Robin Frederick is the author of the top-selling songwriting books “Shortcuts to Hit Songwriting” and “Shortcuts to Songwriting for Film & TV.” She has written and produced hundreds of songs for television, music albums, musical theatre, and audio products. While Director of A&R and Production for a division of Rhino Records (Ray Charles, ZZ Top, Aretha Franklin), Robin was responsible for the creation of more than sixty albums. She is head of the A&R/Screener Team at TAXI and has served on the board of the Recording Academy (the GRAMMYs) and is past president of Los Angeles Women in Music. Through her books, articles, and workshops, Robin has shared her insights into song craft with hundreds of thousands of people.
How does a young person get into the music business?
The most important thing is to start small and take it one small step at a time. Start locally. Can you put together a band or a duo with your friends? Is there a local band or artist you could write songs with or get involved with in some way? Is there someone who can give you some voice lessons, guitar lessons? Check out the music classes or clubs at your school or church.
Why is this important? Wouldn’t it be better to just jump onto “American Idol” if you can?
The people who go on to win those contests have been working hard on their voice, their stage presence, their repertoire of songs. And they understand the importance of teamwork. Working with others is a big part of your eventual success even if it doesn’t seem like an obvious thing to do. What I tell people when they ask me how to make a career in the music business is this: You never go from Point A to Point B in a straight line. In other words, let’s say Point A is the very beginning of your career; you don’t have any contacts or experience in the music business and you want to get to Point B which is being a hugely successful Rock star. Naturally, you want to get from A to B by the fastest possible path. But this never happens. Not even to Rock stars! On the way from Point A to Point B, you’ll have many experiences, you’ll learn the kinds of things you need to know in order to be successful at Point B. You may even find more interesting places than Point B — new career paths that are more intriguing, ones you never knew about before, ones that suit you a lot better than your original goal. You don’t know when you begin just what your path will be but each step will lead to another if you remain open to it. You NEVER know what will happen. So just keep taking small steps like these:
- Write songs and play them for anyone who will listen.
- Listen to songs on the radio that you like and study them.
- Read books about the music business and interviews like this one. Check out Music Connection magazine.
- Meet local people who share your dream and are willing to work with you.
A lot of your songwriting has been for television shows. Is that different from writing hit songs for radio?
Yes, it is a little bit different. Hit songs for radio have to stand on their own, keeping listeners involved and interested from beginning to end just on the strength of the music, lyrics, and vocal. That’s why you hear those huge, catchy choruses and big productions on the radio. On the other hand, when you’re writing a song for television or films, the actors and the dialogue keep viewers involved while the song is there to enhance the emotion. A big, over-the-top production or chorus melody could be distracting while a simpler guitar/vocal performance might have just the emotional feel that’s needed. TV series are using more and more songs these days – thousands each year. I’m very excited about this market for young singer-songwriters. That’s why I wrote my book ‘Shortcuts to Songwriting for Film & TV” — to show people how to write for and pitch to that market.
Stress is a big part of the job you do. How do you deal with it?
When I was writing songs for the Disney Channel, I had to deliver three to four songs a week! Now THAT was stressful but I knew it was just a matter of trusting to my knowledge and skill. Creativity is like muscle; the more you use it, the stronger it gets. Don’t be afraid of taking on challenges! The best way to deal with it is to get to know your craft inside and out. Study hit songs. Study production and vocals. Listen to current hits that you like. Listen to songs in TV shows and films.
You’re head of the A&R/Screener Team at TAXI (http://www.taxi.com). Could you tell me more about how TAXI works and how it helps up-and-coming artists?
TAXI is basically in the middle between record labels and music publishers looking for music and the songwriters and artists who make the music they need. We have screeners who listen to every song and music track that’s submitted through TAXI. Each screener is someone who has either signed major acts to a label, worked as a top exec at a music publishing company, written hit songs, or is currently providing music for film and TV. They give feedback to TAXI’s members on songwriting, performance, recording – whatever needs work to bring it up to a competitive level. It’s like the professional “artist development” that music publishers and record labels used to do. When the TAXI member is on target for what the label or publisher is looking for, their music is forwarded. We have hundreds of placements each year in film and TV, our members have gotten publishing deals and some have very lucrative careers because of TAXI. You can find out more at http://www.TAXI.com.
If someone only writes lyrics and doesn’t play an instrument, can they get into they get into the music business?
Music publishers generally won’t look at a lyric without music these days. It’s really not possible to tell in today’s music styles how well a lyric will work until it’s put to music. So here are some suggestions for lyric writers… Look for songwriting collaborators online or in your local area. Check the music department at a nearby college, ask music teachers and at music stores. Find a band in your area and ask if they are open to collaborating with you. I strongly recommend that lyricists learn to play some basic chords on piano or guitar, even if it’s just so you can communicate better with a collaborator. It’s not hard, honest! You only need to know four chords. And, who knows, you might end up writing your own melodies, too. It’s important to be aware that lyrics are not poems. It’s very difficult to write a successful lyric on paper. In my book, “Shortcuts to Hit Songwriting,” I suggest writing new lyrics to an existing hit song for practice, following the rhyme and rhythm patterns of the hit. This is a great way to practice good lyric writing and get a feel for contemporary lyric styles.
What’s the most important advice you’d like to give to young people wanting to break into the business?
Don’t give up. Stay open to all the possibilities. And don’t wait for someone to come along and make your dream come true for you. Work hard. You’ve got to show you’re motivated and that you’re willing to go the distance!
