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They have a special, 100$ off the cost. I believe that I have some good material and feel that now is the time to go forth, so to speak. All and any thoughts (before Sunday which is the deadline) would be welcomed.

Douglas


"Is this a practice? They are all practices." John Denver

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Originally Posted by Douglas Murphy
They have a special, 100$ off the cost. I believe that I have some good material and feel that now is the time to go forth, so to speak. All and any thoughts (before Sunday which is the deadline) would be welcomed.

Douglas



That's how I got into my TV/ film work Douglas. They connected me to Editors Choice. In turn, Editors Choice got me placements on Dateline NBC & Bad Girls Club. So, yes, I recommend them. Keep in mind, I haven't used them for two decades.

Good luck, John smile

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What about Broadjam. Ever think about joining them? I'm still pondering doing so but not sure if it is just another waste of money.

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I tried Taxi for a year. Sent them about two dozen or more songs.
Got two "nearlys" and one they sent to a company for a decision which I am awaiting.
I missed the half price offer otherwise I may still be there. Maybe I'll rejoin when the offer comes around again.

One thing I would say is that you have to be spot on in submitting a song to a request.
They turned one of mine away because my voice didn't sound "country enough". Well there's nothing I could do to change that. :-)

Vic


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Douglas, I'm about to let my TAXI subscription expire, as I've not used it for 2 years. So it was money down the drain when - in a fit of enthusiasm - I renewed my membership two summers ago.

I wouldn't have been hopeful even if I had been active. All in all, I've been a member for several years. Had a couple of 'almost', and two others were even selected for indie films that had been planned, but they never came to fruition. And I lacked the ambition to dig my heels in and keep on pitching. wink (My own fault, not TAXI's. wink )

The competition is truly fierce. Take a look at the forums, where you'll see where a lot of folks are turned down, though the music is extremely good and seems to match the request. You'll also see composers posting initial songs for feedback because they want to pitch them to a specific request, and some are excellent, especially after a few minor tweaks.

I'd say go in with your best songs but don't get your hopes up. Post the song and then forget about it. Concentrate on the next one. smile

I think a main advantage of membership is that you can attend their annual 'Road Rally' in November free of charge, and take part in various workshops with songwriting professionals, as well as network with other songwriters, etc. So if you decide to do that, and with a $100 discount for two year's membership, I'd say it's worth joining for the overall experience, including taking part in the feedback forums. After 2 years, you'll know whether or not to renew the subscription.

https://www.taxi.com/taxi-road-rally-2018.php

Also, TAXI has regular live discussions with pros, so you can tune in to those. Members are always informed by email as to when the events will take place.

If I'd lived in the US, I'd have gone to every Road Rally. But traveling from Europe just for a weekend would have been ridiculous.

And in the meantime, there are plenty of other places that present good pitching opportunities.

In fact, you might like to take a look sat the MusicLibraryReport, where you'll get the lowdown on many, many licensing agencies. (I note they've got 'specials' on as well at the moment.)

https://musiclibraryreport.com

Best of luck. smile

Donna


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It was 1995, I was changing genres from rock to country. (yup, just like that). This will be easy, everybody liked my rock songs. I got going then saw a taxi ad in recording magazine when it was a thing and joined. We sent 3 songs in for 3 listings and got back 3 less than favorable reviews including the complaint that the songs had no bridges and tiky taky pointing out this word seems forced and that line could be stronger....sheesh.

Oh all that really matters?

Ok.

I went back into my hole to try harder and never went back because of expense mostly.

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Well,
In the past I got mailings to join Taxi. At the time I think it was about 300 dollars to join and 5 dollars per song to send to a request. I never joined. Since I now have a Web Site I can send people requesting songs I have no need to Join Taxi. As far as I can tell very few people are looking for songs at present. Good luck.


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TAXI is a great place to get into the business of pitching TV/Film cues, and where you can connect your music to music supervisors. A lot of prolific musicmakers I know have stayed with TAXI for years, and they have made great relationships in the industry and many of them do very well for themselves. A lot of other former TAXI members I know met a lot of music supervisors through TAXI, then just skipped the middleman with the supervisors that knew their capabilities. As far as what it costs, it should be a reminder that the most successful people in this game are constantly producing new music, from cinematic trailer themes to 30 second oddball instrumental cues to full songs to kazoo choirs. The cost may or may not make sense if you have a few dozen finished recordings you hope to place. At TAXI, they show you what exactly is currently being looked for, and the most successful members create that content in response to the listings, daily. They don't rely on their own existing back catalog much, but the more they produce, the more they have available that might be the perfect fit for a listing. I would only join with intent to work constantly, or if I didn't mind spending the money without much return.

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"and the most successful members create that content in response to the listings, daily. They don't rely on their own existing back catalog. - Mark

Good point Mark! I would work on new music every day, trying to create the perfect track for the listing. I fantasized that this was for a film I was scoring, and the producer needed extra music from me. I took the listings personally.

John smile

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Here is a facebook page you might find interesting. https://www.facebook.com/groups/1851904118431564/

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Well, for over 20 years TAXI was our Sponsor here so take that info in mind. But as you all know I am extremely picky about who I accept as sponsors (note the absences of easy money making options). I just passed on another sponsor offer who gave me carte blanche to name my terms and amount and they aren't even a bad company, but I think their price is too high and have told them that. (Not TAXI, the other company). Anyway, here's some thoughts:

1. Taxi is a tool. It is a very good tool to get your foot in the door, to learn professionalism and to see if you are really as committed to your own success as you think you are.
2. Most are simply not committed to their own success. It's the truth. Other entire industries are built on the same premise.

Example: You know you eat too much, weigh too much, exercise too little. You KNOW this. So you get the urge to fix the problem you have which you know needs to be addressed. What do you do next? For most people it is one of these things:

A. You diet. There are a zillion diet options and approaches you can use. They range from very simple and free (library book healthy living plans, millions of free resources on line) to moderately inexpensive expensive (new books, tracking programs like Weight Watchers, Nutrafit etc.) to more expensive (Pre-made food plans, guided help groups online and in real life) to very expensive (private chefs and advisors). But in the end, you are still the one opening your mouth and putting the food in right? So who is in 100% control of your success? You. Who is in control without all these tools? You.

B. You workout. There are a zillion workout plans and tools you can use. They range from very simple (go for a walk, go for a jog) to moderately inexpensive (you buy a rowing machine, a weight set, a treadmill) to more expensive (you join a health club or gym) to very expensive (you hire a trainer). But in the end, you must be the one to get your body in motion right? So who is in 100% control of your success? You. Who is in control without all these tools? You.

See the trend? So let's do it for Songwriting...

You know you love to write songs, you aren't selling anything and aren't gigging to make money because either you don't have the talent yet or you don't have the connections yet. So you get the urge to fix the problem you have which you know needs to be addressed. What do you do next? For most people it is one of these things:

A. You record songs. There are a zillion options and approaches you can use. They range from very simple and free: (you pick up a guitar or sit down at an instrument and turn on the recorder on your phone and play/sing the song to have a copy to use) to moderately inexpensive (you use your computer and a program to put together a music track and you sing over and over to make the best sounding presentation you can using mostly your own talent) to more expensive (you hire a demo singer/small "studio" usually a guy who knows how to make demos for you) to very expensive (you hire a major studio, session singers/players, a producer and put out a professional album or single). But in the end, you have to write a song worthy of recordings right? So who is in 100% control of your success? You. Who is in control without any of these tools? You.

B. You pitch your songs in hopes of commercial success. There are a zillion options and approaches you can use. They range from very simple and free (you post them online or on a message board to recruit artists or enter them into awards or contests for notoriety and read all the free advice to take control of you career on your own), to moderately inexpensive (you pay a site like CD Baby or others to get them on all the major music sites like Spotify etc. and hope someone discovers you) to more expensive (You use a professional pitching service who give you a wide range of options to become professionally viable) to very expensive (you hire a team of professionals to guide your entire career). But in the end, you have to have commercially viable music right? So who is in 100% control of your success? You. Who is in control without any of these tools? You.

Funny how that all works right?

The answer is always you and you need to ask a sobering question. Have you really put all the effort into the Free and Moderately Inexpensive options and taken them as far as anyone could? Have you? If you have, then you move up a rung. Have you maxed THAT out? Great.. then you move up another rung. If you max ALL of that out, you WILL find some level of success. You will.

In that case, TAXI will be a great tool and you'll make all sorts of contacts and usually if you follow their educational offerings (which are excellent) and you listen to their feedback understanding you are chasing commerce, not art. You first learn then you deliver what the customers want on THEIR terms, not your own artistic vision. If you are that person, you will more than get your money's worth from using TAXI. But TAXI can't do all that other stuff, only you can. So have you maxed out all the other rungs and are you ready to max out the use of the tool named TAXI? It's a wonderful hammer. But it is you who must drive home the nail.

Though they haven't been sponsors in the past 4 years, I still fully endorse TAXI just as I did before they became sponsors in the 90's. But you will only get out what you have put into it. Just like a weight set or a diet cook book. That part is and always has been up to you.

Brian



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Thank you all for the input. Appreciate it.

Douglas


"Is this a practice? They are all practices." John Denver

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For what it’s worth…

Katy Perry once worked as a listener for TAXI. Perry reminisced about one of her “day jobs” at TAXI, where of all things, she answered calls from artists trying to get signed. “All these people want to get found. It was like Chinese water torture listening to the worst music ever… and I was so depressed,” she said, “How can I give any hope to these people?” She said this period made her a “student of life, one who speaks from the heart, and is open and honest.” She said that ‘vulnerable’ is not a negative word to her—it’s a foundation of strength"

I agree, listening to hundreds of songs a day, even a hundred good songs, would be very difficult. After the first dozen or so, I imagine the ears become numb. When I corresponded with TAXI, I was told their listeners had to listen a minimum of 30 seconds a song.
I do imagine there are many members of TAXI that aren't ready, production-wise. A rejection could be as simple as not liking the singer's voce.

I still give thumbs up for joining TAXI.

John smile

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If you're creating 'Broadcast Ready' product, and can critically assess it as comparable to the 'a la' examples TAXI'S customers specify, there's a chance, as good or better than any other 'chance' you may have. Well-worth exploring.

Now you need to go through your works and make notes, anything you think might help you identify it quickly as matching the consumer's specifications, tempo, Lyrical subject matter, anything you think stands out and might be the thing they're looking for.

Response is often requested quickly. Apparently, despite years of being in business, they don't have a Music Library of submitted works to draw from, always, instead, seeking new submissions. Not every submission is suited for a particular customer's demands, but may have merits for the next customer, if only TAXI had an ever-accumulating library, and a way to retrieve from it. It's probably easier just to ask for new material and see what they get.

It may only take one Synchronization License to make your name a little more powerful in getting other cuts. You should study Synchronization licensing, by the way, so you know what to expect in their contract and how to negotiate, if you negotiate any line items in the agreement.

Sunday's come and gone. I hope you took the leap!


There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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Hi Gary:

Be prepared for a "long seige!" Stay grounded. Depending upon which "listener" to whom you are assigned, you may be asked to "jump through hoops"... or you might get lucky. Even better, you can get the same feedback regarding your work (songs) here at JPF... and... it is free. Sure, some if not most of it is worth zilch, some is snarky... and some will be meaningful if you trust and respect the person providing the free JPF review.

Either way... your/our chances for success in music today is/are significantly less than winning the "Triple Crown" of Horse Racing. "Soldier on" until you decide you've won or lost. All it takes "IS ONE!"

All my best, ----Dave

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Yes, Dave, there's no magic in it. It's just an avenue when any other avenue is not getting results either. The only magic is in your Songs, and some serendipitous alignment of your stars.

Being studious about their specifications is of strategic importance. They give several comparable Songs to listen to, enabling you, if you're studious, to get an idea of what to look for in your own product that may meet their specifications. You still have to get through the TAXI screener's gate, them agreeing with you that what you submit is comparable to the specification-Songs, and any other specifications they give you. Being able to respond in 'timely' fashion, as per specification, is also of strategic importance. First in might have advantage, or disadvantage. Late is late. This may be a difficult transition for some Songwriters, evolving from creative hobbyist to commercial endeavor, a company standing on its own two feet to engage in commerce with other companies, now, supplying demand in real time.

But, if it works, even once, your name earns cache' for future submissions, and may garner attention from other quarters.

If you've got $200 to take a chance, and you DO have Broadcast-Ready product you can quickly submit in response to their requests, there's a chance, and you didn't have that chance last week. So...what the hell! He's going for it! I hope. I haven't listened to his product. I might 'screen' it out myself if I do. Or, I might hear merits in it. What I would look for in a Song, for my purposes, may be different than what a TAXI customer is looking for. I get bored if a Song drones without keeping me hooked. In a movie, that drone may be just what they're looking for to use in the background of a scene where people are delivering dialogue and they don't want to feature the Song, just to set the mood.
If it gets past TAXI's screener a Music Supervisor can go either way and it may have nothing to do with the Song's merits, just that it didn't strike them as what they're looking for.

One of the best things about JPF is the views. Someone's out there looking. And, if you have recordings, listening. And nobody knows who they are. But there are a lot of them, judging by the number of views, anonymous, 'lurking' with no negative connotation, just exploring, perhaps as an 'ultimate' consumer, just looking for new music to listen to, perhaps a 'consumer' in the business of Arrangement & Repertoire, looking for Songs for 'their' artist to 'cut' and 'release, or a Music Supervisor, sound-tracking a movie or TV show, or TV commercial. Putting it out there any way you can where it can be 'viewed', 'heard', put into the consciousness of others, in the global marketplace, has the potential to make it.


There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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Ha! Gary...

Morning, Pal! No need for me to worry my "less-than-adequate" brain about having any magic in my songs. LOL! I was deeply offended when Taxi decided not to sponsor Brian when he needed them most... and he is such a straight shooter, he still says nice things about them. We are so lucky to have such a great role model!

I always suspected that most of Taxi's "screeners" were Belmont Freshmen trying to make ends meet on less than adequate paychecks... afraid to take a song forward to the "Head Zond of A&R" because they have no experience, get bored quickly and spend most of their day peeking at their smart phones. But cynical me, I'm probably wrong.

Back to the studio to re-cut song number 956. ----Dave

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Aw, Humm,
You touched on a sore subject Dave. Can't remember the exact cirminstance but a person in Nashville told me a lot of those "Evaluators" at Record Labels had "Tin Ears" and had to have a perfect demo to get past them. In the mean time I was told by a producer one time that they wanted a raw demo rather than a finished polished demo. Go figure! Write a Hit!


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There is no lack of plain folks still hoping to score a "hit", like it's 1967 and Wolfman Jack might whoop and holler about it on the airwaves, while everyone sits in their living rooms staring at the console, listening carefully. I could never knock TAXI screeners for doing their thankless job. They have a great track record of separating Lousy, Okay, Good and Great, and if you can't get a great track past them, you'll never get it past someone with their own money on the line. That TAXI job and the current musical knowledge it demands may have had something to do with why Katy Perry isn't still working there, wishing people would recognize her talent.

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Hey, Mark:

I hope you did not interpret my "mini-rant" as a knock on Taxi Screeners! LOL! I don't think they could pay me enough to sit there for several hours a day, week after week, listening to worse than "B"-Side stuff.

I would be a dirty-low-down-liar to tell you "I don't care if I never get a Hit!" That is part of the reason I write, re-write, record, re-record, ad-infinitum... of course I'd like to leave a legacy to my kids... but I'm old enough to know it probably will never happen. Tilting at Musical Windmills ain't all bad!

Good to see you posting again.

All the best, ----Dave

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"I always suspected that most of Taxi's "screeners" were Belmont Freshmen trying to make ends meet on less than adequate paychecks... afraid to take a song forward to the "Head Zond of A&R" because they have no experience, get bored quickly and spend most of their day peeking at their smart phones. But cynical me, I'm probably wrong."

Actually the majority of TAXI screeners are based in Los Angles. People have to be realistic when they are dealing with Taxi or any "listening sources for the music industry. It is not a critique service. They do give critiques and do provide insight for their members, but they are trying to pitch and promote commecially viable songs. There are certain peramaters on all the songs they pitch. They can't go to people with square pegs in round holes.

Song casting, which is what a pitch is, is much more difficult than people ever realize. You are always up against people who actually write or have their own companies, so you have to be BETTER than what they already have. You have to have songs which fit a certain profile, and that will change from pitch to pitch.
And EVERYTHING in TAXI has to be "RADIO READY" that means having it ready to go and not be re-recorded. This is just what the major writers and companies do.

If you had to spend 8-10 hours a day listening to sub sub sub par songs and demos, no, you are not going to catch them either. It physicallly wears out the ears and EVERYTHING IN MUSIC IS SUBJECTIVE. What one person may think is the greatest song they've ever heard, another might not even want to listen past the intro.

So yes, it's a good tool, but don't expect myracles from anyone.

MAB

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My observations, and ive never pitched anywhere really, but places that specialize in "tracks" are just that. The song wont count, the lyric wont, so long as its a professional recording you might be considered. If I was going to go with Taxi, id spend 90% of my effort and time on the track.

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Originally Posted by Fdemetrio
My observations, and ive never pitched anywhere really, but places that specialize in "tracks" are just that. The song wont count, the lyric wont, so long as its a professional recording you might be considered. If I was going to go with Taxi, id spend 90% of my effort and time on the track.


Hey Fdemetrio, with TAXI, the song and lyrics definitely count. In fact, if the production is borderline, TAXI may send it through if the song and lyrics are a perfect fit.

John smile

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Originally Posted by John Lawrence Schick
Originally Posted by Fdemetrio
My observations, and ive never pitched anywhere really, but places that specialize in "tracks" are just that. The song wont count, the lyric wont, so long as its a professional recording you might be considered. If I was going to go with Taxi, id spend 90% of my effort and time on the track.


Hey Fdemetrio, with TAXI, the song and lyrics definitely count. In fact, if the production is borderline, TAXI may send it through if the song and lyrics are a perfect fit.

John smile


They may send it through, but will it be picked up? I dont mean Taxi per se, I mean the people who want to use the music.

In most cases if used for TV and Movies, only a 10 second play is all it would get. Why would the lyrics matter? Other than the title or the one line of lyric fits the sequence.

I meant the song and lyric as a whole does not matter. Could be wrong.

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I hate to correct you again Fdmetrio, but I've had music played as much as 5 minutes in film. The average length is 30-60 seconds. A song with lyrics would probably get more air time than an instrumental.

John smile

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Originally Posted by John Lawrence Schick
I hate to correct you again Fdmetrio, but I've had music played as much as 5 minutes in film. The average length is 30-60 seconds. A song with lyrics would probably get more air time than an instrumental.

John smile


ok, but in what way would the lyrics matter in a 30 second spot?

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Originally Posted by Fdemetrio
Originally Posted by John Lawrence Schick
I hate to correct you again Fdmetrio, but I've had music played as much as 5 minutes in film. The average length is 30-60 seconds. A song with lyrics would probably get more air time than an instrumental.

John smile


ok, but in what way would the lyrics matter in a 30 second spot?


Watch a couple episodes of Grey's Anatomy. The lyrics to the songs they use follow the story-line. Adding more meaning to the story. 30 seconds on film is a lot longer than one thinks. Time 30 seconds on a movie. You'd be surprised.

John smile

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Originally Posted by John Lawrence Schick
Originally Posted by Fdemetrio
Originally Posted by John Lawrence Schick
I hate to correct you again Fdmetrio, but I've had music played as much as 5 minutes in film. The average length is 30-60 seconds. A song with lyrics would probably get more air time than an instrumental.

John smile


ok, but in what way would the lyrics matter in a 30 second spot?


Watch a couple episodes of Grey's Anatomy. The lyrics to the songs they use follow the story-line. Adding more meaning to the story. 30 seconds on film is a lot longer than one thinks. Time 30 seconds on a movie. You'd be surprised.

John smile


Ok, but that doesnt say if the lyric is good or bad, just useful.... Also, how do you know what story or story line you need before you record?. Do they ask you for something in advance, or do they just listen to what you have and if nothing fits, pass you bye?

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I'm not a Taxi member but co-writers have been. We had quite a few forwards and got some stuff on TV. Nowhere near what John has done, though. If it's a track, it has to be awesome. If it has vocals/lyrics...same. There are no exceptions. Their critiques are harsh(most pro critiques are)
and are different from what you receive from internet cliques.

What MAB, Brian etc have said is spot on. Your game has to be tight. You almost have to treat it like a full time job.


Nashville demos etc:

https://www.soundclick.com/bands3/default.cfm?bandID=431939

other demos:

https://soundcloud.com/wabash-cannibal

Amazon Kindle books by Robert George you may enjoy:

1) Americana

2) Teenage Graceland

3) The Will to Be

4) Fort Mystery

5) Wheel Sea

6) My One True Love
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Ok, but that doesnt say if the lyric is good or bad, just useful.... Also, how do you know what story or story line you need before you record?. Do they ask you for something in advance, or do they just listen to what you have and if nothing fits, pass you bye? - Fde

When I was a member, TAXI would describe what the client is looking for in lyrics. Sometimes in detail. So yes, the lyrics are very important in film.


John smile

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Originally Posted by John Lawrence Schick
Ok, but that doesnt say if the lyric is good or bad, just useful.... Also, how do you know what story or story line you need before you record?. Do they ask you for something in advance, or do they just listen to what you have and if nothing fits, pass you bye? - Fde

When I was a member, TAXI would describe what the client is looking for in lyrics. Sometimes in detail. So yes, the lyrics are very important in film.


John smile


Ok, so it's not a matter of writing songs, and sending them to Taxi. It's a matter of Taxi needing songs and then you write them.

More like "we need a light shade of blue paint, do you have that, or do we have to go to Lowes" It's more a service the writer is supplying than creating art.

Again, opinions are like.... everybodys got one. To me its not the cost of Taxi, its the cost of having material to submit to taxi. Either cost of demos or cost of buying your own gear

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Taxi's opinion was that John's songs were good and suited their needs, resulting in him getting paid. That's called capitalism. Try it and see how you fare...

Last edited by couchgrouch; 06/26/19 03:48 PM.

Nashville demos etc:

https://www.soundclick.com/bands3/default.cfm?bandID=431939

other demos:

https://soundcloud.com/wabash-cannibal

Amazon Kindle books by Robert George you may enjoy:

1) Americana

2) Teenage Graceland

3) The Will to Be

4) Fort Mystery

5) Wheel Sea

6) My One True Love
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Originally Posted by Fdemetrio
Originally Posted by John Lawrence Schick
Ok, but that doesnt say if the lyric is good or bad, just useful.... Also, how do you know what story or story line you need before you record?. Do they ask you for something in advance, or do they just listen to what you have and if nothing fits, pass you bye? - Fde

When I was a member, TAXI would describe what the client is looking for in lyrics. Sometimes in detail. So yes, the lyrics are very important in film.


John smile


Ok, so it's not a matter of writing songs, and sending them to Taxi. It's a matter of Taxi needing songs and then you write them.

More like "we need a light shade of blue paint, do you have that, or do we have to go to Lowes" It's more a service the writer is supplying than creating art.

Again, opinions are like.... everybodys got one. To me its not the cost of Taxi, its the cost of having material to submit to taxi. Either cost of demos or cost of buying your own gear


Actually, it’s a very creative process, trying to create something a client can use. It’s business. TAXI’s not the same as submitting to film libraries. Film libraries want an assortment of music. TAXI submits to specific clients, with specific needs. Here’s a current TAXI listing:

CONTEMPORARY COUNTRY POP SONGS with Female Vocals are needed by the VP of A&R at a high-level, Nashville-based Independent Record Label for a signed up-and-coming Artist.
They’re looking for Mid-to-Up Tempo Songs, in the stylistic ballpark of artists like (but not limited to) Abby Anderson, Maddie & Tae, Lauren Alaina etc., etc., etc. Please listen to the following references to get a feel for the style and vibe they're seeking



Style & vibe: there’s a lot of lead-way there.

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Originally Posted by John Lawrence Schick
Originally Posted by Fdemetrio
Originally Posted by John Lawrence Schick
Ok, but that doesnt say if the lyric is good or bad, just useful.... Also, how do you know what story or story line you need before you record?. Do they ask you for something in advance, or do they just listen to what you have and if nothing fits, pass you bye? - Fde

When I was a member, TAXI would describe what the client is looking for in lyrics. Sometimes in detail. So yes, the lyrics are very important in film.


John smile


Ok, so it's not a matter of writing songs, and sending them to Taxi. It's a matter of Taxi needing songs and then you write them.

More like "we need a light shade of blue paint, do you have that, or do we have to go to Lowes" It's more a service the writer is supplying than creating art.

Again, opinions are like.... everybodys got one. To me its not the cost of Taxi, its the cost of having material to submit to taxi. Either cost of demos or cost of buying your own gear


Actually, it’s a very creative process, trying to create something a client can use. It’s business. TAXI’s not the same as submitting to film libraries. Film libraries want an assortment of music. TAXI submits to specific clients, with specific needs. Here’s a current TAXI listing:

CONTEMPORARY COUNTRY POP SONGS with Female Vocals are needed by the VP of A&R at a high-level, Nashville-based Independent Record Label for a signed up-and-coming Artist.
They’re looking for Mid-to-Up Tempo Songs, in the stylistic ballpark of artists like (but not limited to) Abby Anderson, Maddie & Tae, Lauren Alaina etc., etc., etc. Please listen to the following references to get a feel for the style and vibe they're seeking



Style & vibe: there’s a lot of lead-way there.



Oh there is still skill involved, maybe more, it's just different. See if I saw an ad like that, I wouldn't even answer it. I wouldnt have a clue how to write like that. And I would know that it would take a ton of time and a top notch recording to even get considered.

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So you step back from what you have created or re-written and write to suit what the post on Taxi is looking for? You try to emulate the particular song/style/feel etc.., to match as close as you can the examples they lay out? Is that part of this game, this business?

Seeing now that this is not necessarily a vehicle for "my" stuff, "my" style but more of an exercise in songwriting for a particular purpose/subject. I kind of like that idea.

Douglas

Last edited by Douglas Murphy; 06/29/19 10:37 AM.

"Is this a practice? They are all practices." John Denver

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Originally Posted by Douglas Murphy
So you step back from what you have created or re-written and write to suit what the post on Taxi is looking for? You try to emulate the particular song/style/feel etc.., to match as close as you can the examples they lay out? Is that part of this game, this business?

Seeing now that this is not necessarily a vehicle for "my" stuff, "my" style but more of an exercise in songwriting for a particular purpose/subject. I kind of like that idea.

Douglas


Not really Douglas. They want original music, not copycats. There's always leeway in TAXI’s descriptions. I never felt restricted when I composed for TAXI. I’m sure if a listing asked for “old-time Country with a melancholy flavor”, you’d come up with something original, and not feel restricted.

You can check out TAXI's new listings here: https://www.taxi.com/industry.php

Best, John smile

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Hey All,

TAXI is only of any use if you are able to compose and/or have a track which ABSOLUTELY fits the listing, Look at the listing. As John said, it's a business and will not accept apples for oranges.

Good luck !

cheers, niteshift

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Originally Posted by Dave Rice
Hey, Mark:

I hope you did not interpret my "mini-rant" as a knock on Taxi Screeners! LOL! I don't think they could pay me enough to sit there for several hours a day, week after week, listening to worse than "B"-Side stuff.

I would be a dirty-low-down-liar to tell you "I don't care if I never get a Hit!" That is part of the reason I write, re-write, record, re-record, ad-infinitum... of course I'd like to leave a legacy to my kids... but I'm old enough to know it probably will never happen. Tilting at Musical Windmills ain't all bad!

Good to see you posting again.

All the best, ----Dave


Haha, I kinda did...it strikes me as a thankless job! But to be honest, I never signed up with TAXI and ended up getting songs used anyway. I admire TAXI, but I can't claim to have sent them any of my money, LOL. Cheers, Dave!

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Yeah, TAXI is like a Music Restaurant focused on delivering orders—the Industry At Large sends out specific needs for specific projects (need a cover of "Yesterday" in glam rock style/need three minutes of jazz piano/need songs in the style of Billie Eilish, etc), TAXI lets artists fill the order and then sends the best of these to the Industry At Large to consider.

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Some TAXI members are making A LOT of money, and from sitting around at their computer having fun. The most successful ones have played the long game, and simply focused on listings that clicked with them and kept cranking out music daily. They learn to work more quickly and efficiently, less dithering over minor details and more focus on nailing it ASAP, over and over. There are a lot of born slackers thanking TAXI for their current six-figure lifestyle. And plenty more struggling to afford their next meal. That's a career in the arts for ya.

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For members of TAXI, who they call 'Passengers', here's a Christmas wish list they just sent out. This is their newsletter, which non-members can sign up for, as I did. It gives you some ideas about commercial exploitation of your product, what the market's 'in-the-market' for, ideas in general about the 'business end' of your commercial aspirations, if you have them.
These are for covers of well-known Christmas Songs. But, if you're recording 'broadcast ready' product, and can turn out one of these and submit it, IF YOU'RE A PASSENGER, you might make some money with it.
NOTE: Christmas comes once a year, every year, year after year. A Christmas Song, cover or new, can become a perennial money-maker, putting the silver in YOUR bells.

The newsletter gives specifications beyond what I'm copying and pasting here. These are probably all for the same TAXI 'customer', likely a Music Supervisor for film and/or television, trying to get product for a soundtrack. Just a guess.

"Dear Passengers,
It's snowing Christmas requests over here at TAXI! We wanted to make sure that you saw these awesome requests for Covers of some Christmas songs that you probably already know and love! The first of these deadlines TONIGHT!


EMOTIONALLY UPBEAT "LIGHT POP” renditions of “Joy To The World” needed...
Click for Details and Deadline
EMOTIONALLY UPBEAT "LIGHT POP” renditions of “The First Noel” needed...
Click for Details and Deadline
EMOTIONALLY UPBEAT "LIGHT POP” Renditions of “Deck The Halls” needed...
Click for Details and Deadline
EMOTIONALLY UPBEAT "LIGHT POP” renditions of “O Christmas Tree” needed...
Click for Details and Deadline
EMOTIONALLY UPBEAT "LIGHT POP” renditions of the Christmas classic “Up on the House Top” needed...
Click for Details and Deadline"

Here's another one:
"Dear Passengers,
You've got a little time for this awesome request! More than we typically see for big TV Commercials. We are also able to give you lots of direction from the Ad Agency, so this opportunity is a great one for the right song! We've also got 2 really good requests for songs for some really big artists on Major Labels. Click those buttons, get the details, and set alarms on your phones so you don't miss the deadlines!


POP SONGS with Lyrics that convey the spirit of warmth, love, giving, and compassion needed for (up to) $50,000 placement...
Click for Details and Deadline
CURRENT-SOUNDING POP SONGS needed...
Click for Details and Deadline
CONTEMPORARY POP SONGS with a strong REGGAE/DANCEHALL influence needed...
Click for Details and Deadline
Reminders: Opportunities with Deadlines Approaching Soon!
FUNKY, SOULFUL R&B SONGS needed for (up to) $3,000 placement...
Click for Details and Deadline
1960s or 1970s-Style SOUL SONGS needed for (up to) $10,000 placement...
Click for Details and Deadline
SINGER/SONGWRITER SONGS needed...
Click for Details and Deadline
CONTEMPORARY HIP-HOP/RAP ARTISTS needed...
Click for Details and Deadline
CONTEMPORARY R&B ARTISTS needed...
Click for Details and Deadline
CONTEMPORARY INDIE POP ARTISTS or BANDS needed...
Click for Details and Deadline"

Last edited by Gary E. Andrews; 07/22/19 09:36 PM.

There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
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August 1, 2019 Here's TAXI's newsletter for what their customers are looking for from members, they call 'Passengers'.
.
Dear Passengers,
There are short Deadlines on a couple of these, so you should click those red buttons now to see if you've got what these companies need!


CONTEMPORARY INDIE SINGER/SONGWRITER SONGS needed...
Click for Details and Deadline
EMPOWERMENT SONGS with some "Urban Swagger" needed...
Click for Details and Deadline
A RANGE of MODERN ROCK SONGS needed...
Click for Details and Deadline
ORIGINAL PSYCHEDELIC/GARAGE ROCK SONGS RECORDED in the 1960s or 1970s needed...
Click for Details and Deadline
Reminders: Opportunities with Deadlines Approaching Soon!
POP SONGS with Lyrics that convey the spirit of warmth, love, giving, and compassion needed for (up to) $50,000 placement...
Click for Details and Deadline


There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com

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