Senior Creative Director & General Manager – Song Rocket Music
Music veteran Dallas Gregory has nearly 25 years experience in the music Industry. The product of a musical family, Gregory grew up in Georgia, singing and playing Southern Gospel and Country music. Accepting an invitation to move to Nashville as a background vocalist, Dallas arrived and began working as an artist and background singer for the Grand Ole Opry Road Show, sharing the stage with many Country Music Legends including Roy Acuff, Minnie Pearl and Loretta Lynn. After 7 incredible years with the Opry Show, Dallas was offered a position in the Studio and Recording segment of the music industry as studio manager at Masterfonics, a world renown Recording studio and Mastering facility, located in Nashville, Tn. While at Masterfonics Dallas worked with many of today’s top stars, producers and session players in country, rock, pop and gospel music. From Materfonics, Dallas transitioned into music publishing, as Creative Director at High Seas Music Publishing.
Gregory’s focus was writer and catalog development and song representation to some of Nashville’s finest hit songwriters. While at High Seas Music, Gregory helped secure over 100 cuts, including cuts by artists such as Dolly Parton, Joe Nichols, The Oak Ridge Boys, Pam Tillis, David Ball, Tracy Byrd, Collin Raye and others. After nine years at High Seas, Dallas launched his own publishing company in 2002, “Song Rocket Music”, focusing on music publishing, writer representation and development, artist development, music production and consulting. Song Rocket Music is currently affiliated with several hit songwriters, enjoying successes with song cuts by artists such as Rascl Flatts, Luke Bryan, Sarah Darling, Thompson Square, Canadian artist, Shane Yellowbird, Christian artist Guy Penrod, Eric Clapton, Carole King, Kenny Rogers, and Lady Antebellum. Through Song Rocket Music, Gregory is currently developing fresh, new, up and coming country artist, Ashlyn Grayce.
Dallas has most recently been placing several of our Global Songwriters Connection members music into specialty Christian projects that he personally oversees.
“Music is one of God’s great gifts. Just as God created something from nothing when he made the world, songwriters create something from nothing when they write songs, therefore I believe all songs are God inspired in some way”. “I am blessed by music and its creators”. — Dallas Gregory
EVENT SOLD OUT! STAY TUNED FOR THE NEXT POP 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!
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.