I’m in my eighteenth year of teaching BMI’s Nashville Songwriters’ Workshop. In those classes I’ve listened to 40 to 50 songs at least 10 times a year. I did some math: I’ve reviewed more than 8,000 songs—and that does not include the songs I critiqued in the master classes, song camps, and workshops I’ve taught throughout the world.
I’ve watched some of my students grow into exceptional writers, begin relationships with publishers, and end up with staff-writing deals—even number one singles. But most of the songs I heard were “good”—and “good” isn’t good enough to rise above the work being produced by the top hit makers.
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