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Publisher Online Pitch with Lynn Gann (Jimmy Metts)
February 27, 2014 @ 6:30 pm - 8:30 pm
Due to unforeseen circumstances, Lynn had to postpone his event until March 20th. However, we are thrilled that publisher Jimmy Metts of STARSTRUCK Publishing will be able to join us this Thursday evening. Starstruck is Reba McEntire’s Publishing Company and represents artists Blake Shelton, Kelly Clarkson and many others. If you have purchased this event and have questions or concerns, please email Sheree ([email protected]).
EVENT SOLD OUT
About Jimmy Metts
General Manager of Starstruck Music
Jimmy Metts moved from Mississippi to Nashville in the early 80’s after discovering a Music Industry program at Belmont University that would allow him to pursue his passion of music. He graduated from Belmont University in 1985 with a BBA in Music Business.
Jimmy started his first music industry job that same year at Famous Music, a division of Paramount Pictures, and continued there until 1992. While at Famous, he was responsible for signing songwriters, editing songs, producing demos and securing recordings from artist such as Reba McEntire, Garth Brooks, Patty Loveless and Willie Nelson.
In 1992, Jimmy left Famous to open an independent company where he was responsible for recordings by Toby Keith, Patty Loveless and the #1 hit “Gonna Get A Life” by Mark Chesnutt. Curb Records’ newly formed publishing division, Curb Music, was acquired as a client during this time as well. After only a few months he was persuaded to move to Curb Music full time as Creative Director. It was here that Jimmy signed Bobby Tomberlin who would write the #1 hit “One More Day” for Diamond Rio.
In 1997, Jimmy was given the opportunity to lead the Nashville publishing division of Malaco Records, whose main headquarters is in Jackson, Ms. Some of the Malaco songs you may be familiar with include, “Old Time Rock & Roll”, “Mr. Big Stuff”, “You Can Ring My Bell” and “Groove Me”.
While Metts headed up Malaco, the company enjoyed a string of hit recordings that include George Strait’s “I Know She Still Loves Me”, Lee Ann Womack’s “Never Again, Again”, Tim McGraw’s “For A Little While”, John Michael Montgomery’s “Home To You”, Reba McEntire’s “I’m Gonna Take That Mountain”, Trent Tomlinson’s “One Wing In the Fire” and Rascal Flatts’ #1 “Mayberry”. The Nashville division of Malaco Music was co-owned by Nashville Record Label Executive and record producer James Stroud. In 2008 Stroud offered Metts a position at the newly formed Stroudavarious Records where he took on A&R duties as well as starting the publishing division. Artists worked with while at Stroudavarious include legends such as Willie Nelson, George Jones, John Anderson and newer acts Darryl Worley, LoCash Cowboys, Matt Kennon & Blackberry Smoke.
In the summer of 2008, Metts was able to continue his love for producing and engineering by recording Bluegrass artist Brandon Rickman, of The Lonesome River Band, first solo project.
The album, “YOUNG MAN, OLD SOUL” was released summer of 2009 on Rural Rhythm Records and has achieved tremendous chart success and accolades along with three of Rickman’s original songs also gaining attention: “Always Have, Always Will,” “I Bought Her a Dog,” and “Wearin’ Her Knees Out Over Me.”
Chart success for the project includes:
- #1 album for 4 consecutive weeks this year on the Roots Music Bluegrass Report
- 11 months on the Bluegrass Unlimited Magazine’s Top 30 Songs Chart for his original song, “Always Have, Always Will” (#9 last month).
- Yet another Rickman original, “Wearin’ Her Knees Out Over Me” recently won Strictly Country Magazine’s Spirit Song of the Year.
After 2 years with Stroudavarious Records, Jimmy was able to continue his work in the Bluegrass market by starting New Cuts of Bluegrass. New Cuts shipped compilation CDs of new releases/singles from Bluegrass Labels & independent Bluegrass artists to over 500 Bluegrass radio stations.
This was a great introduction for Metts to the Bluegrass community and resulted in 7 charted singles on the Bluegrass Unlimited Top 30 Chart and being invited to attend the International Bluegrass Music Association’s Leadership Bluegrass Class of 2011.
In 2012, Jimmy was approached by Cauley Music Group to head up the publishing company and start Voxhall Records. The first project on the new label was “Grace Notes”, by multiple Grammy winning artist & musician Carl Jackson.
Most recently, in January of 2014, Jimmy moved to Reba McEntire’s Starstruck Writers Group as General Manager and is excited to continue the success the company has had in music publishing.
Jimmy lives in Franklin, Tennessee with his wife Janie, daughter Mattie and son Hunter.
About Lynn Gann (Postponed until March 2oth)
Vice President of Zavitson Music Group
Lynn Gann, is a 25-year music industry veteran and is Vice President of Zavitson Music Group overseeing the Country Division, a newly created position focused on catalog exploitation, artist development and management opportunities.
Lynn is the former VP/Founder of Full Circle Music Publishing. The Nashville native was instrumental in No. 1 hits including “When I Get Where I’m Going,” “Anything Like Me” and “Old Alabama” (Brad Paisley), “Fly Over States” (Jason Aldean), “Homewrecker” (Gretchen Wilson) and “Boys Of Fall” (Kenny Chesney). His career includes time at Tom Collins Music, MCA Music Publishing and Zomba Enterprises.
“Lynn’s reputation as a true industry professional is well documented,” said Zavitson. “He’s widely recognized for his ability to spot a hit well ahead of the pack and his track record for securing a placement he believes in borders on legendary. We’re confident that Lynn’s involvement will be instrumental in making sure our writers are aligned with the right co-writers and our songs find their way into the hands of the artists who can get them heard.”
ZMG’s current roster of writers includes Walker Hayes (Capitol Records), John Ramey of the duo Martin/Ramey (Curb), Tony Haselden, Liz Hengber, Steve Misamore, Jeffrey East, Mike Demay and Terry Dennis. The company has had recent cuts by Thompson Square, Rodney Atkins, Chris Young, Reba McEntire, Dierks Bentley, Point of Grace and Selah.
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.
- Member pricing is $30.00 per song and non-members $50.00. (members get priority booking)
- This event is limited to 30 participants or 30 songs.
- Once you purchase the P.O.P event you will receive a confirmation that will contain your step by step instructions for logging into the webcast.
- 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 regarding your song. This event is not intended as a publisher evaluation service.
- 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, you may 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.
Read More About the Realities of Song Plugging
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 P.O.P 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 members 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 that just right project.