When should band members share songwriting credit?

By Ted Slowik

When a solo artist writes a song, it's a fairly straightforward process. That person composes music and writes lyrics and is credited as the writer. Maybe he or she collaborates with other writers on some songs and shares the credit accordingly.

A band that writes its own tunes, however, can become complicated. When should band members share writing credit? At what point do another member’s contributions become significant enough to warrant credit? Do drummers ever get writing credit?

First, collaboration among band members who are songwriters usually starts out as a healthy, productive process that is good for the overall quality of the music. Every writer should have an editor, and when that editor is a trusted friend, all the better.

There are many different models for band songwriters. There are bands where one person is the principal songwriter and receives sole credit for most of the compositions. Think Pete Townshend of The Who or John Fogarty of Creedence Clearwater Revival. Then there are groups where a songwriting duo always receives credit, regardless of the actual division of labor: Lennon/McCartney, Jagger/Richards.

Drummers occasionally are credited. For years during its original lineup, the credit for every R.E.M. song was Berry, Buck, Mills, Stipe.

More commonly, though, songwriting credits for bands vary and attempt to acknowledge the actual creators of the material. There may be contributors who aren’t members of the band, or even musicians, who receive credit. (Ronald Reagan’s daughter, Patti Davis, once co-wrote a song with The Eagles.)

To maintain a healthy, collaborative climate, it’s a good idea for bandmates to at least have a conversation about songwriting credits. Publishing royalties are sometimes the pot of gold at the end of the rainbow, and you never know when that one song may strike a chord, pun intended. It’s best to have reached agreement on sharing credit beforehand.

Typically, before band members become songwriting partners, members will bring to the table completed songs for the group’s consideration. If the group ends up playing the song the way the writer intended, it’s a solo credit. Things like solos, backing vocals, breaks and other embellishments that don’t drastically alter the structure of the song don’t rise to the level of songwriting co-credit in my book.

Here’s where it gets tricky. What of those contributions that DO significantly change a tune? Those must be acknowledged and the credit should be shared, methinks. I’m talking things like substantial contributions (more than a couple words) to lyrics, or a musical bridge, or chord changes that really improve a song. The lead writer has to realize when contributions have made the difference between a good song and a great song and give props.

Open mics are great opportunities for songwriters

By Ted Slowik

I've written songs for 30 years, but for about 28 years I never thought to perform them as a soloist. I wrote some songs that bands performed, but could count on one hand the number of times over three decades that I performed originals on an acoustic guitar in front of an audience.

All that changed in late 2011. I realized if I was ever going to get any mileage out of any of my original compositions, I'd have to be the one playing them. I spent two to five hours every day for the better part of a year practicing my guitar playing and singing, and have been pleased with the progress. (I've played bass most my life.)

I'm no virtuoso, nor am I incredibly talented vocally. But I work hard, have good rhythm, can write lyrics well and can carry a tune--especially rockers--with the best of them. I enjoy performing covers as much as originals, and have a great time when audiences show appreciation.

Still, I haven't recorded anything professionally in a long time, and while I certainly have enough material (closing in on 100 songs) to choose from to fill an evening, so far the gig offers have been manageable. I like to keep up my performance chops between gigs by playing at open mics.

Open mics don't pay, not even free drinks. Depending on the venue and the number of performers signed up that evening, you might play from two to maybe six songs, or more sometimes. I like to arrive early and sign up ahead of time, to get an early slot, so I can get out at a reasonable hour and get my beauty sleep for the day job.

It's great hanging out, meeting and getting to know other musicians while waiting to play. Open mics are communities--typically most performers know each other, and if there's a new face the group or at least the majority of individuals are generally very welcoming. If you're an introverted songwriter you might have trouble adjusting to this at first, but it's really helpful if you're comfortable talking to and performing for strangers or new friends.

When I began solo performing I checked out a few open mic-type settings I'd heard about. One was a folk song circle at a coffee house. I was the youngest person there and didn't feel like the music was a good fit. Another was at a bar in Naperville. The people were friendly, the music was good, but it was nearly all covers, and too far of a drive from home to make it a regular thing.

Then in late 2011 I found Niall Freyne's Tribes Alehouse in Mokena, where John Condron hosts acoustic open mic every Wednesday. I'm a regular--nearly every week. It's about a 20-minute drive for me, the sound is good, the company is great and originals are encouraged though not required.

In addition to John, I've gotten to know a great many talented songwriters and performers through Tribes: Tom Maslowski and Becky Smentak, Pat Otto, John Green, Bill Ryan, Ryan Olsson, Greg Woods, Greg Toombs, Joel Ahrweiler, Charlie Champene, Chris and Allison Flood, Karl Maurer, Matt Biskie, Scott McNeil, Spetrus, Eddie Bartley, Nick Domberg, Tristan Charles, Patrick and more.

I think it's the premier acoustic showcase for songwriters and performers in the towns southwest of Chicago. The experience of playing there regularly has really helped my comfort level, performance and even writing.

A few times I've trekked to Abbey Pub's Green Room in Chicago, or FitzGerald's Sidebar in Berwyn. They have great open mics on Tuesdays, but they're a long ways from home and it's tough to do back-to-back weeknights out. There's also a great room in Willow Springs called the Ashbary, but it's a younger crowd that makes me feel more like a geezer than I already am. But they have great audiences who listen in silence while you're playing and go nuts with appreciation when you're done. The William Alexander Wine Bar in Lockport also welcomes acoustic solo players on Sunday nights, though it's a hybrid acoustic showcase/electric jam with bass, drums and keys.

Open mics are a great way to test out new material. For songwriters who can perform, open mics can help you gain experience, hone your craft and pick up valuable feedback from audiences.

There's also a good selection of electric blues/rock jams in the southwest 'burbs, but that's a post for another day.

But wait, there's more!

By Ted Slowik

$995.

That's how much a couple guys are charging to critique your songs during a three-day "songwriting camp" in Indiana. A couple guys from Nashville, who have impressive creds, have organized this camp. You get a demo of your song, backed by pro musicians, and you get to perform it Saturday night during a shindig at the end of camp.

When I heard this I thought, what a brilliant idea for a revenue stream!

Because, essentially, that's what a group of friends and like-minded musicians are doing for free on Monday nights during Songwriter Circle at Chicago Street Pub in Joliet. Alex Hoffer hosts, and joining him for the second weekly circle March 4 were Steve, Mary Beth, Eddie and me.

We sat around for a couple hours, talking and playing. Alex offers very insightful feedback about chords, arrangements, structure--you name it. We played three of our own songs each. The feedback was very valuable. I mean, maybe not worth $1,000, but if you had to put a price on it I'd say it could run into the hundreds. Like a lawyer or doctor charging for professional advice.

I was able to pick up some guitar-playing tips. I had a couple lessons when I was a kid getting started, but I really only know basic chords. I don't know all my sevenths and ninths and minor diminished (or is it diminished minor?) chords. But I know if I keep hanging around this group I'm bound to absorb some good stuff through osmosis.

Anyway, Alex plans to continue hosting these on Monday nights at Chicago Street. They get started sometime after 8 p.m. If you're a songwriter looking for free advice, check it out.

9 golden rules for musicians and artists

By Ted Slowik

Musicians, writers and other artists—or anyone for that matter—can really piss off other people or hurt their feelings, intentionally or unintentionally, through what they say or write and how they behave toward others.

I spend a lot of time in bars where live music is played. When I’m out, I genuinely enjoy sharing the company of other writers and musicians, meeting new people and getting to know new friends better. When hanging out with other musicians, or writing a blog, or engaging with others on social media channels, I try to adhere to a few golden rules:

·         Treat others the way you would like to be treated

·         If you don’t have anything nice to say, don’t say anything at all.

·         Be honest. Don't heap false praise if you don't mean it. Don't say you know someone or are familiar with his work unless you do.

·         You learn more by listening than by talking

·         Try to think of others more than yourself

·         You can have a lot of fun being close to the action without having to be the center of attention

·         If you can’t resist constructively criticizing someone, say something positive first

·         Don’t say anything about people who are not present that you wouldn’t be comfortable saying in their presence

·         Don’t exaggerate or brag about your accomplishments

We’ve all had to deal with awkward and embarrassing situations because of what we’ve said and done. We all have faults. That doesn’t necessarily mean we’re fatally flawed. If you want to develop true friendships, pursue real happiness and have a good time instead of constantly dealing with regrets, trying to follow these tips might save you a bunch of grief.

What happens when you get a bunch of songwriters together?

By Ted Slowik

Monday night I took part in a songwriter circle hosted by Alex Hoffer at Chicago Street Pub in Joliet. Alex is a gifted singer, guitarist, writer and performer, and a good guy too! Nick Domberg and Charlie Champene kicked it off, too.

This was the first songwriter circle at Chicago Street. Monday nights are typically the slowest night in the world of live music, bars and restaurants. This was a chance to play some songs or works in progress and get instant feedback from other writers.

I hadn't participated in a songwriter circle like this before. The closest was a daylong conference in 2010 presented by The Union at North Central College. There, professionals like John Joseph Thompson, who is director of creative and copyright development at Capitol CMG Publishing in Nashville, and musician Andrew Osenga offered feedback. But there were a lot of songwriters involved at that seminar, and it was a more formal process, so everyone only got to offer one song for critique.

Songwriting works at many different levels. There are the lyrics, for one, and the story or message they convey. Monday night we talked about writing with the audience’s reaction in mind. Sometimes, a song is written for an audience of one. It’s about, directed at or intended for a particular individual. We talked about a lot of topics to do with songwriting.

Alex and Nick had some good discussions going about the musical side of songwriting, the chord variations, the structure and changes of a song. I admire the musicianship of them both! I took away a lot of good ideas about trying different approaches to writing. I'm more of a lyricist who only knows basic chords, but I could appreciate the discussion.

The first hour we went around the circle, each playing an original song and talking about it. The second hour we were joined by Steve Becker, Mary Beth Daw and Chris Flood. They also played some of their songs, which are very good! It’s interesting to hear different perspectives, and appreciate how other people can take a vastly different approach to songwriting than you do.

Maybe some of the other participants never considered working collaboratively on writing a song before, yet that's how a great deal of songwriting occurs.

Sometimes when someone was playing his song, others would play along quietly. Nick played harmonica on some songs in addition to guitar, so there was some jamming going on, though that wasn’t the point.

Then Alex asked us to each take about 10 minutes and write part of a song on the spot. Suggestions were taken for topics, and a topic was chosen—something about the metaphysics of architecture, I think. I’m not really sure. I didn’t understand the exercise. I thought we were supposed to write about the topic of our own choosing, but I get it now. We went around and played our bits. It was a lot of fun!

The wide circle of musicians and songwriters that come through Chicago Street is an incredibly supportive community. Thanks Triz and Kathy for supporting live local music! Alex plans to host the Monday night songwriter circles at Chicago Street on a regular basis.

Be happy, before it's too late

By Ted Slowik

I’ve been playing acoustic guitar and singing originals at open mics regularly since October 2011. I’m having a lot of fun. I got to wondering the other day: Why didn’t I think of this sooner? I started learning guitar in 1980 and wrote my first song in 1982. What took me so long to start playing my songs in front of people?

The obvious answer is that I played bass in a blues band for 11 years until September 2011. But that’s not a full explanation. I had rediscovered the guitar a while before that, during 2010. Initially I thought I’d play electric guitar instead of bass and become the frontman of a blues band. But I soon realized I’d have to spend many more hours practicing leads to become a decent blues frontman.

So my focus shifted to what I consider my strengths, which are rhythm acoustic playing and writing songs, particularly lyrics.

But what made me think in terms of being a solo artist, instead of a member of a band? Without going into detail about why I left the blues band after 11 years, something happened completely unrelated to music that caused me to rethink life at its very deepest levels.

On March 2, 2009, my brother Jim died suddenly of a heart attack. He was 59.

I was 44 at the time, and in the months that followed I found myself thinking, If I go at 59 like Jim, that means I’ve only got 15 years left. That’s not a lot of time.

I started thinking about what I really wanted to do, what really made me happy in life. Family, check. Day job, check. Music, um. That’s when I realized if I could change one thing about my life, it would be my music.

Playing music is one of those things that makes you happy the more you do it. When you play music every day, you’re better today than you were yesterday. That sense of accomplishment equates to inner happiness.

Before 2009 I didn’t think very much about what made me happy, and before 2010 I didn’t play music very regularly. The blues band typically rehearsed once a week, but I didn’t practice or play for fun besides those rehearsals. But in the four years since Jim’s passing I’m grateful to have discovered that playing music more often makes me happy, and I’m pleased with the progress I’m making as a musician and songwriter.

I guess the takeaway is this: Whether you’re 84 or 44 or 14, figure out what makes you happy and do it. Do it because our time here is limited, and you don’t want your last thoughts to be, I wish I’d …

A few words about writing

By Ted Slowik

All my life I've wanted to be a writer. Most of my 30-odd-year professional career has involved writing, mainly journalism. I started playing music with violin and piano lessons as a small kid, and began playing guitar at 15. I wrote my first song at about age 17.

So, where does a writer find inspiration for songs? What is the writing process like? When will the Cubs win a World Series? These and other questions will be addressed in this post.

First, writing songs is distinctly separate from performing and recording songs. That said, recording and performing artists who also write their own material are what is known as a "triple threat," meaning they can sing, dance and act or they are likely to hit a triple into the gap, one of the two. Some really talented singers and players don't have to worry about writing. They can use their other gifts to entertain and/or make a living, and writing is less important to them.

But for some "hard core" artists, writing is what they do. They may spend their whole lives searching for the right vehicles to express the messages in their hearts. "Real" writers write not for monetary gain, or for fame, but because they see the world more clearly than most, or at least in a different way, and they are compelled to share the truths they know.

All writers draw from personal experiences, to varying degrees. Some songs may be heartfelt expressions of intimate relationships with lovers, spouses, parents, siblings, children or friends. Some may be simple stories of fictitious characters, told in third person. Some may be attempts to capture timeless, beautiful elements of the world around us.

One can approach writing in an intellectual, task-oriented way. You're commissioned or assigned to write about something, so you do. But if left to his own devices, what subjects will a writer write about? What is the process for creating something out of nothing? And what's the inspiration?

Most writing takes place in the mind. Before pen ever strikes paper, or fingers touch computer keyboard, or before a single note is played on an instrument, a song or story is often first imagined. Writers need periods of quiet solitude to allow this to happen. A writer is more likely to get an idea if he's sitting in a quiet room as opposed to watching TV or doing any one of a number of other distracting things.

Sometimes the most beautiful moments for a writer are those transitions between consciousness and sleep. Some ideas come in dreams, but what do we dream about? Dreams are manifestations of what's going on in our lives. If you think really hard about a problem or situation while you're falling asleep, your subconscious often will provide a solution or at least offer clues to you in a dream. You'll usually wake up and see things differently.

Songs aren't always personal. Songs can be written as a means of social commentary. "We can change the world," that sort of thing. No life is perfect. But a song can be about an imagined ideal. The oppressed sing about freedom. The heartbroken sing about love. Writing has to be about something. Otherwise, what's the point? Don't write unless you have something to say.

In conclusion, the Cubs are going through a lot of changes. The new owners are likely to continue rebuilding the team, and Wrigley Field is about to undergo and major makeover. Make no mistake: these people want to win a World Series. Give it a couple years.