About Lynn Gann.
Lynn Gann Music Enterprises (LGME!)
Lynn Gann is back for another POP Event and is looking for songs. There was a long waiting list of songwriters trying to get into his last event. Lynn is working at building a catalog for his new company. Lynn is currently working with several of our members and we appreciate his time and attention. Congratulations to GSC Canadian Member Doug Folkins who has signed a publishing deal with Lynn Gann! More details to come!
Lynn is a Nashville native, born in the shadow of Music Row. From 2003-2012, he served as Vice President/Partner at Full Circle Music Publishing, LLC. Best known Full Circle hits include seven #1 country hits, with “When I Get Where I’m Going” (Brad Paisley w/Dolly Parton) being nominated for ACM & CMA Song of the Year in 2006. The 26-year publishing veteran started his career with Tom Collins Music and later churned out hits at MCA Music Publishing and Zomba Enterprises.
Gann just opened his new venture, Lynn Gann Music Enterprises (LGME!), whose clients/roster include Gary Baker (“I Swear” + cuts on 15 million Backstreet Boys LPs) and Baker’s Noiseblock Music Group, CCMA Hall of Famer Ralph Murphy, FORWARD Music writers Ward Davis & Greg Jones, Jack Williams and rising Canadian songwriter Doug Folkins. Most recently, LGME! inked a deal to represent Dan Truman (of Diamond Rio) and A MILLION MIDNIGHTS MUSIC, as well as AMMM’s Indie Orange joint venture, which will provide an L.A. connected tv component.
Gann earned a B.S. in Recording Industry Management from Middle Tennessee State University (MTSU) in 1988.
Career highlights include:
Full Circle Music Publishing (VP/Partner, 2003-2012)
Seven #1 country singles…”When I Get Where I’m Going” (Brad Paisley w/Dolly Parton, ACM & CMA Song of the Year nominee 2006), “Homewrecker” (Gretchen Wilson), “Ladies Love Country Boys” (Trace Adkins), “If He’s Anything Like Me” (Brad Paisley), “The Boys of Fall” (Kenny Chesney), “Old Alabama” (Brad Paisley/Alabama), and “Fly Over States” (Jason Aldean). FCMP writer roster included George Teren, Michael Dulaney, Kerry Kurt Phillips, Jeff Stevens, Rachel Proctor, Victoria Banks, Bob Regan & Wil Nance.
Zomba Enterprises (Sr. Director/Creative, 1996-2003)
Numerous #1 singles including “Real Good Man” (Tim McGraw), “I’m Already There” (Lonestar), “She Let Herself Go” (George Strait), “Running Out of Reasons To Run” (Rick Trevino), and many other hit singles including “Busy Man” (Billy Ray Cyrus), “One Honest Heart” (Reba McEntire), “Man of Me” (Gary Allan), “I Should Be Sleeping” (Emerson Drive), “There Is No Arizona” (Jamie O’Neal) & “Complicated” (Carolyn Dawn Johnson). Worked with Robert John “Mutt” Lange (1996 ASCAP Country Writer of the Year), Stephanie Lewis (2002 ASCAP Christian Writer of the Year), Gary Baker, George Teren, Frank J. Myers, Kerry Kurt Phillips, Wayne Perry, Lisa Drew, Roxie Dean & Jason Blume.
MCA Music Publishing (Creative Director, 1993-1996)
Numerous hits including “Can’t Be Really Gone” (Tim McGraw), “I Try To Think About Elvis” & “A Thousand Times A Day” (Patty Loveless), “Lifestyles of the Not So Rich And Famous” (Tracy Byrd), “Land of the Living” (Pam Tillis). Talented roster included Gary Burr (1995 ASCAP Country Writer of the Year), Rob Crosby, Russell Smith, Byron Hill, Waylon Patton & Danny Orton.
Tom Collins Music (Creative Manager, 1989-1993)
Hits included #1 singles “Only Love” (Wynonna), “Walk On” (Reba McEntire) & “Holdin’ Heaven” (Tracy Byrd), with major-label singles and tracks on Alabama, Randy Travis, Conway Twitty, Oak Ridge Boys, Larry Stewart, Crystal Gayle, Marie Osmond and many others. Writer roster included Roger Murrah, Keith Stegall, Tia Sillers, Mark Allan Springer, Steve Dean, Byron and James Dean Hicks.
SOLD OUT!
About the Publisher Online Pitch Event
Have you ever thought: “Wow I think I have a really good song. If only I could get a legitimate publisher to listen?”
Through GSC’s affordable Publisher Online Pitch service you can have your song or songs heard by a reputable publisher from wherever in the world you live and without the expensive cost of travel.
One of the most important elements of this service is that you will be connecting with a publisher, creating a relationship with this publisher and learning the pitching process professional songwriters utilize every day.
Here are the details!
- This event is open to members and non-members.
- Pricing is $30.00 per song pitch for GSC members only.
- Members can take advantage of the “Listen Only” option for only $20 before pitching a song.
- This event is limited to 30 song pitches.
- Once you purchase the POP event you will receive a confirmation that will contain your step by step instructions for logging into the webcast.
- If you purchase a song pitch, you will need to email your song in mp3 format along with your photo (jpg format only) and lyric (Microsoft Word format only) to [email protected] by 11am the day before the event. (Please list your name and where you are from on the top of your lyric. GSC wants the publisher to connect with you.)
- Guitar vocals and keyboard vocals are acceptable. You do not have to have a full demo for this event.
- The publisher will only listen to the first verse and the chorus of your song.
- The publisher may or may not comment on your song. This event is not intended as a publisher evaluation service; although in most cases, the publisher will offer constructive advice.
- This is a real publisher pitch opportunity. The publisher will either PASS on your song OR he may choose to keep your song for further consideration.
- You are encouraged to stay involved in the webinar while all songs are listened to and here is why:
- Out of respect for the other participants.
- Should the publisher choose to comment on a song, you will learn from what he has to say.
- If a publisher takes a song, you will want to connect with that songwriter and possibly co-write with that writer.
At GSC we always want you to know the real journey of a song from the pen to the publisher. With that in mind we want you to be aware of these facts.
1. Paying to Pitch a Song: GSC wants you to know that professional songwriters do not pay to have their songs heard by a publisher. Professional songwriters have worked years at developing their songwriting craft and earning the respect of the publishing community which earns them the opportunity to have their songs heard.
2. The Demo: GSC wants you to know…If you had a publishing deal and was a staff writer for the featured publisher, this publisher would hear your songs every day in their most simple form of a guitar vocal or keyboard vocal. If you were pitching your songs to a producer, artist, manager etc then you will need fully produced and well produced demo’s for these types of pitches.
3. The Listening Process: GSC wants you to know…Often, when a publisher is listening for songs for a project or artist, they can usually tell if it is a song they would be interested in for that project in less than 30 seconds. Through the POP event the publisher will be listening through the first verse and chorus in its entirety. However, in the future should you pitch a song to a publisher in their office and they turn your song off after only the first half of the first verse, we want you to know that is a normal part of the process.
4. Pitch Ready Songs: The reality is that some of your songs may not be ready for pitching to a publisher. However, there is much to be learned through the pitching process.
5. The Follow Up: If the publisher should take your song for consideration, we will be excited with you and it does happen! Below is the GSC recommended follow up process. Correct follow up is essential for success.
a. If your song is taken by the publisher you will be provided with the publishers contact email address for follow up.
b. If you do not hear from the publisher within 5 to 7 business days of them taking your song. We recommend you email the publisher, thank them for participating in the GSC POP program, thank them for their interest in your song and list the TITLE of the song as a reminder and ask if they should need anything further.
c. If you do not hear from the publisher within three weeks, make a phone call to the publisher office. You will most likely be leaving a message. If so, just leave your name, contact number and that you are following up on your song and list the title.
d. If the publisher does not return your call, do not call again. Simply send a physical thank you card, thanking them for their interest, recognizing that they are a busy industry professional and that you hope to have the opportunity to play them more songs in the future.
At GSC we know it would be disappointing to have your song taken by a publisher and then not hear from them. Unfortunately, this process is part of the song pitching process. Thoughtful and professional follow up is essential to success and is appreciated by busy, overworked publishers. They won’t forget your professionalism. Sometimes you may not hear from the publisher who took your song for months and then out of the blue, when they are ready and working on the project, you get the call. Many times I have kept a member’s song for over a year and then gave them a call for the just right opportunity. Songs will often be pitched over and over again for years before they land on just the right project.
