Background:
Name: Jim McBride
Any nicknames? Mr. Wonderful (just kidding)
Website: www.copyrightrecapture.com
What has been your role in the music industry?
I was a full time staff songwriter on Music Row for 25 years. Foster and Rice signed me in 1981 and that’s when I moved to town. I also wrote for April Music (EMI) for 8 years, Tree (Sony) 10 years. Later I wrote for Cal IV Music and Island Bound Music. I served on the NSAI Board for several years including one as president. I’ve also served on the Nashville Songwriters Foundation Board. I retired from writing every day about 5 years ago and started a company with my sons called Copyright Recapture, LLC.
How did you get your start?
I began bringing songs to Nashville in the late 1960s. My first appointment was with Curly Putman at Green Grass Music. You could go door to door back then and sometimes they would listen to your songs. I did some of that. I later did some demos with Bobby Bare. Bare wanted me to move here as had Curly years before. I had a family and a very secure job and I wasn’t ready to walk away from it. I tried to transfer from the Post Office in Alabama to the Post Office in Nashville but the postmaster wouldn’t let me. I stopped writing after that for about 4 years but got serious about my writing and moving to Nashville in 1978. I wrote every night until 2 or 3 in the morning and then got up at 6 a.m. to go carry mail. I did this for 3 years. I began to get a few cuts through Foster and Rice Music from songs written with Roger Murrah whom I had met in Huntsville years before. I also began to get songs cut I had written by myself. In 1980 Conway cut a song Roger and I had started at my house in Alabama and finished in Nashville. I determined if “A Bridge That Just Won’t Burn” was a single I was going to move to Nashville. I knew it would be a hit because Conway was singing it. It was a single (the first hit for Roger and for me) and I left the Postal Service the day after Christmas in 1980. I had a 1 year writing deal for 2/3 of my last year Post Office salary and I never looked back. I was too excited to be scared.
Who have you worked with?
Early on I worked with Roger and later I had success with Stewart Harris, Jerry Salley and Sam Hogin among others. Brent Mason made his mark as an awesome guitar player but early on he and I wrote 3 songs together and got all 3 of them cut. I even got to write a couple of songs with Harlan Howard and a few other musical heroes of mine.
Do you have a mentor? If so, who?
Curly Putman put me on the right path a long time ago. He told me he couldn’t help me unless he could be honest with me. I was ready for that. Sometimes I went back to Alabama a little down because I hadn’t brought him anything good. Other times I went home very encouraged because I had written something Curly really liked. He told me songwriting was a 24 hour a day job. He was right about that and a lot of other things. I didn’t get to Nashville until I was 33 years old. Bobby Bare also offered encouragement and later Bill Rice and Jerry Foster helped me understand a lot about the business and gave me my first writing deal. I’m forever grateful to all of them.
What types of projects do you enjoy working on?
I just wanted to be a country songwriter. Nothing more, nothing less. Therefore, writing the best song I could is all I ever wanted to do. I never had any luck writing for a specific project whether it be an upcoming album project or a movie or whatever. I thought I did a pretty good job most of the time but the “people in charge” didn’t think so. It got to where I would not even try to write for a movie or special project. I’d rather spend my time trying to write a great country song. I never wrote with an artist until Alan Jackson became one 7 or 8 years into my career.
What have been your most meaningful successes?
I had two goals when I came to town. I wanted to write some meaningful songs and I wanted to have a reputation as a good guy. I hope I accomplished both. The thing of which I’m most proud is that I found the nerve to even move here in the first place. Specifically, I like to think I helped launch the career of one of the biggest music stars of the last 2 decades. Alan Jackson would most assuredly have become a big star without the songs we wrote together but “Chattahoochee” and “Chasin’ That Neon Rainbow” would not be in his catalog. Those were both my ideas and thank God I got to write them with him. To say his recording of those songs changed my life is a major understatement. “Angels In Waiting” by Tammy Cochran had an impact for good I hope.
What are you working on right now?
Spending more time with my Granddaughter and helping my sons sign new clients and doing a little copyright research from time to time.
Your Career:
It’s one thing to write one hit song, but what does it take to make a career out of it? The first thing is to take time to really enjoy your first hit for a few days and then get back to work. Not many songs will, on their own, support you for the rest of your life. What else ya’ got kid. So you had a big hit, awesome, good for you. Now, do it for the next 25 or 30 years. If having one hit made the road a lot easier it must have been before I got to town. You can have a hit on an artist and they may never cut another one of your songs. What the heck? All you can do is do it every day to the best of your ability and hope that big hit wasn’t the only one you will ever have. (see first sentence in paragraph).
What has been your most difficult challenge as a music professional?
Learning to deal with the “business”. The music is sublime. The music business is not. As Clint Eastwood said in “Unforgiven”, “deserve’s got nothing’ to do with it”. I’ve seen talented people that for whatever reason never really made it. I suppose there was always a good reason it not happening. Maybe I just couldn’t see it. I’ve talked with many Hall of Fame writers and it amazes me that guys like Max Barnes and Curly Putman would talk about the ones that got away instead of their major hits. As writers, we will leave this earth someday not understanding why that great song we wrote years ago never got cut. Goes with the territory I guess. I also don’t understand how you can give your publisher the Song of the Year and then be treated like a “rookie” when your contract comes up for renewal.
You have been recognized a number of times and given many awards. What was the most meaningful of those?
Obviously, having a CMA Song of the Year is a biggie. My first award was from NSAI and that came from other writers and meant a lot. I treasure them all because for most of us they don’t come easy.
Thoughts on music today:
How has the music industry changed from the beginning of your career until now? The most obvious changes have been the buyouts and mergers of publishers and record labels. What do we have now, 2 publishers and 2 record labels? That’s not far from the truth. There’s not much down home, good ole boy business being done these days. Most big decisions are made North, East and West of here although Nashville has become a much bigger player in the game. There are more Amendments to the U.S. Constitution now than there are songs on the play list of some radio stations. No wonder the labels have to spend a half million dollars or more just to begin to break a new artist. We made the transition from vinyl to cassette to cd pretty easily but the digital age is a whole different deal. We started out way behind but I think eventually music will prosper in the digital age. A lot of songs seem to be written by committee these days and that’s not so good. Some songs need to be written by the one person who is closest to that song. Co-writing came into high fashion about the time I arrived and has become epidemic. What happened to the great song pluggers who used to take your great song out and get it cut. These days a lot of them want to set you up with Joe Blow over at Acme Publishing. They make the phone call and set up the writing appointment and think they’ve done their job. First of all, it makes them look like they are hoping the other publisher will get the song cut. Secondly, I have a phone and I can call Joe myself and make an appointment if I have any credibility at all. How about you just take my best song out and get it cut while I’m on the phone with Joe. I know that’s not how it works these days. I’m a dinosaur.
How has a your role changed over time?
I’m just an old fussy, gristled veteran now. It’s a pretty short trip from the “new kid in town” to here. Time flies when you’re living and dying by the Billboard Charts and Sound Scan. The music changes and the new boys and girls get their shot and that’s how it’s works. Nobody stays on top forever around here. No regrets. Do I like traditional country music best? Yes. However, a great song is a great song and always will be.
How has technology had an effect on your career (home studios, digital distribution, etc.)?
My first publisher told me not to touch the equipment and I never did. Okay, one time I did. Tore up a tape machine and it cost $400 to get it fixed. I never checked but I bet they recouped that from me along with my draw and demo costs.
What are your thoughts on the Performance Rights Act?
I see both sides of this issue. I know the radio stations are selling advertising and I know they are using music to draw listeners. Maybe you can break a country artist without country radio these days. Get back to me when that happens. If the artists can pull it off without harming the writers in any way then more power to them. With all due respect to my artist friends, I’ve never received a penny from the sale of tee shirts with my song titles on them or from the sale of a concert ticket. Like I said before, as long as the writers don’t get hurt I’m okay with it.
Advice:
What advice can you give the young songwriters and musicians today? Do it from the heart and for the right reasons. I always said I would quit if I ever began to feel like I was only doing it for the money. I was beginning to feel that way. It was time for me to get out of the way of the new talented songwriters. I just don’t believe you can go wrong by coming from the heart. For the very few who might be trying to do it just for the money and not out of love for the music, please, go do something else.
Latest Endeavors:
Tell us about Copyright Recapture.
Copyright Recapture, LLC is the premier intellectual rights termination, protection and management provider for copyright holders in the United States. We offer a wide array of services to support copyright holders and their heirs, always mindful of our responsibility to them and their needs. Having chosen to establish ourselves at the forefront of this movement, we will persist in our efforts to be the most knowledgeable and experienced in the industry. We have over 100 clients from Coast to Coast representing many different genres.
When did you start the company? Why? With who? Was there something in particular that inspired you?
Copyright Recapture was started in January of 2004. The company was started by Jim and Brent McBride. Wes McBride joined the company shortly after its inception. We have a huge respect and appreciation for songwriters. We started the company to make writers, as well as the families of deceased writers, aware of their rights and then help them exercise their rights.
Who is the target audience? Who can you help the most and how?
Our client list ranges from Hall Of Fame Songwriters to songwriters with only a few hits. We think that our target audience is anyone who has ever been fortunate enough to create music for a living at some point in their life. We probably do the most good with heirs of deceased songwriters mainly because they are unaware of their rights and the opportunities that they have.
What else can you tell us about Copyright Recapture?
While filing Notices of Termination is the basis of our business, we have evolved into an all around Copyright Management service for our clients.
Please confirm your website (copyrightrecapture.com) and let us know if there is a facebook page or any other contact info you would like to share.
Website: www.copyrightrecapture.com
Facebook: http://www.facebook.com/pages/Copyright-Recapture
Lyric Financial:
How did you find out about Lyric Financial?
I found out about Lyric Financial through the BMI Bulletin. I thought it was a great idea then and I still do. I can remember as a new writer in town, as well as a family man, going to the bank and filling out several pages of personal information in hopes of getting a 90 day note for $1,500 and being turned down. How embarrassing that was. I was no longer a trustworthy federal employee but rather a risky music business type. “Money in the pipeline” didn’t count for anything back then. That changed a good bit in later years but still usually involved a lot of paper work. I hate paper work. Lyric Financial has it down to bare minimal paper work. They are stunningly prompt. I wish they had been around when I first came to town.
How has Lyric Financial played a role in your life? What opportunities or needs has it fulfilled?
BMI does a great job collecting my foreign performances and though they pay every 3 months, there are times, for personal or business reasons, when I like to get an advance on those royalties. If I can have four smaller amounts spread over a year or a year’s worth of royalties at one time I will take the latter please.
Based on the challenges of the music industry today, what advice would you give other royalty earners if they have financial need? (either for living expenses or professional development)
I know how hard it can be on a young writer. God bless you all, I hope it works out for you. If you don’t know what leverage means then you need to listen up. You are like a professional athlete who may be injured and never able to play and make money again. You may never have another hit. However, if you are beginning to make the publisher a lot of money, remember contracts are made to be torn up and renegotiated. Get as much money up front as you can (be reasonable), you’re not ready for the hall of fame yet. Continue to work hard, spend and invest wisely as if you will never have another hit. If you need some help now especially with day to day living expenses and you’ve got something going but the eagle is far in the distance, for Heaven’s sake, don’t starve yourself any longer. Call Lyric Financial. The cost you pay is deductible and getting that financial monkey off your back is worth it. You will most certainly over recoup and that gives you something now and something to look forward to. I’ve written hungry and I’ve written well fed. Well fed is better believe me.
Anything else you would like to share?
I’ve been so blessed and I’m grateful to God for whatever talent he gave me and for the opportunity to make my living writing songs. What a deal!
Any nicknames? Mr. Wonderful (just kidding)
Website: www.copyrightrecapture.com
What has been your role in the music industry?
I was a full time staff songwriter on Music Row for 25 years. Foster and Rice signed me in 1981 and that’s when I moved to town. I also wrote for April Music (EMI) for 8 years, Tree (Sony) 10 years. Later I wrote for Cal IV Music and Island Bound Music. I served on the NSAI Board for several years including one as president. I’ve also served on the Nashville Songwriters Foundation Board. I retired from writing every day about 5 years ago and started a company with my sons called Copyright Recapture, LLC.
How did you get your start?
I began bringing songs to Nashville in the late 1960s. My first appointment was with Curly Putman at Green Grass Music. You could go door to door back then and sometimes they would listen to your songs. I did some of that. I later did some demos with Bobby Bare. Bare wanted me to move here as had Curly years before. I had a family and a very secure job and I wasn’t ready to walk away from it. I tried to transfer from the Post Office in Alabama to the Post Office in Nashville but the postmaster wouldn’t let me. I stopped writing after that for about 4 years but got serious about my writing and moving to Nashville in 1978. I wrote every night until 2 or 3 in the morning and then got up at 6 a.m. to go carry mail. I did this for 3 years. I began to get a few cuts through Foster and Rice Music from songs written with Roger Murrah whom I had met in Huntsville years before. I also began to get songs cut I had written by myself. In 1980 Conway cut a song Roger and I had started at my house in Alabama and finished in Nashville. I determined if “A Bridge That Just Won’t Burn” was a single I was going to move to Nashville. I knew it would be a hit because Conway was singing it. It was a single (the first hit for Roger and for me) and I left the Postal Service the day after Christmas in 1980. I had a 1 year writing deal for 2/3 of my last year Post Office salary and I never looked back. I was too excited to be scared.
Who have you worked with?
Early on I worked with Roger and later I had success with Stewart Harris, Jerry Salley and Sam Hogin among others. Brent Mason made his mark as an awesome guitar player but early on he and I wrote 3 songs together and got all 3 of them cut. I even got to write a couple of songs with Harlan Howard and a few other musical heroes of mine.
Do you have a mentor? If so, who?
Curly Putman put me on the right path a long time ago. He told me he couldn’t help me unless he could be honest with me. I was ready for that. Sometimes I went back to Alabama a little down because I hadn’t brought him anything good. Other times I went home very encouraged because I had written something Curly really liked. He told me songwriting was a 24 hour a day job. He was right about that and a lot of other things. I didn’t get to Nashville until I was 33 years old. Bobby Bare also offered encouragement and later Bill Rice and Jerry Foster helped me understand a lot about the business and gave me my first writing deal. I’m forever grateful to all of them.
What types of projects do you enjoy working on?
I just wanted to be a country songwriter. Nothing more, nothing less. Therefore, writing the best song I could is all I ever wanted to do. I never had any luck writing for a specific project whether it be an upcoming album project or a movie or whatever. I thought I did a pretty good job most of the time but the “people in charge” didn’t think so. It got to where I would not even try to write for a movie or special project. I’d rather spend my time trying to write a great country song. I never wrote with an artist until Alan Jackson became one 7 or 8 years into my career.
What have been your most meaningful successes?
I had two goals when I came to town. I wanted to write some meaningful songs and I wanted to have a reputation as a good guy. I hope I accomplished both. The thing of which I’m most proud is that I found the nerve to even move here in the first place. Specifically, I like to think I helped launch the career of one of the biggest music stars of the last 2 decades. Alan Jackson would most assuredly have become a big star without the songs we wrote together but “Chattahoochee” and “Chasin’ That Neon Rainbow” would not be in his catalog. Those were both my ideas and thank God I got to write them with him. To say his recording of those songs changed my life is a major understatement. “Angels In Waiting” by Tammy Cochran had an impact for good I hope.
What are you working on right now?
Spending more time with my Granddaughter and helping my sons sign new clients and doing a little copyright research from time to time.
Your Career:
It’s one thing to write one hit song, but what does it take to make a career out of it? The first thing is to take time to really enjoy your first hit for a few days and then get back to work. Not many songs will, on their own, support you for the rest of your life. What else ya’ got kid. So you had a big hit, awesome, good for you. Now, do it for the next 25 or 30 years. If having one hit made the road a lot easier it must have been before I got to town. You can have a hit on an artist and they may never cut another one of your songs. What the heck? All you can do is do it every day to the best of your ability and hope that big hit wasn’t the only one you will ever have. (see first sentence in paragraph).
What has been your most difficult challenge as a music professional?
Learning to deal with the “business”. The music is sublime. The music business is not. As Clint Eastwood said in “Unforgiven”, “deserve’s got nothing’ to do with it”. I’ve seen talented people that for whatever reason never really made it. I suppose there was always a good reason it not happening. Maybe I just couldn’t see it. I’ve talked with many Hall of Fame writers and it amazes me that guys like Max Barnes and Curly Putman would talk about the ones that got away instead of their major hits. As writers, we will leave this earth someday not understanding why that great song we wrote years ago never got cut. Goes with the territory I guess. I also don’t understand how you can give your publisher the Song of the Year and then be treated like a “rookie” when your contract comes up for renewal.
You have been recognized a number of times and given many awards. What was the most meaningful of those?
Obviously, having a CMA Song of the Year is a biggie. My first award was from NSAI and that came from other writers and meant a lot. I treasure them all because for most of us they don’t come easy.
Thoughts on music today:
How has the music industry changed from the beginning of your career until now? The most obvious changes have been the buyouts and mergers of publishers and record labels. What do we have now, 2 publishers and 2 record labels? That’s not far from the truth. There’s not much down home, good ole boy business being done these days. Most big decisions are made North, East and West of here although Nashville has become a much bigger player in the game. There are more Amendments to the U.S. Constitution now than there are songs on the play list of some radio stations. No wonder the labels have to spend a half million dollars or more just to begin to break a new artist. We made the transition from vinyl to cassette to cd pretty easily but the digital age is a whole different deal. We started out way behind but I think eventually music will prosper in the digital age. A lot of songs seem to be written by committee these days and that’s not so good. Some songs need to be written by the one person who is closest to that song. Co-writing came into high fashion about the time I arrived and has become epidemic. What happened to the great song pluggers who used to take your great song out and get it cut. These days a lot of them want to set you up with Joe Blow over at Acme Publishing. They make the phone call and set up the writing appointment and think they’ve done their job. First of all, it makes them look like they are hoping the other publisher will get the song cut. Secondly, I have a phone and I can call Joe myself and make an appointment if I have any credibility at all. How about you just take my best song out and get it cut while I’m on the phone with Joe. I know that’s not how it works these days. I’m a dinosaur.
How has a your role changed over time?
I’m just an old fussy, gristled veteran now. It’s a pretty short trip from the “new kid in town” to here. Time flies when you’re living and dying by the Billboard Charts and Sound Scan. The music changes and the new boys and girls get their shot and that’s how it’s works. Nobody stays on top forever around here. No regrets. Do I like traditional country music best? Yes. However, a great song is a great song and always will be.
How has technology had an effect on your career (home studios, digital distribution, etc.)?
My first publisher told me not to touch the equipment and I never did. Okay, one time I did. Tore up a tape machine and it cost $400 to get it fixed. I never checked but I bet they recouped that from me along with my draw and demo costs.
What are your thoughts on the Performance Rights Act?
I see both sides of this issue. I know the radio stations are selling advertising and I know they are using music to draw listeners. Maybe you can break a country artist without country radio these days. Get back to me when that happens. If the artists can pull it off without harming the writers in any way then more power to them. With all due respect to my artist friends, I’ve never received a penny from the sale of tee shirts with my song titles on them or from the sale of a concert ticket. Like I said before, as long as the writers don’t get hurt I’m okay with it.
Advice:
What advice can you give the young songwriters and musicians today? Do it from the heart and for the right reasons. I always said I would quit if I ever began to feel like I was only doing it for the money. I was beginning to feel that way. It was time for me to get out of the way of the new talented songwriters. I just don’t believe you can go wrong by coming from the heart. For the very few who might be trying to do it just for the money and not out of love for the music, please, go do something else.
Latest Endeavors:
Tell us about Copyright Recapture.
Copyright Recapture, LLC is the premier intellectual rights termination, protection and management provider for copyright holders in the United States. We offer a wide array of services to support copyright holders and their heirs, always mindful of our responsibility to them and their needs. Having chosen to establish ourselves at the forefront of this movement, we will persist in our efforts to be the most knowledgeable and experienced in the industry. We have over 100 clients from Coast to Coast representing many different genres.
When did you start the company? Why? With who? Was there something in particular that inspired you?
Copyright Recapture was started in January of 2004. The company was started by Jim and Brent McBride. Wes McBride joined the company shortly after its inception. We have a huge respect and appreciation for songwriters. We started the company to make writers, as well as the families of deceased writers, aware of their rights and then help them exercise their rights.
Who is the target audience? Who can you help the most and how?
Our client list ranges from Hall Of Fame Songwriters to songwriters with only a few hits. We think that our target audience is anyone who has ever been fortunate enough to create music for a living at some point in their life. We probably do the most good with heirs of deceased songwriters mainly because they are unaware of their rights and the opportunities that they have.
What else can you tell us about Copyright Recapture?
While filing Notices of Termination is the basis of our business, we have evolved into an all around Copyright Management service for our clients.
Please confirm your website (copyrightrecapture.com) and let us know if there is a facebook page or any other contact info you would like to share.
Website: www.copyrightrecapture.com
Facebook: http://www.facebook.com/pages/Copyright-Recapture
Lyric Financial:
How did you find out about Lyric Financial?
I found out about Lyric Financial through the BMI Bulletin. I thought it was a great idea then and I still do. I can remember as a new writer in town, as well as a family man, going to the bank and filling out several pages of personal information in hopes of getting a 90 day note for $1,500 and being turned down. How embarrassing that was. I was no longer a trustworthy federal employee but rather a risky music business type. “Money in the pipeline” didn’t count for anything back then. That changed a good bit in later years but still usually involved a lot of paper work. I hate paper work. Lyric Financial has it down to bare minimal paper work. They are stunningly prompt. I wish they had been around when I first came to town.
How has Lyric Financial played a role in your life? What opportunities or needs has it fulfilled?
BMI does a great job collecting my foreign performances and though they pay every 3 months, there are times, for personal or business reasons, when I like to get an advance on those royalties. If I can have four smaller amounts spread over a year or a year’s worth of royalties at one time I will take the latter please.
Based on the challenges of the music industry today, what advice would you give other royalty earners if they have financial need? (either for living expenses or professional development)
I know how hard it can be on a young writer. God bless you all, I hope it works out for you. If you don’t know what leverage means then you need to listen up. You are like a professional athlete who may be injured and never able to play and make money again. You may never have another hit. However, if you are beginning to make the publisher a lot of money, remember contracts are made to be torn up and renegotiated. Get as much money up front as you can (be reasonable), you’re not ready for the hall of fame yet. Continue to work hard, spend and invest wisely as if you will never have another hit. If you need some help now especially with day to day living expenses and you’ve got something going but the eagle is far in the distance, for Heaven’s sake, don’t starve yourself any longer. Call Lyric Financial. The cost you pay is deductible and getting that financial monkey off your back is worth it. You will most certainly over recoup and that gives you something now and something to look forward to. I’ve written hungry and I’ve written well fed. Well fed is better believe me.
Anything else you would like to share?
I’ve been so blessed and I’m grateful to God for whatever talent he gave me and for the opportunity to make my living writing songs. What a deal!
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