I’m organizing my class at Centennial College on songwriting and was busy organizing examples of great songs when I realized I was making a mistake. It’s way more interesting to look at shit songs first and agree upon what’s horrible and why. Any suggestions?
I wrote to Todd Sullivan at Geffen in the late 80s because I read he was an A&R guy at Geffen. I wrote to a few people like that but he was different, he wrote me back. He liked the record I produced for Bob Snider. This was very unusual and flattering. Eventually I sent him the record I did for Ron Sexsmith and he wrote me back (12 months later!) to say he didn’t like it but the guy in publishing did and I should call that guy, Ronnie Vance.
At least Todd was decent enough to listen and be straight up with me. Eventually Ronnie Vance signed Ron Sexsmith and now Ron isn’t a walking messenger downtown. There are subscriptions in the music and film business that you can join for a few hundred dollars. They send you tips daily or weekly or monthly. I use them for who’s looking for what and my batting average isn’t spectacular but the bigger picture isn’t the instances that failed; the cards are stacked against you anyway, the bigger picture is acquiring emails of who’s who and starting a relalationship with someone who might utilize your work another time.
At any given time it seems like a lot of people with “hits” are just actors or models. When Milli Vanilli was “exposed” for actually being lip-sync-artists people went crazy as though they were charlatans, they had to give back their Grammy?! Did Boney M have to give back their awards? Wish more of this video with the “leader” of Boney M (lead lip syncer) was captioned. Personally I’m digging more his short lived post-toupeé period, ironically it feels like he had some good stories to make music about.