Do You Or Don't You?

Do you need to read music to write songs?  This question has come up time and time again over the years I have been writing songs and articles about songs, and it has always been a contentious issue.  This morning I read yet another article, a set of arguments as to why you must read music if you are to be taken seriously as a songwriter.

It came from someone who does read music, who has done so since he was very young, and who also teaches it.  One of his arguments was based on a quote by another instructor: “Words were invented so you don’t have to carry a brick around with you in order to tell someone about a brick.” He said reading (and therefore writing) music means you don't have to carry a guitar when you can simply carry a tune.

It's this whole idea of must that gets me.  I'm not sure about you, but the only descriptions I've ever heard of someone pitching a song to a publisher or record label was to either play it for them live ("carrying the guitar") or playing it for them on a recording.  I've never heard of anyone passing a stack of sheet music across a desk and saying "Here, read this!  Isn't it brilliant?" Maybe in the 1940's. Whenever someone tells you you MUST do anything, they are either full of themselves or trying to promote something they're selling.  I won't even use that old argument "well, the Beatles didn't read music!" because it isn't even about who can or who can't.

There are different scenarios you may experience as a songwriter, of course.  If you work with musicians who need to have music notation in front of them in order to play your song, there are ways to do that, including learning it yourself.  No argument there.  Is it beneficial to learn to read? Some, like the author of the blog I read this morning, would say yes. Others would say that it makes them think too much when they're writing, and thinking can often stifle creativity.  Theory, and notation to some degree, is the "math" behind the music.

I am not against reading music, and I am myself able to do so.  What I'm against is absolutes.  To write a song, you do not have to write and read music.

IJ

Vanity vs Logic OR I've Come To My Senses

Let's face it.  A huge number of us, myself included, are not going to make it to the big time with our songs.  I'm not trying to be negative here, just realistic.  I have made some money over the years from my work in television, and when I first started recording my songs in the early 90's, I sold a few CDs when I was out there performing all the time.  I even made a little money from mp3.com when I first signed up for it because a few of my songs were chosen for their playlists.  Do you remember mp3.com?  Then you've been on the web as long as I have!  It was actually kind of exciting back then.

I thought the web was going to be a great way to get that exposure that I couldn't physically do myself;  it would get my music out there to the big, wide world that I didn't have the time or money to travel around myself.  And slowly, everyone else had the same thought.  A few clever people took notice of this and they created websites where music could be uploaded and distributed to anyone who was interested.  What could be better?

The other day I read a statistic that more or less floored me.

It was on Hypebot, whose Twitter account I follow.  It stated simply that 4 million songs on Spotify (20%) have never been played.  Never.  And that's just Spotify.  I checked the stats for my own albums, which I had uploaded and paid distribution fees to Reverbnation for.  Half of the songs I had up there had never been played.  The rest had maybe a couple of plays, the odd one more than that. One song had a fair amount of plays, perhaps because of its name "Shades of Grey".  Yep, that was a happy accident because I didn't name it that way as a ploy!  I wrote the song well before the book became popular.

I wonder how many songs on Spotify have had one play, or maybe half a dozen?  That makes the picture a lot more gloomy when you think of it.  How much are we paying to have our music distributed to iTunes and the rest of them, only to have no plays, or maybe one or two?  We get maybe a third of a cent per play, if that, and the distributors get a hundred thousand times that because we paid them.

Now don't get me wrong.  I understand that most of the work is up to us.  We have to be promoting ourselves and our songs, we have to be out there performing or trying to draw some attention to our music, in order to get those plays.  I haven't been performing for a number of years now.  But I allowed vanity to get in the way of logic.  I paid money to have my CDs distributed online, and even when there were hardly any streams or sales, I kept them up there for another year, and then another.  I wonder how much money these distribution services like Reverbnation make from vain people like me?

I have finally smartened up, and recently began the long process of taking them down and removing my Reverbnation account.  I say "long process" because it isn't easy.  There's no such thing as a simple "delete" button that gets rid of everything in one fell swoop.  No, you have to remove your music, you have to make sure that any money coming to you gets paid out (which is very little, but I withdrew it anyway), and then you have to try and remove your profile.  Even weeks after I removed my music, they tell me that I can't remove my profile because I still have my CDs for sale, which I don't.  I'm emailing them to try to straighten it out, but I anticipate more mess trying to take down my profile in the coming days.

I am not trying to discourage you from trying to sell your music.  By all means, do it.  But I think we all have to have a much more realistic picture of what is possible and who is trying to take advantage of our naivete.  David Byrne wrote an excellent column in The Guardian recently, expounding upon his opinion of streaming music.  He says "Not surprisingly, streaming looks to be the future of music consumption – it already is the future in Scandinavia, where Spotify (the largest streaming service) started, and in Spain."  and then goes on "For many music listeners, the choice is obvious – why would you ever buy a CD or pay for a download when you can stream your favourite albums and artists either for free, or for a nominal monthly charge?"

This affects you, the songwriter.  Nobody wants to pay you for your work any more if they can get it for free.  And if they do pay anything at all, it goes to the services who host your music, and very little goes to you.  If you have a record label, then the label will take most of that.

There are bands and artists that are willing to pay to be discovered on these services, and maybe you are too.  But don't let it go on as long as I did.  I've finally come to my senses.

IJ

UPDATE:  within two days I had a response from Reverbnation and I was able to completely remove my account.

Songs I Like - King Of Anything

It was a Japanese guitar student who brought this song to my attention recently.  Although "King of Anything" was released in 2010, this was the first time I'd heard it, and I loved it.

Sara Bareilles first came to my attention with her song "Bottle It Up", released on the album "Little Voice" in 2007.  Bottle It Up is a very clever pop song with some interesting chord progressions and rhyme schemes.  In fact, I should do another article on that song!

But today we're looking at King of Anything, a wonderful "who asked you for your advice anyway?" song that another student of mine, a therapist, said she should play for one of her patients.  I suppose I can relate to it lyrically because many times I've experienced someone deciding to impart some unsolicited advice, especially guys on the golf course!

Musically, it's just poppy-licious.  The arpeggio piano (obviously her instrument) and vocal stabs just give you the desire to bop around the room.  I recognized her style of singing and writing after knowing Bottle It Up fairly well (and teaching it to some of my guitar students!), so Sara has obviously created a sound for herself.

Lyrically, it's simple, in-your-face, but with visual elements added.  I like the whole idea of "show me, don't tell me" in lyrics.  Sometimes she reverts to the "tell me" part, but in this case it's effective.

Keep drinking coffee, stare me down across the table
While I look outside
So many things I'd say if only I were able
But I just keep quiet and count the cars that pass by

You've got opinions man
We're all entitled to 'em
But I never asked
So let me thank you for your time
And try not to waste any more of mine
Get out of here fast

PRE-CHORUS:
I hate to break it to you babe
But I'm not drowning
There's no one here to save

CHORUS:
Who cares if you disagree
You are not me
Who made you king of anything
So you dare tell me who to be
Who died and made you king of anything

You sound so innocent
All full of good intent
Swear you know best
But you expect me to
Jump up on board with you
And ride off into your delusional sunset

I'm not the one who's lost
With no direction, oh
But you'll never see
You're so busy making maps
With my name on them in all caps
You got the talking down
Just not the listening

[repeat CHORUS]

BRIDGE:
All my life I've tried
To make everybody happy while I
Just hurt and hide
Waiting for someone to tell me it's my turn to decide

[repeat CHORUS twice]

Lemme hold your crown, babe
Oh, oh

I love the "who cares" and "you dare" lines in the chorus;  Sara uses high notes to emphasize them just as you would if you were saying them in conversation.  Who cares?

The great songwriting and distinctive performance of King Of Anything makes this a hit to my ears. You can view the video below.

IJ