If you have a spare hour to watch this video it is well worth it.

https://youtu.be/gBI0L2rfgic

I cannot find any songwriting credits for Neil Diercks. No copyrights, releases, cuts. Near as I can tell he was an A&R guy in Nashville.

I would like to hear some of his hooks.


Regards,


Bob

From the Berklee website:
"Neil Diercks is a Los Angeles-based songwriter, song coach, and musician. He served for many years in various capacities at Warner/Chappell Music, Inc., in Nashville, beginning as an intern and eventually becoming Manager of A&R Activities. It was within this role that he worked with hit songwriters including Gary Burr, Steve Bogard, Stephony Smith, Jeff Stevens, and Victoria Shaw, who penned hits for artists such as Tim McGraw, Garth Brooks, George Strait, Trisha Yearwood, Faith Hill, Ricky Martin, and Christina Aguilera."

This makes it sound like as an A&R guy, he worked with the songwriters who wrote a bunch of big name hits. He wasn't the songwriter, but must've known how to put puzzle pieces together.

I'll check out the video. Thanks for the share, Joanne!

-Mark

"This makes it sound like as an A&R guy, he worked with the songwriters who wrote a bunch of big name hits. He wasn't the songwriter, but must've known how to put puzzle pieces together."




Osmosis?


Whatever. It's your time.


Regards,


Bob
Starmaker Machine Inc.

Thanks Joanne, I'll give it a watch.

Not trying to hijack here Joanne but I have to say this.

When I see these posts (and Bob is not the only of late who's written one) that come off like - oh so and so hasn't written any hits they're only been an A&R person - those who can't do teach haha - or maybe it's osmosis - insinuating the person doesn't know what they're talking about or have anything of value to share - I beg to differ.

If anyone expects to ever hear their song on the radio - which up until recently was the only way to get a hit and is still the number one way people consume and hear new music - the song has to get past the A&R person before the record company promotion department spends money on it.

An A&R person who doesn't have an ear for hooks is not going to get a job at a major record company. And if they were to slip in somehow they wouldn't keep it long. A big part of their job is to work with songwriters and pick the best songs on a daily basis. And what makes great songs are great hooks.

It's okay to write for fun just to please yourself. But for those serious about this or who just really want to grow and get better, I wouldn't assume that an A&R person who is responsible for finding hits and is involved in making hits every day with their career on the line has no valuable or useful knowledge to share.

Thanks for the share Joanne!

(And I agree with Josie 101%!)

Awesome share! I can't wait to listen to it this weekend.

I feel like one of those people on the recipe sites that say "Looks great! can't wait to try it!" arg!

Have you heard of the Starmaker Machine?



http://www.pgmusic.com/forums/ubbthreads.php?ubb=showflat&Number=309684

Hello Joanne,

Thank you for the share. I will be certain to check it out! Now if I could find a spare hour (haha! :))

Pauline
PG Music Team

Josie. I agree with what you are saying. And no worries about hijacking the thread

My first thought was "well neither have we had any top hits" (that I know of). To me it is always worthwhile to learn how other people approach songwriting. One thing is for sure, there is no right or wrong way.

This guy is certainly entertaining. He is basically showing how to develop a hook in a collaborative environment based on the rhythmic, melodical and lyrical idea that hits most people in the gut. I also have to agree with him that more often than not the hooks need less actual words than what we would imagine.

Just another tool in my songwriting toolbox.

I wrote 9.5 songs for a 10 record album. By the time all the producer's and our manager's ideas, changes, arrangements and tweaks were done, the 10 songs we, the band, had chosen did not all make the cut to be recorded or sounded the way we played them. Some session musicians added to play new parts or instruments band members did not play or play to a sufficient level, only one song came out of the process, close to the 'record' in my head when the songs were written.

To play our original songs post album became a task of the band having to learn the song to a new arrangement from what we played before recording the album.

Today, a lead guitar solo may be a comp of dozens alternate versions recorded. All played live by the band's lead guitarist but he may not have been part of the post production party and therefore has to 'learn' his solo decided from a producer's comp. The credited lead guitarist in many ways becomes the same as the uncredited lead guitarist we comp in RB on our songs.

Point being, most songs recorded commercially have many un-credited co-writers, collaborators and arrangers between when the song is written and when the final version is released. The A&R rep would certainly fit in the picture I think.



Charlie

“When I see these posts (and Bob is not the only of late who's written one) that come off like - oh so and so hasn't written any hits they're only been an A&R person - those who can't do teach haha - or maybe it's osmosis - insinuating the person doesn't know what they're talking about or have anything of value to share - I beg to differ.”



What I actually said was:


“I cannot find any songwriting credits for Neil Diercks. No copyrights, releases, cuts. Near as I can tell he was an A&R guy in Nashville.

I would like to hear some of his hooks.”


I'm not 'insinuating' anything. I would just like some proof that he knows what he's talking about. He's promoting himself as a “Song Coach”. OK. What have you written? Anything?


By using these writers and artists in his bio, he is trading on their reputations.


“It was within this role that he worked with hit songwriters including Gary Burr, Steve Bogard, Stephony Smith, Jeff Stevens, and Victoria Shaw, who penned hits for artists such as Tim McGraw, Garth Brooks, George Strait, Trisha Yearwood, Faith Hill, Ricky Martin, and Christina Aguilera."


I find that reprehensible, but it's par for the course.

Could I interest you in The Starmaker Machine Winter Special? We have a new Song Coach.

Well yeah! Like he's the only one who name drops....
I'm thinking you must be kidding. LOL!





Man, I was really tempted to sign with Starmakers but then I found Wham Bam Studio - I just send in my poem I wrote in 5th grade and they take care of the rest. LOL!

How in the world is it "reprehensible" to list folks you have worked with?

An uncharitable reader might conclude that the paragraph was written to be misread as:

"Neil Diercks is a Los Angeles-based songwriter, song coach, and musician ... that worked with hit songwriters ... who penned hits for artists."

Others might simply watch the video and see if he has something useful to say.

Have to agree David. After all he is not asking us for any money.

I should have mentioned that "uncharitable reader" refers to me, not Bob.

To my detriment, of course.

Thanks for the link, it is well worth the watch!

Berklee also had a songwriting course online a year or 2 back that was a great one to go thru. It was more in-depth, but just as easy to follow.

And don't let "snarky" comments get to ya, all forums have them.....

Any "summary" of the main points? I haven't had the time to watch it yet.

Thanks!

Thanks for posting this, Joanne. I watched the first half, will watch the rest later. The guy is a good presenter, but sounds like he came straight out of "Wayne's World" sometimes...dude!

I usually listen for content with things like this, rather than question the person's professional credits on the front end. There are a lot of folks on the periphery of the "biz" that have some good info to share whether they've made it to the top of the mountain or not. Everyone can teach you something.

Thanks,
Bob

Around about minute 20 he's talking about making the melody less boring, and he says it comes from rhythm, not just pitch. Well, okay, it depends on where you're starting from, but rhythm in a song should build on the lyrics at the best. And then pitch, rhythm and volume work best when they coalesce into a whole supporting the hook/message/content of the song. I've seen that so many times in comments on the user showcase where the music literally rises to the occasion. But also something not on this Berklee lecture is another aspect from the user showcase of where the mix supports the song so that drums and bass and riffs and licks and such all bring the high moments of the songs to the listeners' attention. It's one of the greatest values of the showcase for a lerner like me.