Actual Songwriting Advice from Scott Cooley

I'll start with a simple, short answer:  Do it.  It's fun.

If you've come to this blog looking for advice about songwriting, this is the post for you.  The About page of my blog states that it is about my "experiences with the craft," but because it's such a mysterious and personal thing, I've rarely blogged about it.  I think I can make it seem more accessible and less daunting, despite not really being a traditionally qualified expert, so here goes...

Presumably you read this blog because you've heard some of my songs and appreciate them.  Also presumably, you know it isn't easy to explain or teach.  Like most things, if you have the desire, then do it a lot, you learn along the way and get better.  Presumably.  I think I have, but it's hard to know for sure.

I guess I think of the blog as being more than just me being a solo artist.  I've always considered myself more of a songwriter than anything else, and I've always envisioned writing songs for other artists as my ideal place in the music business.  Turns out I've also become a solo artist, multi-instrumentalist, engineer, etc., but out of all the ways I get involved with music, just making up songs is my favorite aspect.  I have maybe written, recorded and released more original songs than most people, but that's maybe my only qualification.  I have no formal training, nor do I have any major awards to brag about.

If there’s anything I can offer, it would be that my songwriting “career” is an example of what you can do as an average joe, regular guy type of person who never took lessons or learned to read music notation.  You, too, can learn a few chords on a guitar, make up some words to sing, put them together, and call them songs – and do it as a completely self-taught person without much skill or talent as a vocalist or instrumentalist.

For starters, being able to record yourself playing a song on a guitar and singing some lyrics really helps.  Just hearing yourself perform a song you wrote helps.  I used to teach people how to ski, and when video on the hill became a thing (Vail pioneered this in the early 90s with something they called “cybervision”), it made people get better faster to be able to see themselves ski.  It's very similar to playing back a recording of yourself.  Knowing what you sound like is important in evaluating songs you write.  Hearing a recording of yourself makes you think about instrumentation and arrangement ideas as well as the overall impression a song has and what could be improved.

I think I started with a jam box that recorded cassettes.  After a while, I bought a Tascam 4-track recorder, and that allowed you to record 4 different tracks and blend them together, which made me want to get a bass and some percussion.  Later on, a computer with audio interface and multi-track recording software made the number of possible tracks limitless.  

One thing I can say about my experience with the craft is that it has evolved with both time and technology.  A digital audio interface with digital audio workstation software is overwhelming, but gives you a satisfying mad scientist experience.  At first, you're excited to make yourself sound like a full band, and fairly quickly thereafter, you realize that adding too much instrumentation or too many vocal parts can make a song worse.

Recording helps, but so does using a word processor.  Legal pad with pen was how I jotted down the words with chord letters above the word where the chord is to be strummed.  Then you truly have a written song, along with the ability to have a recording of it on which you made all the sounds.  Progressing on from paper was again spurred on by me getting my first computer and using Wordperfect, and then later on, Word, as my lyric/chord documenting tool of choice.  It's way more efficient to rearrange sections, cut and paste lines, delete stuff, make edits, etc. than revising by crossing out and writing over or rewriting your revisions on a fresh paper page.

I was shaped by the circumstance of having a computer to use as part of my day job.  This allowed me to take breaks and type lyrics in the office, then email them home to myself.  Later when home and near my guitar again, I'd put them to music.  This was the reason I’m more of a lyrics-first writer, but I’ve also written plenty by writing the music first too.  I probably wrote more lyrics for songs than I would have otherwise, and once they exist, you look forward to completing the music part.  

The more you learn, the more you are able to hear.  When enjoying music by other artists you like, you can try to figure out what are the characteristics of the songs that made you like them.  The more you know about music and songwriting and recording, the more likely you are to be able to hear song forms and structure, for example.  You can find a lot of free information about writing songs on the web, so I highly recommend doing so.  I don't ever co-write with anyone at all, but I do also advise doing it, because you can always learn from others.  I've noticed that just talking about the craft with other craftsmen or listening to people who are better than you can no doubt help.  Not everyone can be a Lennon or McCartney, but everyone can learn from listening to them.

These two figured it out pretty well by doing it a lot too!

Ideas matter.  Sometimes, when I sort of luck out, a song will just flow out as if it’s writing itself, and when this happens, it’s usually because the core idea of the song was really good to start with.  You need a spark of a good idea first.  Listening to other music, people's conversations, and even reading books can give you inspiration, usually to write a song that includes some aspect you wanted to hear, or some aspect it reminded you of, or some aspect you misheard.  New original melodies, concepts, titles, and lyrics can pop into your head while listening to existing music.  Maybe you hear where you would've gone if you were the artist, and maybe it just makes you think of something totally different.

My absolute best piece of advice I have is to just do it a lot.  Write songs a lot.  Most will suck.  You may improve the more you try, but sometimes it doesn't seem that way.  Maybe I haven't improved because for every batch of new songs I write, say 10 new songs, usually only a couple of them really stand out.  2/10 ain't a bad keeper ratio.  Sometimes it's 0/10, sometimes 5/10, despite me learning a few things over the years.  

That's really two pieces of advice:  write songs often, and accept a low keeper ratio without getting discouraged.  Those are the top two most important things.

Secondarily, it is really important to listen to a lot of music.  I remember being surprised when reading Stephen King's 'On Writing' about how important he thought it was to read other writer's books, and to do it frequently.  A first reaction is that it seems contrary to writing something fresh and new, and that it would put you at risk of being perceived as copying someone else's style, or worse, being a plagiarist.  My initial thought was that you don't want to be clouded by others' work and that to be truly original/authentic/creative, you want to avoid any influence whatsoever.

This one can also be broken down into two pieces of advice:  listen to a lot of music, but also  listen intently for what worked well.

I'll elaborate a little on this last one.  The more you listen to music you like, as a songwriter, you're constantly focusing on why you like it, asking yourself what it is about the song that makes it good.  The more you attempt writing songs (and recording them), the more you notice little details in the music of other songwriters and artists.  You start to be able to at least hear things like the song forms and the arrangement choices and the rhyme schemes, whereas before you wrote songs you just liked what you liked from a music consumer perspective and didn't notice all these other things.

Therefore, the more you write/record, and the more you listen to the work of others, the more you notice, the more you pick up on various devices, tips, tricks and techniques you can use for your own songwriting work.  As your experience increases, the greater your focus becomes.  You hear things in songs you like that you never noticed before.  Similarly, you also begin to notice what didn't work, why songs are not good, or how they could've been better.

Another piece of advice that has just emerged in my mind from explaining all this so far is you need to record in addition to write.  In particular, I'm thinking of multi-track recording.  Yes, a good song can be conveyed with one instrument and a vocal and should be able to stand on its own that way.  However, most of what I enjoy has more than two tracks.  The more you attempt recording multiple instrument and vocal tracks and blending them together, you start paying more attention to the instrumentation and mixing of your favorite songs by others.

To sum that up, I would also add a fifth piece of advice:  record your own songs...with multiple tracks.

Expanding on that, it's never a bad thing to try to re-create a song someone else wrote by recording your own cover version of it.  Fire up your DAW and try to record a famous song that stays true to the original, and you'll learn a lot about what made the song and record so good in the first place that you didn't notice when you were merely a fan.

To clarify further then, record songs in a multi-track environment;  including covers.  With all of the virtual instruments and MIDI sounds available in software, you don't have to know how to actually play instruments to record tracks using the tools. 

Even if you're only wanting to write, recording demos is a part of presenting your songs to artists, and demos these days are typically more than just a guitar/vocal or piano/vocal.

And I guess elaborating on that point would be to have DAW software, an audio interface, a computer, a microphone, and a MIDI keyboard.  At minimum, these are the basic tools every songwriter should have.  If you don't play piano or bass or drums, you can use the keyboard for a simple snare hit track or a simple root note bass track to fill out a demo.

Adding to that would be an obvious one:  have an acoustic guitar.  They are the most commonly-used instrument for songwriters, easy to just pick up and start using without any setup when inspiration strikes.

Summarizing those last few might be to say have an instrument - which almost goes without saying, and have some recording equipment, and a MIDI keyboard is highly recommended even if you don't play piano.

I got by with a 4-track tape recorder for years, but today's digital electronic recording tools are amazing by comparison.  Again, when attempting to record a demo of your own song or a cover of someone else's great song, you learn things about what makes songs and recordings of songs great.  This in turn trains you to listen more intently to songs you like to hear what they did that worked (or didn't).  It makes you become a producer, or at least be able to think like one.

Lastly, I might advise listening for the structure of songs.  As a kid, I could sing songs I liked, but never paid any attention to which parts were a verse, chorus or bridge, intros/outros, etc.  Along with this is the advice to learn a little about the common song forms that exist, and the common rhyme schemes that are used in great songs.  Learn the rules, break them, listen for how others followed or broke them, etc.  It makes you become an "arranger" of sorts.

Concluding about those last two might be learn the popular song forms - there are only a handful, and learn a little about types of rhyme options.

Another big one in the same vein would be to learn a little bit about chord families - that is, which chords go well together for a song in a particular key.  Again, these are good to know because it's a matter of knowing the rules in order to break them.  There are all sorts of confusing charts and diagrams out there to be found like the circle of fifths, but chord families gets you started with theory.

So the advice piece here is:  learn chord "families" for each song key.  I mean, you don't have to actually learn them, just google it and refer to the table that lists what they are.  Simple as that.

There are a ton of other subtleties to learn about and pay attention to as you get deeper into understanding what works.  Things about tension/release, contrast, subject matter, and the details go on and on.  You will learn how certain chords tend to resolve to other chords in a key, stuff like that.

I'm mainly talking about songs that have lyrics, so if you're aspiring to "compose" classical music or chamber music or instrumental music or background music for movies or television, some of these things may not apply as much.  Something to never lose sight of is that songs with words meant to be sung require great singing for the best impact.  Guitar riffs, drum beats, melodies, etc. can all be hooks that contribute to great songs, but great singers can transform songs into things of beauty.

It seems to be more true for guitarists than keyboardists, but while playing chords, you start singing the words in a way that sounds good to you.  This is the melody.  So, I guess I would recommend that you write the melody with your voice.  You could do it with your right hand on a piano, or with a harmonica, but I do it vocally.  I rarely just write a melody on a guitar first.  It sort of naturally feels like the right notes to sing while strumming those chords in that order.  

You can start with whistling or humming or just singing nonsensical “na-na’s” before you have the lyrics, then when you have the lyrics, sing them in place of those same notes that sound good to you.  So, the singing, while playing some progression, for guitar players usually, is the creation of the melody.  It’s a vocal melody that could theoretically later be notated on a staff.  Later on, you can match what you sang with an instrument – such as playing the melody on individual notes either while singing or during an instrumental break.

I’ve done lyrics-first a lot, but I’ve also done music first.  Inevitably, there’s a little back-and-forth editing until you get it all to gel.  Sometimes you can just hear it all coming together in your head, and your fingers and voice have to translate it simultaneously.  Attempting it a lot makes it less daunting, like anything.

Final piece:  don't underestimate the power of great singing.  Be a great singer or find one.

Someone like me who is not much of a singer should theoretically be on the lookout for great singers to interpret my songs - whether by me pitching my songs to artists, or finding a great singer to be in a band with.  Instead of pursuing either of those, I record my own versions of my own songs as a solo artist by myself, and hope some great singers take notice and want to record them.

As an artist myself with a small-but-growing cult following, I am fortunate that singing isn't the only thing people enjoy about music and artistry, or I'd have no interest in my music at all.  People appreciate the songwriting, I'm told.

Some of the pros in Nashville will spend a couple grand on a single demo of a single song, sometimes more.  It seems almost insane.  That takes a great amount of confidence in addition to capital.  Then they pitch them to artists, and often get rejected.  I'm all for people going for it, but my current situation is to just keep doing what I do, keep trying to write better songs, keep trying to record better songs.  

As I've blogged before, I know I'm not the type of solo artist who would be likely to get signed by a major record label.  I might have enough skill with songwriting to do it as full-time staff member for a publisher, but I live in Michigan and have no plans to move to a music hub and network.  Luckily, it's a hobby that is a blast and can be made public from the privacy of my home - which is weird but true.  Thankfully, I've had enough confidence to put my songs and recordings out there.

My songwriting and recording have evolved, my knowledge of each has evolved, and so has the advice list.  I have no reason to think these trends won't continue.  

So, re-skim the things I made bold above, but here's an abbreviated list for you impatient scrollers as blogged about in detail above:

• Do it often
• Accept bad songs
• Listen to great songs
• Listen intently
• Buy an instrument
• Learn song forms
• Learn rhyme schemes
• Learn chord families
• Buy recording equipment
• Get a MIDI keyboard
• Record multi-track songs
• Record covers
• Focus on singing
• Don't give up

So, there you go.  Write on.  I don't claim to have ever written any really good songs.  I'm still trying to write a good one, and that's what's fun.  There's a drive there, but the motivation is enjoying the trying part, knowing it would be rare and unrealistic to ever think you'll actually write a great one.

When I run in to people who know I like to write songs and they ask if I’m still doing it, I usually say I’m still trying to write a good one, and then I usually throw in a “haven’t given up yet” part too.  I say these things with a smile on my face because I have so much fun with it.  It’s a great way to pass the time.  I know some of them might think to themselves “okay, I guess he really likes something he’s not very good at” and then might wonder “why make them available for streaming though?”.  I do it anyway, because I can.

We all know someone who retires with a hobby, then they attempt to go pro with it.  I’ve worked with guys who liked to take pictures with a camera and then retire and launch a “photography studio” website, or guys who are into woodworking and then retire and launch a website to try to sell their creations online.  You check it out, make a quick judgement in your mind, compliment them, and wish them well.  You always think to yourself “dude, you’re not as good as you think you are, but good luck,” but you’d never tell them your thoughts out loud to their face.  

Those sites don’t seem to stay up for very long.  Is this kind of thing sad?  Yeah, maybe a little, but I’m one of them, and I’m a supporter.  Depends how you look at it.  Did they need someone to tell them they weren’t as good as they thought they were, or that their ambition outweighed their talent?  I’m not sure about that.  

Trying and failing is better than not trying.  Not giving up despite remaining conventionally unsuccessful would be another way to say it.  Following a passion isn’t about mainstream success, it’s about the enjoyment of a creative pursuit.  Keep at it, that’s how you get better at anything.

Scott Cooley: The Raygun of Singer-Songwriters?

New year, same thoughts about my situation as a “worldwide” recording artist.  How to reach a larger audience when I’m not a “hey, look at me!” type of person.  Getting noticed and discovered and recommended by more people is what we want.  There are a lot of us with this predicament.  I don’t play live, don’t have a manager, promoter, or a record company staff doing any marketing for me or otherwise helping me get attention online or in publications or whatever.  And I can’t bring myself to seek out such opportunities or do any of that type of work in my free time.  I’m not a hustler, I’m a creator.  I am always self-deprecating, and I balance the desire to create new music and share it with the world with wondering if the music business is telling me the streams just aren’t there to justify continuing.  Should I drop myself from my own label?  One problem is I can't afford any marketing, but another is I sort of despise self-promotion.  What else could I be doing?  Some say the cream rises to the top naturally, and since I'm still a bottom-dweller after 20+ years, maybe I need to get a clue and either get better or get out.  Better songs is one thing to focus on in the new year, which I certainly have control over, but I’m ruling out better recording quality and better performance quality by not being able to afford pro engineers and session musicians that pro studios (whether brick/mortar or cloud service) could provide.  I honestly believe some of my songs are worthy and deserving of the pro treatment, and I know that forking out over two grand for a premium Martin guitar about 15 years ago that I didn’t think I was good enough to deserve, did indeed turn out to be worth it for my favorite hobby.  Should I invest more in myself and take it more seriously, or should I be ashamed that I’ve taken it as seriously as I already have been for all these years?  Such are my thoughts as I begin a new year, and I know I’m not alone.  

It takes great patience and the right frame of mind to read my long-winded posts that help me figure these things out, and yet I know from my analytics that quite a few of you do, so I’ll type on.

The underground music scene, which has been increasingly marginalized on streaming platforms by power-hungry and control-hungry major record labels under the guise of their "artist-centric" rhetoric, is as strong and fresh as it has ever been.  Self-releasing independent DIY lo-fi artists like me seem to thrive on platforms like Bandcamp.  Such music sounds very real/genuine/authentic/etc. compared to the trend-chasing, digitally-polished and artificially-perfect fake-sounding music the major labels release.  Unlike the signed artists who are expected to sound perfectly fake and market the heck out of themselves on social media and elsewhere, artists like me have no expectations (or budget) for such nonsensical pursuits.  Most of us don't really seek publicity, don't buy fake streams, and don't buy fake playlist adds.  We love being totally independent so we can focus on the important stuff like writing good songs without any expectation of recouping recording or marketing loans.  We don't stoop low enough to drum up controversy or “sensationalization” for attention.

Music Marketing for “Emerging” or “Aspiring” or “Developing” Artists

All that being swept aside, it is necessary to market yourself as an artist, and to do that, you must first have some understanding of what genre of music you make, what other artists you sound like, and who your audience is.  If you are not able to describe it, categorize it, explain your style, etc., then it's a tough row to hoe.  The major labels / streaming platforms are now ramping up their gatekeeping so that if you don't get a certain number of streams for each song (1,000 per year each to be more precise), you stand no chance of getting paid.  This allows them to make more money, and that's why they exist.  For a couple of decades now, however, due to it becoming increasingly inexpensive to buy simple home recording equipment and pay for aggregator digital distribution services, they claim something needs to be done about the "oversaturation" of music that simply isn't popular enough.  When the fans decide what they like best, as opposed to what the major labels decide to market to them, it is theoretically better for everyone, but with so much competition, you can't get over a thousand streams per year of each song you release, year after year, without scrambling to get online attention somehow.

Past Mid-Career Already, Yet Not Easy To Market

I have more than two decades and twelve albums under my belt, so I must have a story capable of capturing attention if I want to take things to a higher level of public awareness, right?  If I only knew how to describe myself as a musical artist, I might then be able to formulate a marketing strategy, plan and execute a publicity campaign of some kind.  I guess that would mean reaching out to music bloggers and ask them to write about me, or paying for actual advertising to get that fan base past the streaming threshold.  As a non-performing solo artist seeking a larger audience online, I suppose doing a lot of frequent social media posts might help, as would getting the music reviewed or being interviewed.  Before thinking about what my “brand” is, or how to make my story more interesting, I need to at least be willing to seek attention, and it goes against my grain, but I think about it from time to time.  The fact is that platforms like Bandcamp are full of really interesting artists who you would never imagine being appropriate to be promoted for radio airplay, but nonetheless are so much fun to discover and listen to.  So, although I’m not an attention-seeking personality type, I give it some thought.

A New Approach – Maybe Brutal Honesty Would Work?

Last year, someone asked me what kind of a solo artist I am.  Once again, as always, I struggled to provide a quick, easy answer for such a question.  My music does not fit neatly into a popular genre people are familiar with.  I wish there was a simple way to explain it, but I have trouble with it.  People really want a categorization or at least some sort of explanation, and they find it hard to believe I can't describe myself to them.  The right thing to do is to have a short answer that makes them want to listen to decide for themselves.  It should include who you get compared to.  I remain unprepared, and wish I could be ready with the perfect elevator pitch answer.  Sometimes I say something like “you know how there’s people who aren’t very good who just release their music on the streaming platforms anyway?  I’m one of them.”  They usually don’t understand, because they only listen to their favorite famous artists anyway.

Looney Tunes

It seriously took a lot out of me to even tell people about my last album “Sunrise” when I released it last June.  Social media makes people get crazy, so I generally like to avoid it.  I got a little Looney Tunes near the end of 2024, what with the holiday stress and all here where I live near Goodrich, Michigan, home of the Martians, and like Marvin the Martian, there were a few times when I wanted to shoot a ray gun at my music “career” and make it go away, find a different hobby, but then I came back to my senses.

Also last year, I finally thought of another self-deprecating way to describe myself:  

I'm the Raygun of solo artists, the Rachael Gunn of music streaming.  

Translation:  So bad I make people laugh hysterically.

Becoming Aware of Raygun, the Dr. of Breakin', the OG Australian B-Girl

Let me explain.  Somehow, last year I was made aware of a video on YouTube showing a losing performance by this Raygun person in the summer Olympics breakdancing competition.  First of all, I didn't even know breakdancing was technically a sport, let alone an Olympic sport, but apparently, it is now.  That, by itself, was hilarious to me.  Also, the name Raygun sounded hilarious, especially after seeing what she looked like, but I did initially think it could be a good breaker's name.  Then before clicking the link to play the video, I expected it to look like the breakdancing I'd seen on TV or in those bad movies of the 1980s when it was new.  It didn't.  I expected a black person in 80s style urban street attire.  Instead, it was a white Australian woman wearing what looked like a uniform of track pants and a baseball hat.  Her moves didn't look like the breakdancing I'd seen before, and I started thinking to myself as I watched it that maybe it had evolved a lot since I'd seen it back in the day.  Trying to keep an open mind, I found myself laughing out loud a little bit as I watched it.  I wasn't sure what I'd just seen, and thought it was not out of the realm of possibility that it was a joke of some kind.

Then I decided to google her, and learned that a lot of other people had the same reaction.  Unsurprisingly, she got a score of zero, meaning no points awarded by judges at all.  People shared theories online that she had somehow scammed the system to get into the competition so that she could use her Olympics experience as a free vacation while representing her country and getting them to foot the bill.  Further research revealed this was not the case at all, and she took the "sport" so seriously that she actually had a PhD degree in breakdancing.  The world changed a lot since Krush Groove and Breakin 2 Electric Boogaloo, when no one could have ever fathomed that it would not only become an Olympic sport, but something you could get a doctorate degree in.  Obviously, she took it very seriously, was trying hard to be creative with her own style, flair, technique, and choreography, and wanted to win.  Then I learned that she had some legitimate qualifications at the national level, which made me think break dancing must have evolved to something way different in Australia.  Even more funny are the online comments on the video footage of her.  People have named her various moves and created memes.  Lastly, I was sad to learn she was not able to laugh along with others' reactions and instead felt so bad about the cyberbullying that she quit.

Not Like Raygun in Some Ways

Fortunately, I have not experienced any bullying about my music career.  Unlike Raygun, I don't have any formal music education at all.  I'm completely self taught.  Also unlike Raygun, I am able to make fun of myself and maintain a sense of humor about trying to go for it in the music business.  If songwriting became an Olympic sport, there'd be a ton of Americans who would qualify before me.  I'm cracking myself up as I type this.

Zero Scores, Zero Streams

But like Raygun's zero scores, I have written, recorded and released many songs that have zero plays on some some streaming platforms.  No points scored at all.  One could argue it's due to a lack of any marketing whatsoever on my part, and although there is truth in that, I can admit, those songs are not my best.  I am a terrible singer and weak guitar player and even worse at the other instruments and recording and production and all that other stuff I attempt.  

Similar Reactions?

I know people must have a similar reaction when they do stream my music.  They must think to themselves, "okay, what's this?"...and then after hitting play on a couple more, they must think to themselves "why is this guy even on Spotify in the first place?"  Things along those lines, I imagine.  So, that's how I'm like Raygun.  The Raygun of singer-songwriters who makes people wonder "how did he get here?" or "why is this even allowed?"

No Joke

Also, like Raygun, my art is not a joke.  I seriously love writing songs and recording them, and actually think many of them are pretty damned good songs.  I'm serious about the passion I have for the craft.  I'm still laughing as I type this, realizing how it must sound to those who have heard the quality of my recordings (or lack thereof).  On the one hand, I don't take it that seriously, and I think of it as a fun hobby.  I don't work very hard on it at all – a fact that should be evident to all who listen.  On the other hand, I'm enthusiastic about it as a creative outlet in my life.  Some of my songs are intentionally humorous, almost like novelty songs, but not quite.  I know many must laugh at the ones I didn't intend to be funny too.  I can laugh along with them.  Some of my acoustic guitar solos are the music equivalent of Raygun’s Kangaroo pose.  I know I'm not awesome, but I do have some ill moves in my arsenal.  😊  I’d put my shredding technique up there with former 80s child actor Corey Feldman – another person who went viral last year.

Sneaking In and the Inevitable Increased Gatekeeping

Raygun sort of snuck in when the sport was new, and they may not let in others like her in future competitions.  The powers that be might get a little stricter with their gatekeeping.  Similarly, I sort of snuck in to the music business when they started allowing self-releasing DIY independent artists like me about twenty years ago now.  In the last couple years, the music business has been getting more stringent with their gatekeeping so there will be fewer like me allowed into the music streaming services in the future.

I haven't given up yet, and the “artist-centric” greedy major record labels and music streaming service gatekeepers haven't totally shut me out yet, so I'm going to keep going for it and releasing new music.  A lot of people don't realize it's dirt-cheap to put out an album these days yourself without needing to be signed to a record label deal.  So, they’re surprised when they learn my music is available alongside the greats of the industry.  

The Eye of the Beholder Thing

Streams happen, or don't.  Stats happen.  Judgement is going to happen.  Beauty in any creation is different for each individual person who experiences it.  Opinions about the value and merit of different types of art, including breakdancing or music, are personal.  Emotional reactions are subjective, appreciation depends on people's tastes.  You be the judge.  I don't seek outside opinions about my music at all.  Just my wife and a couple friends.  I'm not competitive in any way.  No one ever reviews my music.  I'm in a bubble, yes, but I don't have a skewed perception of reality.  I'm fairly certain more than one person in the world has thought I was embarrassing myself by releasing music, or that I should be embarrassed about doing it.  I am a little embarrassed, for some of the songs, but I keep trying, and I actually notice little ways I might be getting better over the years.  Maybe not at all though, come to think of it, and at least I can laugh about that.

No Guts No Glory

I am someone who has had the courage to be vulnerable and offer up my creativity for judgement by releasing my music on a worldwide stage, just like Raygun.  She and I each had the guts to give it a try, thinking it was worthy and that some people would like it.  We were right.  It's not so much that we had confidence despite lacking talent.  I'm not ultra-confident, but I just do it anyway.  I am afraid to have people hear my music, but at the same time, I want it to be available because I know some people will like it.  I'm not delusional.

Raygun has stated that she is only going to dance for personal enjoyment for the rest of her life.  I think it would be better if she came back strong in Los Angeles in 2028.  It would also be great if she could learn to laugh at herself, laugh along with people laughing at her.  I have respect for her.  For real.  I also can’t help but laugh – both at her routine and the world’s reaction to her.

The Inevitable Humble-Bragging

At least Raygun can say she competed in an Olympic sport.  Whatever level of accomplishment anyone has in anything, there are some who are better and some who are worse off.  You need the people who fail.  Someone has to lose.  I make other solo artists look good, and solo artists like me must exist if you think about it in a certain way.  We can’t all be tied.  This is ridiculous because writing songs is not a sport, but if it were, at least I’d be able to say I got a certain number of streams, and that number would be higher than some other artists.

I really do like to think of myself as a modest person, and yet, I like to occasionally humble-blog about myself.  It’s the equivalent of the nauseating holiday letters that boast accomplishments you get along with Christmas cards from large wealthy successful families you sort of envy/hate/make fun of.  But it’s also a form of me, the Raygun of solo artists, engaging with you, my superfans, which “they” say is extremely important.

I was fortunate last year that a really good singer and solo artist named Ultimate Rick Jones recorded and released an outstanding professional and commercial-sounding cover version of one of my songs, “Used To Be Good Looking.”  He was one of the few out there in the world to recognize it was a good song, which admittedly wasn’t easy to spot from hearing my own version, but if you listen to his, you might start thinking I am not a terrible songwriter, at least.  

This gave me some additional confidence, but I'm definitely not overconfident.  This blog is full of posts where I basically admit I know I'm not great, but the stats don't lie.  Last I checked, my not quitting has resulted in my song "Mackinac Island" (admittedly a novelty song) racking up over 26,000 streams on Spotify alone.  

Not to brag, but I might be laughing all the way to a whole penny someday soon.  But yeah, in some ways, as Raygun is to breakdancing, Scott Cooley is to music making.  We’re both out to express ourselves creatively and entertain.  

Happy New Year!  As always, I’ll be working on the next batch of tunes for you, as free time allows, while wisely not giving up the day job, and will be planning another release, possibly even later this year.  Also as always, I’ll be blogging about myself as I continue to pretend I’m a solo artist.  It’s a little insane, I know, but people need hobbies.