Nashville Ear

Song Critique Checklist

· Are your lyrics too repetitive? Do the same words (or phrases or ideas) repeat in the chorus that are already in your verses? If so, replace them with more storyline or more aspects of the situation.

· Are your lyrics really special? Get rid of fluff and tired rhymes. (How many times can we hear about the rain??) Think of wonderful songs like "Wind Beneath My Wings" or "The Gambler." Paint unique but acceptable pictures, and remember a song must be more than just a "list" of pictures or feelings.

· I am a stickler for true rhymes, and I am here to swear it is part of being a great songwriter. That doesn't mean all hit songs have true rhymes. But if you want to explore and experience the most professional and artistic aspects of songwriting, you will seek true rhymes. (No, not at the cost of the feeling of the song. But that's rarer than most think.) The words are almost always there. You just haven't looked for them.

· Lots of people write good songs that are not competitive with what is being played on National Radio today. (National Radio Airplay and Record Sales are how writers make their income.) We want to be competitive. Remember, your competition is NOT the bad songs and artists you hear. YOUR COMPETITION IS THE BEST OF WHAT IS BEING AIRED.

· Make sure your song is targetable. By that, I mean that there are artists with major record deals at this moment who do not write their own material. Those are the ones Publishers seek. Be sure you are acquainted with the artist (and their material) of whom you wish to pitch your song. The worst thing you can do is pitch someone a song totally wrong for them. Consider not only the musical sound and style, but lyric stance and artist image. Be sure the artist doesn't write their own material. Suggest appropriate artists to your publisher when you present your song.

· You think of a target like Whitney Houston or Celine Dion (either could sing the phone book and it would sound like a hit... but they don't.) Mostly, the question is, WOULD they sing that song? The other aspect of trying to pitch MEGA stars, is they are (and have been) being pitched by writers with much better track records than you (no offense), so your percentages are very low. If you can find an emerging act on a major label, you have a better chance of placement.

· A GREAT song is a GREAT song, regardless of whether its style happens to be in vogue or not. On rare occasions, I have signed GREAT songs, all the while telling the writer(s) that we would probably never get a cut on it, but I was honored to work with it. (We almost never got cuts on them.) If you have one of these, celebrate it. Know in your heart what you have done, thank God for your talent, enjoy it, demo it up for posterity (if you can), and maybe the day will come around for its use. If not, it's still a GREAT song.

· Make sure that your song is likeable melodically! It's easy (especially in country or ballads) to fall prey to a pedantic and unimaginative melody or chord structure. Changes need to be fresh, but comfortable. Lead melody lines (and therefore lyric lines of verses) need to be as consistent as possible in structure, but should have some surprises for us. Sometimes writing a melody without the confines of your instrument helps, or if you are not an experienced or trained musician, find a collaborator who is. Your competition has studied everywhere and worked all venues.

· Review your songs (HONESTLY, dang it), before you spend money demoing them. Run them by other writers you respect or a meeting at your local songwriter organizations.

· I know you have artistic longing in you. I know everyone must start somewhere. However, the grim reality is that the Music Business is a Business, like any other type. You must be a Professional in all aspects. It takes money for good tape, singers, studio time, reference material, association dues, etc, as well as a long study of what a good song is in structure and emotion, AS WELL AS a familiarity of the types of artists and songs being cut today. Keep writing (if that is TRULY your heart's dream), but you will have to accept who and what your real-world competition is, and have the time and finances to keep up.

· You spend time and money making good demos of your songs. Use high quality cassettes to reflect that.

· Always include a typewritten lyric sheet for a Publisher.

· Always put your name and number and song title (minimum) on all tapes, CDs, and lyric sheets.

· Don't send bios and pictures and copies of newspaper clippings unless they are Major Credits (unless you are an act/artist, pitching yourself). A Publisher just wants a Great Song.

· If you send a CD, highlight one or two selections. If the Publisher likes them, they will skip around and hear more. To send a CD without a suggestion is overwhelming, and will probably get set aside.

· To learn more about Professional Songwriting, inquire about our classes held at the Songwriters Guild of America in Los Angeles, or our Private Tutoring Sessions held in person, in telephone conference, or by mail.

Janet Fisher

...originates from Kansas City, Missouri. She grew up writing songs and in performing clubs across the Mid and Southwest. She has been an opening act for Emmy Lou Harris (Antelope County, CA), Bob Gibson (Chicago, IL), Brewer & Shipley (KCMO), and many others. Her association with TASCO Sound, Intl., gave her inside experience with the workings of tours and crews for bands like Ozzy Osbourne, Donna Summer, Elton John, and Black Sabbath.

As a Songwriter, her latest works include more than sixty songs for HBO, Showtime, MCA, Concorde/New Horizons Films, and other motion picture companies, as well as television segments of all varieties. As a Publisher, she has placed songs into nationally aired film, television and special project uses, including more than twenty songs for MTV, throughout the last year. She has been called a "Song Guru" (Hal Cohen) for her ability to assess a work's weakness, and provide an element that strengthens the song.

Janet serves on the board of the Los Angeles Chapter of the Songwriters Guild of America, where she is active in legal campaigns, protection of intellectual property rights, songwriting classes and special events.

Janet served as Music Coordinator for several films, consulted in talent searches for companies with specific needs, coached actors who have been assigned a song for a scene, and many other music-related needs to a variety of productions. She oversees live productions and events, and was responsible for the final production of the Millennium Award Presentation Show by the Songwriters Guild of America, in October, 2000, for their Tribute to GEORGE DAVID WEISS ("Wonderful World", "Lion Sleeps Tonight", "I Can't Help Falling In Love With You", etc.) in Beverly Hills, California.

She has scored Film and Television segments, and written music for TV commercials and political campaigns. Her latest projects include producing a variety of Songwriter product, including the "Goodnight Kiss (Records) Songwriter Series: Jack Segal", featuring Jack performing some of his classic standards at the piano, as when he wrote them, ("WHEN SUNNY GETS BLUE", "SCARLET RIBBONS", "WHEN JOANNA LOVED ME", etc.) creating a much needed "songwriter perspective" from the author.

Janet was Producer for the overall Songwriter Series Production of "SILVER BELLS" by 3-time Academy Award winners Livingston and Evans. Her Goodnight Kiss Records label recently released CD of intelligent, original Christmas songs in "AND TO ALL A GOODNIGHT," a collection of writers and artists from around the world. She is currently in production on an ADDICTION CD, "Highs and Lows", to be released in the spring of 2003.

She is also currently the (music) Publisher, and her label, Goodnight Kiss Records, is the vehicle for the song "FLYING HIGH WITH BROKEN WINGS" -- a book/CD combination which serves as a working handbook for any woman who wants to go from "Welfare to Wonderful" through non-government sponsored programs. (The back of the book contains all working numbers for help.)

"MUSIC HORROR STORIES: A Collection of Gruesome, True Tales As Told By Actual Innocent Victims Seeking a Career In The Music Business", (the book) was developed, edited and published by Janet.

"Story Night at the Guild", an ongoing in-person interview session with songwriting legends, was founded by Janet in the mid 1990's, and is still one of the most popular of all Songwriters Guild Events. Janet was co-producer of the TRIBUTE TO IRWIN DRAKE, sponsored by the Songwriters Guild at their yearly meeting in 1999. She is equally at home producing live events as she is in the studio or on the lot.

Janet recently was an appointed lobbyist to Congress in Washington, D.C., by the Songwriters Guild of America to represent them in the Audio Home Recording Act with the AHRA Coalition. She is a staunch supporter of Intellectual Property Rights.

She is the Managing Director of Goodnight Kiss Music (BMI) and Scene Stealer Music (ASCAP) Publishing Companies, is in constant demand as a Speaker and Guest Reviewer at Songwriting Organizations across the country, where she teaches music-business related classes, hosts songwriter-rights panels, Internet discussion groups, and music reviews. Her teaching venues include the Songwriters Guild of America, UCLA, the Learning Annex; she has participated a guest speaker and reviewer at songwriter and music events for NCSA, ASA, SGA, AZSA, SDSG, LASS, NAS, and of course the SGA. She consults via classroom, personal appointment, phone or internet.

In 1994, she was awarded "Best New Vocalist" by the California Country Music Association, Los Angeles. She has a commercially released Christmas album available at such Hollywood outlets as Tower Records and Virgin MegaStore.

As host of the weekly radio show, "The Goodnight Kiss Country Music Hour", she interviewed active industry guests and gave on-air exposure to independent artists and writers of country music that reached audiences in twenty-two states.

National songwriter trades, as well as technology leaders such as ZDNet have published her articles concerning Intellectual Property, and many leading music Internet sites reprint her interviews and articles on Songwriting consistently. As editor of "The Goodnight Kiss Music News", a Web-based online E-zine, she provides applicable career information to writers around the world.

She serves regularly as a Talent Judge for many high-profile competitions, including the John Lennon International Song Contest, Lionel Richie Songwriting Scholarship, the Cable ACE Awards, the PRISM Awards, the USA Songwriting Competition, the Palomino Talent Show, and more; and is a visible member of support for the songwriting community.

Janet is also founder of the vocal group, MAMA SAYS! (with Patti Shannon and Kelie McIver) also known as "Fisher, Shannon & McIver", and co-chair of the New Writers Committee for the Songwriters Guild of America, where she also serves on the Board of Directors for the Los Angeles chapter, and is a Voting Member of NARAS. She currently resides in the hills of Hollywood.

BMI ASCAP NARAS SGA NAS NCSA NSAI CMA AACO

Janet Fisher is a longtime professional songwriter and publisher for Film and TV, author of the pop book, MUSIC HORROR STORIES, owner Goodnight Kiss Music (BMI), and a member of the Los Angeles board of the Songwriters Guild Of America, where she lectures on songwriting and intellectual property rights.