Welch, Matt Wilkinson, Nadeska, Rebecca Judd, and Travis Mills, from studios in L.A., New York, Nashville, and London. Its lineup of shows includes those from big names in music, like Action Bronson, Billie Eilish, Elton John, Joe Kay, Lil Wayne, Frank Ocean, Vince Staples, and The Weeknd. New shows from Aitch, Kerwin Frost, HAIM, Lady Gaga, Nile Rodgers, Travis Scott, Young M.A, and others are also available.

More broadly, the idea behind streaming radio is to cater to people who, sometimes, just want to turn on music without having to think about what they want to hear or dig around for a favorite playlist. That was the original promise of terrestrial radio, and Apple believes the formula can still work on modern-day streaming services, as well.

Image Credits: Apple

Meanwhile, the addition of the newer stations began to paint a picture of a radio service that caters to specific tastes and interests. The new naming format of “Apple Music X” also leaves room for Apple to continue to expand its radio lineup over time to include more genres and thematic stations.

Apple says the new “Hits” station will be led by on-air hosts ayde Donovan, Estelle, Lowkey, Jenn Marino, Sabi, Nicole Sky and Natalie Sky, George Stroumboulopoulos (“House of Strombo”), along with special shows from Ari Melber and others. Exclusive shows from artists include those from Backstreet Boys, Ciara, Mark Hoppus, Huey Lewis, Alanis Morissette, Snoop Dogg, Meghan Trainor, Shania Twain, and more.

The country station will have hosts Kelleigh Bannen, Ty Bentli, Bree, Alecia Davis, Ward Guenther, Nada, and Tiera, plus weekly shows from Ashley Eicher and Kelly McCartney. Fans can also enjoy new exclusive shows from artists like Jimmie Allen, Kelsea Ballerini, Dierks Bentley, BRELAND, Luke Bryan, Luke Combs, Morgan Evans, Florida Georgia Line, Pat Green, Willie Jones, Chrissy Metz, Midland, Rissi Palmer, The Shires, Carrie Underwood, and Morgan Wallen, alongside exclusive shows from legendary producers and songwriters like Dave Cobb, Jesse Frasure, and Luke Laird, and journalist Hunter Kelly.

Though Apple Music Radio is a product that helps Apple’s subscription service stand out, it’s not clear to what extent it’s seen by consumers as a huge selling point that has them choosing Apple Music over a competing service, like Spotify. Instead, Apple Music is likely opted for by those who prefer Apple’s design aesthetic, the convenience of a native app that works well with Siri, and those who fully participate in the Apple ecosystem across their devices.

With the expansions and rebranding, music listeners will be able to ask Siri to play “Apple Music 1,” “Apple Music Hits,” or “Apple Music Country,” — a selection that will be easy to remember as it grows over time, thanks to the simplified naming format.

Apple Music Radio is supported across iPhone, iPad, iPod, CarPlay, Apple Watch, Apple TV, Mac, HomePod, and on the web at music.apple.com, the company says.

“For the past five years, if ever there was a meaningful moment in music culture, Beats 1 was there bringing human curation to the forefront and drawing in listeners with exclusive shows from some of the most innovative, respected, and beloved people in music,” said Oliver Schusser, vice president of Apple Music, Beats, and International Content, in a statement. “Now, Apple Music radio provides an unparalleled global platform for artists across all genres to talk about, create, and share music with their fans, and this is just the beginning. We will continue to invest in live radio and create opportunities for listeners around the world to connect with the music they love.”

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