Why a writer but not an artist?
Jim Andrews
thread, I'm curious:
Why would anyone actively choose to attempt a career as a WRITER
as opposed to the full package, i.e., an ARTIST who writes his/her
own material? I'm not trying to be inflammatory here, but it seems
that there are a fair amount of folks on this newsgroup that are
musical enough to write good songs, but would rather sell them to
someone else.
Is it a lack of confidence in one's voice/playing abilities?
Stage fright?
I'm guessing that a lot of the Nashville writers tried to get
there as performers, and were told (or saw) that they wrote better
than they performed. Is this true, RW?
Just curious . . .
Jim Andrews
SongDoc
and...@eden.com (Jim Andrews) wrote:
>As a related issue to some of last month's "professional success"
>thread, I'm curious:
>Why would anyone actively choose to attempt a career as a WRITER
>as opposed to the full package, i.e., an ARTIST who writes his/her
>own material? I'm not trying to be inflammatory here, but it seems
>that there are a fair amount of folks on this newsgroup that are
>musical enough to write good songs, but would rather sell them to
>someone else.
lots of great songwriters couldn't sing their way out of a shower,
jim. a couple examples... country: harlan howard, pop: leiber &
stoller. but they've written songs that have changed both genres of
music.
some people recognize their limitations and work around 'em. some
don't... and they annoy us with voices only their mother could love.
and mom usually doesn't have educated ears...
some folks start as writers, hoping to hook an artist deal after
getting noticed for their writing. using one nashville example; dave
gibson had success as a writer before starting the gibson-miller band
(yuk) with blue miller. the reverse is also true... skip ewing was
very successful as a country artist / writer. now he focuses on his
writing. and he's getting some great cuts. there are MANY more
examples. i think carol king started out as a writer...
>Is it a lack of confidence in one's voice/playing abilities?
that's a pretty general question. some have no performance talent,
some can leave you spellbound. angela kaset has the ability to
mesmerize a room. or... ever hear of nrbq? big al, their
ex-guitarist, is hardly a slouch in either area... but he left the
band to concentrate on his writing. and he's getting some great
covers.
>Stage fright?
see above.
>I'm guessing that a lot of the Nashville writers tried to get
>there as performers, and were told (or saw) that they wrote better
>than they performed. Is this true, RW?
i'm sure reese and i have the same answer. yep. it happens.
usually, once the reality of not getting an artist deal sinks in, the
artist leaves town. occasionally, they'll stay and develop their
songwriting skills (art and craft)... and try for a staff gig, etc...
>Just curious . . .
go for it.
Greg Skinner
Reese Wilson <reese....@nashville.com> wrote:
> However, all the above questions ARE true in other cases... Most
>of the writers who never shot for the artist thing simply can't sing...
Could you expand on this? I think I'm a pretty good singer, but I
don't play the guitar at all, and am only a marginal keyboard player.
Also, I would rather not have to worry about playing the keyboard at
all while singing, so I can use my whole body to communicate with the
audience. I have gotten the impression that people who only sing get
very little respect compared to those who both sing and play, even if
they are outstanding vocalists (not that I am :). I suppose I should
not worry about what others think, but it is kind of a sensitive issue
with me, partly because when I was younger, I did not have the
opportunity to really learn how to play instruments.
In general, I don't believe I have a burning passion to be either a
(pro) songwriter or recording artist. This seems to be very important,
if for no other reason than it can get you through the tough times.
--gregbo
Peggy Bertsch
: : Why would anyone actively choose to attempt a career as a WRITER
: : as opposed to the full package, i.e., an ARTIST who writes his/her
: : own material? I'm not trying to be inflammatory here, but it seems
: : that there are a fair amount of folks on this newsgroup that are
: : musical enough to write good songs, but would rather sell them to
: : someone else.
: : Is it a lack of confidence in one's voice/playing abilities?
Not necessarily. I've always thought that the writer's life was pretty
cool -- you're not out on the road playing hundreds of dates a year, living
out of a suitcase, and playing the same songs every single night. Instead,
you get to focus on *creating* new songs, you can work at home, make your
own hours, wear t-shirts and sweats if you want to, and go to the supermarket
without people pointing at you and whispering about what you put in your
basket :-)
I love to perform, and I take any fun gig that comes my way, but I have
friends out on the singer-songwriter circuit who are killing themselves
just trying to get by and to break out of the pack, and that part of it has
no appeal to me whatsoever. It's not a lack of ambition -- it's just a
lifestyle choice. I'm *very* ambitious about my writing (even if I do
procrastinate too much :-)
:
: : I'm guessing that a lot of the Nashville writers tried to get
: : there as performers, and were told (or saw) that they wrote better
: : than they performed. Is this true, RW?
Actually, these days, the opposite is true. I see a lot of publishers in
Nashville signing writers more for their artist potential then (in some
cases, anyway) for their writing ability. I mean, a lot of them are good
writers, but the reason *they* got the staff deal over a *non*performing
good (or very good) songwriter is because the publisher thought they might
get a record deal someday, and would probably record as many of their own
songs as possible...so the publisher has a chance of getting a *lot* of
cuts all at once if they own that writer/artist's catalog. And if that
writer/artist manages to break it big...the dollar signs just start spinning
in the publisher's eyes :-)
So now, when I'm asked by a publisher if I'm interested in an artist
deal (I usually pitch demos that I've sung and played on), I'm somewhat
noncommital. Might as well cover all the bases, and if someone actually
*offered* me an artist deal, I would definitely consider it. But it wouldn't
break my heart if it didn't work out. Just put me in my bedroom with my
guitar and a pencil and paper, and I'll be happy (*especially* if you pay
me for it :-)
--peg
David Wier
Elvis was white & look what he did with their songs!
David Wier, Songwriter, Composer, Musician, Poet
Check out my home page at:
http://www.airmail.net/~dwier
If you don't swing, you'll never hit.
David Wier
voice. In fact in a band I've been in off & on for years, I seem to get
more positive comments about my singing recently than the actual 'lead
singer'. However, I don't think I have the charisma (like G. Strait or
others) that it would take to be an artist/singer. I would rather just
write songs. I've been on the road and I know what it's like.
PS...Paul - I'm here in Dallas - didn't know any local 'personalities'
were here on line. I know you don't know of me now - but someday soon
(as the lyrics say)......
AFC PeterS
> L&S may not have been 'creditable' as white R&B artists, as you
> say, but Elvis was white & look what he did with their songs!
Leiber & Stoller began writing in 1950, several years before Elvis' career
had started. At that time, the idea of a white R&B singer was unthinkable
to them, as well as to most other people. They considered black singers
essential to authentic R&B (even if this was not consistent with the logic
that allowed two white, Jewish teenagers to write R&B songs).
Elvis hit the big time in 1956, and changed all that forever. It was the
success of his cover of "Hound Dog" (originally written for a black woman,
remember) that got L&S involved in writing for Elvis' movies. By that
time, they were firmly established as writers and producers, and didn't
consider Elvis' breakthrough an opportunity for them as performers,
although they happily conceded the point that white people *could* sing
R&B after all.
Peter Stoller
Kai Quale
> Actually, Jerry Leiber was a creditable singer in his youth; his chops are
> gone now, if only through lack of exercise. The main reason L&S didn't
> become performers was that, in the early '50s, the notion of a white
> blues/R&B singer struck them as being terribly inauthentic.
>
> Yet another entry in the long list of reasons to write but not perform. :)
>
> Peter Stoller
This has nothing to do with the discussion - I'm just curious:
Peter, are you related to the Stoller of Leiber & Stoller ?
kai