PRODUCER CROSSTALK – rob puTnaM A Hit Songwriter in …

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SECOND ANNUAL

INDIE MUSIC PUBLISHING SUMMIT

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INDIE PUB 20 May2018



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30MaJyu2n0e128018 mumsicucsoicncnoencnteiocnti.ocno.mcom

ERIC BELLINGER

Justin Bieber, Usher and Nicki Minaj

? DAN KIMPEL

S O N G W R I T E R P R O F I L E os Angeles native Eric Bellinger got his songwriting and produc-

tion start in 2002 as a performer in a string of boy bands. But as

L2010 dawned, he craved bigger challenges and segued into writing.

Priscilla Renea Initially signed to Epic Records in April of that same year by veteran

record execs Max Gousse and Tommy Motola, Bellinger later inked

a publishing deal with Sony ATV. He's notable for his contributions to

CAhrHisitBSroownng'ws Gritreamr imnyA-wrtiinsntinCgo2u0n1t1ryrecord F.A.M.E. but his writing and

production repertoire also includes Justin Bieber, Usher and Nicki Minaj.

AHis wcrriotisnsg tahpephroisatocrhyiosfaAt monecriecabnotmhurseigci,mtheenteesdseantdiavl aurnieiodnwohf eRn&hBe

works wainthdoctohuenrtaryrtmistuss.ic"Mpyosfosremssuelas issigthneificsanmcee bthuattthcaenpnrotcbeessoavenrdapproacshtaitseda.lwPariysscidllaiffRereennet,adoewpnesndthinisgcoronstshreoaadrtsis. tW," ihtheheexrpnlaeiwnsT. h"Iirty

aTlwigaeyrs tfruyll-tloenmgathkereslueraeseit,'sththeepirovdibigeioaunsdlythsautccwehsastfeuvl esroIn'mgwdroiteinrg, ,wIhhoave

thheams pinenmniendd.hCitsonfocresputupaelrlsyt,aIr'ms lipkieckRinihgatnhneair, bKreasinh:aw, Chahtr'is gBoroinwgno, nCainrrie

yUounrdelifrew,owohda, tM'sirgaonidnag Loanminbeyortu, rMraerlaytJio.nBslhigiep,s?MIafdIocnannacahnadnnDeelmthi eLior -

evnaetrog--y palnuds caoirnpnlaeycat nwtihthemthseliirkfereFqifuthenHcayr,mthoenyy'r'se "mWoorrethlikIte"layntod fPeietbluclol nan- d

nKeecstehda'tsoNthoe. 1so"Tngim, beever"n--ifintthreoydudcidens'tCworloituereit.d", a captivating collection

elAevsaatendebxypeRreiennecae'sd svtoucnanlinsgt, shoen'sgcraft and bravura vocals.

posRitieonneeadrteofetareknecaens ahretrisrte-lceevnetl performance at an industry showcase. "I

amppardoeamchyinprtohcelasmtuadtion. :"ATnhyaot nI eam a countryThsiengthereaenmd eovset riymspoonrgtaI'nvte

theavte'sr wroitrtkeendiswcitohumnteryw."ilTl hteisll dyeofuinIi'tmion, Renleeasssoanyss,hree'fslecletsarhneerdmaossta

toinungaht,e" mheusaidcmalitcso.n"nTehcetyiomn.ig"Iht tisthminyk thmaotstht enairtularsatl titaekreatwioansatnhdeiwr bhesret,Ibut

writer and producer are:

I'flel esal tyh,e`Lmeto'sstgceotmit faogrtaaibnl'eo. rI `gTrreywit ulipke thoins.a' SfainrmceinI'mFloarbidleat.oMsyinggr,aIncdamnodthoear qhuaicdktherxeaemapclreeos.f MhoywuInwclaenKt eitntnoygios. Aanbelancgkinceoewr bmoayywnhoot rbideeasbbleultlos sainndg

? I don't start until the beat is already a hit. If the beat ain't a hit, I can't write to it.

thtaeuvgohct aml.e" how to crack whips. His soTnhtearueg'shat lmsoe vtoalusee, Baehllaintcgheertfainndds, ina rbeomwaainnindgacrroonws.taI'mntlya pstrroadiguhct-iuvep. "Icfoyuonutrtyagkeirl.a" break and then come

? Make sure that the lyric and the melody are a marriage. It has to sound like they fit together.

bacTkotomcarkeeatCinoglotuhreewdaoynyhoeur wowerne six

mteornmthss, Raegnoe, athhaet'asdfoerdesigonu;thit.'s"Iof lIdh. ad ? The performance, vocally, has

Tthriedcatodepnitchesa,nmy eolfotdhie ssoangdscoonn-this

to be on point.

creepctosrdal(lisnwLi.tAch.) unpo.bYooduy hwaovueldtowsatnatyto

incuitt. tIhneemveorr sthtoepy. wEoveulrdsginecteAI&sRta'drtteod

inde2a0t1h0.,TIh'vaet'psuwt hoyutI awtelnetatsot Nthareshevaillbeu, ms every year, not even including

thdeidsno'tnteglsl aI'nveyownreit,taend[fhoirdoathnedrdaidrtitshtiss]. There's so much new content

nroewcotrhda.tIifwyaonute'rde tnoost etheewnheawt waortuisldt, you're the old artist."

haApspaenwirfitIepr,uBt oeulltinaglleor famlloywidsehaism.self to be guided by the process. "The

beaFt otertlilfsiemdewwithhaatntoilluwsrtirteio,"usherossateyrs. "There's science behind the beat;

boefhcinodllatbhoeratetomrsp,oi.nIcfliut'dsinsglohwi,p[-thhoepsong's] slower. If it's fast, up-tempo,

itp'srogdoutctaerbseafnadstc. oAuuntotrmy saotincgawllyr,itIetrhsi,nk either `turn it up' or `calm down.' If

ytohue ltirsatecnkstoarteheamsounsiicc,frtahmereew'soarkmfoinror chord and a major chord. A minor

cthhoerdraiws suargde, nacmy ajnodr cshtuonrndinisghranpgpey. If I have a major chord, up-tempo

boefaRt,emneoas'tslivkoeilcyei.t'sShgeoinogtetos btheaat nshuep-htaesmaplowapyasrtboefetnhecosnonegc. tIef dit'tsoaher

mcionnosrcciohuosrdn,essloowf baenaat,rtiits'st. p"Proeboapblelyagreoiunsgetdo tboesaonbgrewarikteurpsswohnog.aBreenfo'tre

I aervtiesntss. tIanret vwerritisntgo,pIpkendobweitnhgesaen tahritnisgtsj.u"st because I was writing songs

foTr ootphreordpuecoeprslea. nTdhasto'snwgwhyritpeersopolne tlohveerimsey, shoencgosusnosemlsuchha;rbdewcoarukse I

awnrditepathtiemncfer.o"mBeanpraeuptahreendticfoprlathcee.t"ime it'll take to get there," he urges.

"OftIennimnaogwin, iwngithhepreaopplerosaecehintog Covoelorunrigehdt, sRuecnceeasrseomneImnsbteargerdahme,rtchhaitld's-

chhoaondgepdertfhoermpaenrcesptaiot nmoiliftawryhaatnidt tcaikvielisantocmeraekmeoint.ieBse, bpaasteiebnatllagnadmmeas,ke

swureeddthinagt syoaunrdsfounuenrdalis.u"Insiqtaurete. dBesitytionugrsbealcfkbaencdauthsienkitin'sgt,h`We ohnaltyiswmay

wsetr'ellnbgetha?b'lOe btovisoeueslyy,oIuciannawcrritoewadh."it song, but what is my voice? I went

baBceklltiongwehrernecI oursdeeddtohisinlagtethset anlabtuiomnaEl aaznythCeamllfloarset vyeerayrthaingd.aEimvesrytotime I

resilnegastheeitalnatheer min I2s0i1n8g.it"Wwieth'rea jcuosutnktirnydtwoaf npgla.yItinjugsitt cooffmthese osuintglilkee; mthatk.-"

ing Tshuerecwolele'rcetiroenaodpy,e"nheer e"FxapmlailnysT. ree" is built around a harrowingly

personal narrative. Rendered with sly humor, "Gentle Hands" is a very

detaCileodntraecqtuMesotsteosGHoidll f-oErcahmoianng tSoolouvned,zw, 8h1ile8-t5h1e0s-l0o7w7-4b,umrnoinsges"L@et's

Build a House" eechcoheosincglsaosusincd`6z.0nsect;oeurnictrbyeslloinugl.eTr.hceomsong cycle wraps

up with "Land of the Free" and these dismayingly relevant lines: "Slav-

ery's abolished but it's still alive and well." says Renea, "I grew up in the

South where people talk about the Confederate flag, and it's not about

hate? Get the fuck out of here."

Renea notes that often her high-pressure gig puts her at the mercy

of many whims. "Imagine being in someone else's dream and you can't

escape or be yourself and you have to wait for that person to wake up.

That's how it has felt for the last 10 years, like I am in someone else's

dream, doing whatever they want me to do, and I can't escape.

"I know it's going to sound odd, because I've had success," she

continues, but I don't have a choice. I love writing so much that I endured

all of the B.S.??people using me, stealing from me, and manipulating me,

taking credit for shit they didn't do. That's another thing that made me go

into this `ninja place' to make this record."

Now, two years in the making, Coloured arrives as a powerful testa-

ment to the fortitude of Priscilla Renea. "This is my voice and it was chal-

lenging to find it," she confirms. "I'm comfortable. I'm not trying to show

off. I'm simply telling stories."

Contact Nina Lee, Shore Fire Media, nlee@

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