Trevor Gale Interview
Nov 30, 2007 8:00 PM
(re)Mixed Media
Read the entire "New Rules of the Game" article on the state of urban music production.
Trevor Gale is VP of Writer/Publisher Relations with SESAC
Remix: Songwriting - especially in pop, dance, hip hop and R&B - certainly has changed over recent years. Today, we’re seeing much more interaction between the producer and the artist/writers, very early on, typically during the pre-production/beat-making process in the studio. The “blurred line of songwriting and beatmaking” appears to be, at what point does the producer become a co-writer and get credit?
TG: Yes. Well, the producers definitely get songwriting credits. I always strongly recommend that young up & coming producers understand and clarify that they are in fact songwriters in these situations. If they create the music they are writers. This is true in most cases except in cases
where sampling is involved. As far as producers receiving compensation as work for hire there are situations like that, but I always strongly recommend against that in favor of them receiving their correct songwriting and publishing share. All producers should receive their “points”, or percentage of the sale price, when the CD’s are sold traditionally or downloaded.
Remix: Continuing with that thought, then, at what point does a ‘contribution’ to the writing process generally warrant getting your name on the writing credits and thereby sharing the publishing royalties?
TG: Songwriting percentages are typically assigned so that 50-percent of the song goes to those who create the music – that is the melody, chords, bass line etc., commonly called the beat – and 50-percent goes to the lyricist. Therefore, it becomes clear that if you create the music and all its elements, you are deserve a 50-percent share of the songwriting and publishing royalties.
And if you create the lyrics, and I mean ALL the words, you are also entitled to the remaining 50-percent share of the songwriting and publishing royalties.
To determine what contribution warrants actually getting your name in the credits is challenging to say; it really depends on all the parties in the room creating the song at that time. That is why it is crucial for people to get what is called a ”split sheet.“ When you finish working on a song with others you sign a piece of paper that indicates the name of the song, the date, and all the names and signatures of people involved and their percentages. It should also indicate what their contribution was to the song. Make copies for all involved and hold on to your copy. Better to
do it up-front than after the song is released.
Remix: It used to be that albums were envisioned and crafted by one or two producers who’d do the whole thing. But now – not only in hip-hop, but also in pop and R&B – it’s getting to be a dozen or more producers, each steering one or two tracks. We’re hearing from A-list producers that what the labels are trying to do is “even-out the super-producers”. Like, they’ll use Dre, Timbaland, and Just Blaze, and then they go back and fill in the album with a bunch of producers they can get for a cheaper price. So, as revenues decline, will we see more up-and-coming producers, artists and songwriters getting a shot on major releases? Are your members finding new opportunities easier to come by with the label A&R searching for new beats and song material?
TG: Well, my perspective on this is that labels use several producers because they are trying to hedge their bet, in other words – the more A-list producers they can use, the better the chances the project does in the market place. So they will use Swizz Beatz, Just Blaze, Danja Handz, Bryan Michael Cox and Timberland, because they are betting on each one of them having a hit based on their track record. And it actually lessens the chance for new up and coming producers and writers to get an opportunity on major projects.
I think young up and coming producers and writers heighten their chances by writing the best possible songs and getting those songs to not only the A&R people, but to some of the more established producers themselves. It is the A-list and in some cases the B-list producers who are getting more calls than they can actually answer, and that is where an opportunity might open up for a new writer. Because if you are there with the hot song when they have too much work on their hands, your song might be just what is needed to lighten their load and meet a deadline.
Remix: Over the years, labels have had a lot of follow-the-leader mentality as far as you hear a hit song today, and you’ll hear 100 more that sound just like it in coming months. But, we’re also constantly hearing from A&R heads that they’re looking for something fresh. So, which is it? What do you tell new producers, artists and songwriters who want to be noticed?
TG: I tell writers who want to be noticed to definitely be as original and unique as they can possibly be, this however is within the realm of being as commercial as possible. The trick to hit records is being original and commercial at the same time! Writing something different that seems somewhat familiar.
You have to give A&R people something that they know and love wrapped in something that they’ve never heard before. That is what they mean by fresh. The songs still has to have a great groove to it, but maybe one that has never been heard before or heard it used that way before. And the song still must have an undeniably strong hook, and a melody so strong that it stays with you. Those things sound familiar, yet can YOU give it to me in a new way?
Remix: In the world of rock, it’s said that touring and merchandise sales are what will keep new bands/artists alive in the future of declining record sales. But, this doesn’t seem to translate very well into the world of hip-hop and other urban forms because they’re so inherently studio and video-based. How can a new rapper or R&B artist survive if they can’t get out and tour like the major acts?
TG: In the urban world, artists need radio and video in order to make a major impact. The urban music fan needs to hear that song on the radio before they buy it or go see that artist. Where as a rock fan goes to hear a band based on word of mouth and rock bands can also get on tours more easily than an urban artist. Radio plays a huge part in the development of the urban artist still to this day. With that said there have been underground urban artists, who have done well, but not in terms of major label numbers. Artist like Ledisi, Eric Robeson and N’Dambi etc. have used the Internet, amazing live performances, and a sense of community to build their careers. I am a big believer in the DIY mentality.
In today’s music industry, artists must build their own buzz, or story if you will. Promote shamelessly; network; use new avenues such as TV, Internet, movies, jingles, etc. And be able to perform fantastically. Try to get a mentor, or work with an established camp. Most of all, really have super amazing songs!
Artists might also have to adjust their concept of success and the time line it takes to
achieve that goal. In the old music business we went ‘gold’ in the first week and ‘double platinum’ by the second month. Now it might take a year or more to get the fan base to get gold-like sales numbers. But if that record is on an independent label, that might not be so bad. What matters now is finding ways to stand out. And build the STORY!
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