Pat Higdon has over thirty years
of music publishing experience. In addition to being considered one
of Nashville’s most respected music publishers, he is also known as
one of Nashville’s most successful song pluggers with over 200 top
chart hits to his credit. He began his publishing career at one of
the cornerstone companies of the Nashville publishing industry, Cedarwood
Publishing company. After Cedarwood he served stints at MCA Music
and Warner Chapell Music before launching his own company, Patrick
Joseph Music in 1989. Over the next eleven years he molded Patrick
Joseph Music into one of the most successful independent companies
on the publishing landscape. In 2000 he accepted a position at Universal
Music Publishing where he today serves as Executive Vice President
& General Manager. In his position at Universal he oversees song
catalogues from some of Nashville’s most elite writers including Webb
Pierce, Mel Tillis, Jack Clement, Bob McDill, Matraca Berg, Craig
Wiseman, and Rivers Rutherford
Q: What do you consider your first
professional break or / position in the music industry ?
My first real
position in the music business was working for a record mastering
company. My first real break was when I went to work as an apprentice
engineer at Woodland Sound Studios. At that time that was one of Nashville’s
hottest independent studios in the early ‘70’s. I made great contacts
there and really learned a lot about the business in general that
has served me well for years.
Q: What got you into the music
publishing business ?
We did a lot of different business at
that studio. Some was master record business but we also worked with
a lot of writers and publisher on demos. I really loved that part
of the business. It fascinated me to see songs take shape. When I
left Woodland, I hopped around a little but eventually landed a job
at Cedarwood Publishing Company as their in-house demo engineer. After
awhile I began to use some of the contacts I had developed at Woodland
and pitching songs to artists and producers. I was hooked on publishing
from then on.
Q: What are your main responsibilities at Universal
Music Publishing Group (UMPG) as Executive Vice President and Manager
?
I oversee our Nashville writers and staff. I have six people on my
creative team who pitch songs for label projects, film/tv, advertising
and all sorts of other uses. We also develop and shop writer/artists
for deals. We have a Nashville admin team that deals with copyright,
royalty and licensing for writers and catalogues based out of Nashville.
All of that is under my guidance.
Q: What do you consider your
major accomplishments with that company ?
I think the major thing I
have accomplished is setting the bar at a high level while at the
same time pursuing commercial success. That may sound strange but
I think the writers we represent are the best of the best. They write
songs that become hits today but also have the ability to last. Real
copyrights.
Q: What were some of your disappointments with that
company ?
Not having the time to dig into the great catalogues we own.
We have such a treasure trove of great classic songs from so many
places, Cedarwood, Polygram, Pi-Gem, Jack Clement Music and on and
on. From writers like Mel Tillis, Carl Perkins, Bob McDill, Kye Flemming
and Dennis Morgan, Foster & Rice. We can’t forget these people.
There just isn’t enough time in the day or manpower to dig into those
they way I’d like to. We’re working on it though!
Q: How many
writers do you currently have on staff ?
40 or so but we do have six
creative people so the ratio is not too bad.
Q: Who are some
of your hot writers based on cuts achieved in 2007 ?
Rivers Rutherford,
David Lee, Luke Laird, Troy Verges, Tony Mullins, Ed Hill
Q:
Are you presently looking to sign additional staff writers ?
Not really
at this time. We just merged with BMG and we’re still working on learning
those writer and that catalogue.
Q: What is the process from
start to ink of signing a new staff writer ?
There’s no one way it
happens. Usually it’s a slow process of not only getting to know someone’s
songs but also getting to know the person. It is so competitive. Obviously
we look for talented writers but they also must possess a great work
ethic. A lot of times we’ll court with a writer for awhile by pitching
a few things informally or hooking them up a co-write with one of
our current writers so we can see how the relationship works. At the
point at which we’re comfortable about the relationship and we’re
confident in the caliber of the songs, we formalize a relationship.
Q:
What are the positive factors that influence you to sign a new writer
?
Same as above but also I usually look for people who are the
lead writer and can write alone as opposed to always a co-writer.
I also want to find writers who are a brand in and of themselves.
In other words, they have a unique style. I want the inventor not
the imitator.
Q: What are the negative factors that may influence
you NOT to sign a new writer ?
Even if they’re good, they sound like
so many other people. With a catalogue as big as we have, we can pick
our signings.
Q: How important is it in signing a new writer
that they also be a recording artist in their own right looking for
a label deal ?
In today’s world, it’s great if you can discover and
develop an artist writer but there will always be a place for a great
pure hit songwriter. Our roster is heavier with writers than writer/artists
and that doesn’t scare me at all.
Q: What are the main points
of a typical contract that would be offered to an unknown writer that
you sign ?
Typical length, etc… Usually a minimum of three year
deal (one year plus two option periods). For a pure writer, a minimum
delievery commitment of 12 whole songs per period. With an unknown
writer it’s a 100% publishing deal. As a writer grows in stature they
earn co-publishing in sort of a vesting fashion over time. New writer
advances can be anywhere from about $15K year up depending on the
need. Every case is different.
Q: Do you sign single song contracts
?
Not very often
Q: What is your advise to an undiscovered writer
who is trying to "make it" ?
Network with other writers. We find most
of our writers through other writers either by referral or hearing
great songs that were co-written.
Q: If an independent producer
is seeking songs for their unknown artist, can they contact you ?
And if the answer is yes, what is the process they need to follow.
We try to work with people on projects we feel can succeed. If someone
contacts me or a member of my creative team and convinces us they
have viable project, we’ll try to help them. People need to understand
also we only have so much time to experiment in any given time period.
We have to go for those big artists who are making us money first.
They really have to present us with something that we feel might have
legitimate shot or we don’t waste our time. They may not get
the latest song written by our hottest writer but I don’t think that
hampers them. We have a huge catalogue with a lot of buried treasure.
However we hardly ever hold songs for anyone unless they are signed
to reputable label deal.
Q: Are there any hot new projects UMPG
is currently working on ?
We’re excited about a lot of things. Young
writers like Jeremy Spillman and Luke Laird are really starting to
break out. We also have several young artists/writers like Jason Michael
Carroll, Chuck Wicks, and Holly Williams that either have albums recently
released or about to be released that we have high hopes for. We also
just signed a pub deal with Josh Turner. Although he’s already a known
star we feel he’s going to be an artist/writer that really matters
for a long time.
Q: How is UMPG utilizing the internet to pitch
songs, sign talent, etc ?
As far as signing things via the internet,
we haven’t done that yet. We use the internet to expose our writers
to a broader audience via myspace and webpages. We also use the internet
to expedite the songplugging process although we are careful to still
maintain personal relationships with artists and producers.
Q:
How do you think the present trend of downloading single songs versus
buying complete albums will effect your company in the long run ?
It
will certainly change things. I hope we are creating the kind of songs
that people will find and want even if they aren’t released in albums.
Q: What is your worst pet peeve ?
Bureauracy and status quo.
Q: What is your favorite saying ?
Don’t really have one. Maybe
‘the harder I work the luckier I get.”
Q: What are your hobbies
?
Fishing, good beer, Boy Scouts, golf even though I’m bad and UT football.
Q:
What is most important to you in life ?
My family first but I also
love what I do. I don’t always love the job but I sure love being
around such creative people and this exciting business.
