A group of local songwriters and industry pro’s (including myself) were lucky to have the opportunity to sit down with 2 of BC’s top songwriters in a Roundtable Workshop put on by Music BC (www.musicbc.org).
Our speakers were Vince DeGiorgio, longtime club DJ, remixer, label owner, producer, composer, road manager, club promoter, marketing manager, A&R Vice President and now, lyricist extrordinaire. (wow that’s a lot of titles) Next we had Ron Irving, a brilliant, talented singer/songwriter and producer who has worked with some of
The night was filled with stories (many of them scary) about publishing contracts, deals gone sour, and what to watch out for as a writer. As a fledgling songwriter, I’ve always wondered about that illusive “deal” from one of the major publishing heavyweights. Our speakers have both been through such deals and lived to tell the tale.
The one common thread of advice they gave to us was to NEVER sign anything we are unsure of. Publishing contracts are often filled with pitfalls for the writer. For example, we all know what it means to be “Recouping” (paying back your advance $$). So, as a songwriter, the way the Publisher makes sure you do this is by shopping your songs around in order to get them “cut” (recorded) by other artists, or to be used in film, tv, advertising - you name it. This is the job of a Publisher, or at least a good one. Once the advance money was all paid back, Vince said they stopped shopping his songs! This was probably because they had other writers who were still recouping, and could stand to make more money from shopping those writers’ songs. That left Vince wanting to get out of his deal, which luckily, he did.
So do I really need a publisher? If you’re a great songwriter, and really creative (and persuasive) then you can absolutely get that song cut on your own. Once you’ve written your future #1 hit, until you sign anything you own 100% of the publishing of that song. Use that to your advantage! Write “One Stop” on your demo CDs and say that proudly when you present your songs to others. One Stop means that there are no middle-men when it comes to using your music. For example, a film maker looking for some would go directly to the writer instead of going through intermediaries like a publishing company (or several) and dealing with all the red tape that goes with it. I’d rather be proudly and loudly independent than sorry I ever signed that bad deal with a publisher. Take your songs around to all the managers, labels, artists, even film makers, or anyone who will listen. Actively look for places your music might be used. Don’t just sit there and let the deals come to you. Be your own publisher and like I said before, NEVER sign anything you are unsure of.
Once you have secured a few “cuts”, have lots of projects on the go, or in the “pipeline” then it might be ok to look into a Publishing deal, or work as a staff writer. You’ll have way more bargaining power and less risk involved. I’m a DIY kind of guy, and it really intrigues me how these major labels, publisher and mainstream industry types are more interested in you when you can show that you are making money on your own. Why then, would you ever want to share your “pie” with them? Oh well, I’ll save that rant for another day, another article.
I’m not saying all publishers are evil. I’m not saying all deals are bad. But if you are hesitant about an offer to use one of your songs, our experts say to 1) Get the deal in writing 2) Go over it with a fine-tooth comb and 3) If you’re still unsure, take it to an expert, like an entertainment lawyer. Many of the “too good to be true” deals won’t even make it to #1, so it’s a good way to avoid wasting your valuable time. Just remember to do your homework (there are lots of great books out there) avoid terms like “Exclusive”, and remember that when you hold the publishing, you hold the power!
Nathan Stafford is an independent musician and marketing consultant based in Vancouver, BC.
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