Tina,

A few things you need to think about. Number one, where are you going to be pitching your songs? The reason is that a rule of thumb is usually "If you are going to pitch songs in Nashville, you really should record in Nashville." There are a few reasons for that. First of all, the players we use are often the same one's that play on the major sessions on records on the radio. The same would be if you were pitching in LA or New York.The region of the studios and players are going to be more relatable to the industry they represent.

The second is that most session players outside of Nashville sound very good but are not as "song supportive" as the Nashville players are. You constantly get good tracks with great guitar or keyboard players, but that is what they sound like, really great guitar or keyboard players. Nothing wrong but sometimes there is more in what is NOT played than what is played. The players speak their own language and the energy and attitudes as well as the small nuances make a big difference when you are dealing in a business with thousands of songs and writers.

I don't know of any studios in Memphis at this point because a lot of the players that used to be in Memphis have come to Nashville. But I will see if I can find out for you. Memphis was a great recording center in the mid 50's but like Muscle Shoals, Seattle, Athens Ga. and other places, they have good runs but never seem to keep it going. Basically there are three music centers in the US, Nashville, LA and New York. For Country it is mostly Nashville although there is a pretty good selection in all three of a lot of different types of music.

But you should check around. Doing a "Google search" is usually the first step. Asking people here if they have any connection with Memphis. Usually they pop up. and I am NOT putting down the Memphis community. I love it, just really depends on what you want in your music and who you know.

The second part of your question gets a bit dicey and is the ten million dollar question. What do you do with them once you have recorded them?

If you read these threads or those of other web sites, getting songs heard is the hardest part of it now. We are at the convergence of several elements. Karaoke nights, which turned the world into singers, for good and bad, Home recording, computers and the Internet, then the onslaught of reality shows like American Idol, which put "everyone into the game."

The effect of that took a lot of money out of the industry from the publishers point of view. With less money being made there was a desire to "circle the wagons" somewhat, with artists taking over writing more and more of their own songs. So outside writers had less and less of a shot at anything.

Basically now it is a system of having to "write your way in
the back doors." You are always on the lookout for young artists in your area, who you might find your way into the beginning of their careers.The co-writing process is the way to do that. As you develop relationships along the way, you can often find your way into publishers, and others who are finding their way as well.

The use of My Space sites, Face Book, other web sites, as a result of "getting yourself out there is common. Attending local and regional songwriting workshops or events are another step along the way. Then going to the source is all part of it. Many people will set up meetings with PRO's (ASCAP, BMI, SESAC) and that does help in some instances, although they are primarily collection agencies, and while they do help with relationships, they really are not as instrumental as hooking writers up with publishers as they once did.

It is hard. I won't lie to you. It is why I say "write for yourself first and foremost." But do the best you can. When you step up your level you have to find consistant outlets for what you do.

On other threads I have told the story of two of my clients, Julie Moriva and Frankie Ballard. Frankie is a young guitar player monster, who signed last year with Warner Brothers and an artist. His single is out next month. The other, Julie is an ex-school teacher from Green Bay Wisconsin. She is the main writer behind Steel Magnolia, the fastest rising duo in country music. They are at number nine this week.

In both cases, it was a lot of work, working in both their own areas and regions, building relationships, writing a LOT of songs with a LOT of people, doing demos and in both cases, it paid off. Most of the time it doesn't.

So you have to be smart, take your time, and check each step. People like me are here to help you. It is a lot to take in but if you surround yourself with smart people who know what they are doing, you will have a much better ride.

Feel free to contact me at MBarne4908@aol.com with questions or comments.

MAB