I also didn’t mean to diminish the artists roles in a song. It is just that they get the attention because they deliver the songs and are in the public eye. The better the delivery person, the better the results of course. Artists can enhance a song. One example is George Younce’s bass part on Step Into the Water. Kirk Talley himself talked about how much that contributed to the song. I don’t think it would have been nearly as successful as it would have been had they sung it straight. (No pun intended. ) It is still a good song and I am sure would have been successful, but probably not as much so. It just seems a bit empty when the bass sings the same rhythms as the other singers.

A great artist or group (as well as instrumentalists and producers) can really enhance a song and make it shine. On the other hand, a lousy song although might be able to be salvaged (I started to use the word saved and thought better of it ) , but the artists skills alone probably won’t make it a whole lot. However, we have probably all heard songs that were great, but performed by artists who could not sing. Even then, the beauty of the song can shine through in spite of the artists, but if performed by the right artists are even better. I might be wrong, but I think a lousy song performed by great artists probably won’t rise as high as great songs by lousy artists (within reason of course. If the artist cannot sing at all, then maybe not). However, it would also depend on the amount of the artists audience though. So, although artists are the ones in the public eye and important, they need a good song to have larger success. Each part of the equation (artists, songwriters, instrumentalists, producers, engineers, and even people who design the CD covers, promoters etc.) have a role in the success of an artist and many have a role in the creation of the songs we enjoy.

This is a good time to say “bravo” to the folks who are in charge of the SGN awards (the Unthanks). They wisely award a writer who is also an artist/performer, and have a separate category for the non-performing writer. Obviously, I think that’s wonderful!

One final note…secular music awards programs such as the CMA award the Song of the Year to the writer(s) exclusively…the artists are awarded with Single of the Year. I hope it doesn’t sound whiney to say that I feel that to be appropriate. I’ll close by saying that for me personally, the rewards of being able to write Gospel songs and have them recorded, and the relationships I have in the SG business, far outweigh recognition of any kind. I’ve been blessed to be involved in that since 1976, and it’s been JOY UNSPEAKABLE!

I will have to agree with the songwriter you quoted. It’s just pathetic how songwriters are treated in SG music. I think a lot of people in the industry are in dire need of some etiquette training in how to deal with the hands that are feeding them.

I have pitched many songs to groups in the genre, and the silence coming back was deafening. However, my experience is that if a group actually cuts your song they will usually make contact.

I will have to say that the one song I pitched to the group the Inspirations several years ago was rejected, and I received a rejection note in the mail, which I appreciated very much actually. At least it was an acknowledgement that they were breathing, and that I was breathing.