Q. Should songwriters send their raw songs to record companies? or to publishing companies?

A. If you are submitting your songs 'as a songwriter', then publishers are your target. If you are submitting material 'as an artist' then labels are your target. Of course writers and artists end up using both, but it's where you start that defines which hat you're wearing. Pick a hat and wear it!

Also, the songs you pitch for consideration do not need all the bells and whistles. A simple recording of a great vocal and guitar or piano is just fine, unless the song demands that a 'groove' be defined. (As is the case with Rap/Hip-hop and R&B or orchestral arrangements). If the publisher likes the songs, they will offer to produce it and charge that expense against your first royalties (or not). In any case, never fall for offers from 'songmills' that want to charge you for 'producing' your demo. They'll tell you you have a 'hit on your hands', and that you simply 'must' have better production or Tim McGraw's manager will shit-can it immediately. Hang up the phone and read the answer in the next question!!

Q. This is a multi-part question for the Earthwire program: What is the best way to get an original song to someone who would be in a position to pitch it to performers? Is it best to go to music publishers, or to focus on producers of particular acts that you think might be interested in the song? What's the best way to make contacts?

A. (For the answer to the second part of your question, see the answer in the question above.) Back in the early days of recording, it used to be common for bands and artists to receive songs at the back door of concert venues from fans holding out cassettes and screaming, "Hey man - listen to my songs!" Sometimes the band's manager would take the tapes and sometimes not.

These days, artists and publishers don't dare accept music this way. The risk of copyright infringement lawsuits scares the pants off of them, so you need to reduce the amount of risk they are exposed to in order to get in.

When you have completed your demo, send the publisher a postcard with a short intro and questionairre: Say something like:

 The SoundChick Recommends:

When you are ready to pitch your song to a publisher for use in commercial radio, edit the intro to no more than 4 bars and eliminate any instrumental solos. They are not interested in how good your band is - they want to hear the SONG!

When you submit your lyric sheet, make sure the words are in ALL CAPS. Don't type the chorus over and over, either. A simple double spaced line with the words "repeat chorus" are sufficient, and will make the visual impact less intimidating.

Is your song over 4 minutes?

Do you get to the chorus in less than a minute?

If this advice sounds formulaic remember, these guidelines are for pitching to radio - not necessarily right for every venue.

"Dear so-and-so: My name is (XXXXXX) and I am a singer/songwriter based in the Houston, Texas area. I believe the new song I have written would sound great with (ARTIST) performing it, and I am asking permission to submit this work to your office. Please indicate your response below and return it as soon as you can. I have stamped the other side of this card and return-addressed it for your convenience. If there is a mailcode that needs to be visible on my song submission, please write it in the space indicated.

Regards, Joe Blow.

Yes, please send your demo to me for review at this address_____________________ and write this submission code _______________ on the outside of your envelope.

No, I am not accepting outside material at this time

Try me again later

This way, the ball is in their court, and you have made it as easy as possible for them to accept your song.

Making contacts requires that you attend other artists shows and attend songwriters conferences and do a lot of co-writing. Sometimes your co-writer may have better contacts and more experience than you do. Learn from them.

If you have tapes to hand out, you could try to get one into the hands of the artist's tour bus driver. After all, he decides what they listen to while they are on the road. Another way to get past the publisher is to go through the artist's entertainment attorney. No safer avenue than that for the artist.