About

Play It Again Demos is a Nashville song demo service. The associated physical recording studio is called Nashville Trax.

The owner, music producer, and sometimes recording engineer, Bill Watson, is a man who, as a child, rarely ate his vegetables and was never spanked for it, but probably should have been.

He’s also a writer, having written three books, numerous online articles on many subjects, as well as articles for nationally distributed U.S. print publications such as Songwriters Monthly, Gig, Sports Afield, Small Business Opportunities and more.

His book “Guitar Shop” is available through Barnes & Noble, Ingram, Amazon.com and other retail outlets.

419g44rp69l__sl500_aa300_ Or read it for free: If your local library doesn’t have it yet, request they order Guitar Shop by Bill Watson, ISBN 0-9670751-8-1 through Baker & Taylor, Brodart or Midwest Library Service. Available in spiral or hard bound editions.


4 Comments on “About”

  1. Love your article about tip sheets! May I ask: ‘Who is the lady who pitches for free and has had 2 #1 hits on billboard that she promoted?” May I contact her. I have a song Collin Raye recorded for Sony that I want to start pitching heavily and I could greatly use her help. Thanks. -Chuck Doughtie

  2. Also, would you know of a list or have a complete list of successful music publishers who, if they really believe in you as a writer and believe you can write hits, pop & country, will co-publisher with you? I know they are out there, though I know the list would be a very short list; It seems most always want all the publishing. THANKS! – Chuck Doughtie

    • Thank you, glad you found it helpful.

      She is very selective about what she’ll pitch and a very private person. I will respond privately.

      As far as co-publishing, music publishers need to make a living. It’s weird but the way it works is a song is worth 200% which is split between publishing rights and songwriting rights. So all they’re asking you for is their share. If I understand what you’re asking correctly, most of the co-publishing happens for other reasons than what you’re describing. Foreign language lyrics, compilation CDs (The “Top Country Hits of 2016” type releases) and other co-joined projects, often require co-publishing.

      If your song is tied up with a music publishing entity that isn’t active (Colin Raye’s own company or whatever) it could be problematic. That’s why I frequently mention it’s best to sign with an active independent publisher who makes their living from song promotion and let them pitch to the artist. They’ll usually retain all publishing and continue to pitch a song they believe in beyond that first cut, hit or not. When new writers go direct to an artist, the artist will often insist on getting the publishing so they can increase their income. But as far as moving forward with marketing your song after that initial deal, you’re somewhat shot in the foot unless you figure out a workaround, especially if it isn’t a hit on the first release.

      If you give a music publisher 100% of the publishing you still retain the 100% songwriting rights. Unless you co-wrote it. If you wrote it with three other co-writers then it would look like this:

      100% to XYZ Publishing. 25% songwriting share to Chuck Doughtie, 25% to each of the other three co-writers- b.e.

  3. Yes.I have a Beyonce-type 100% original. Oddly enough, I also have a Christian. A screenplay that warrants the best movie since the 1960’s.


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