Anyone here a member of TAXI ?

[Bonafide]

Congratulation Archie!! I do honestly wish you the best in your career. Perhaps you will be in the next 1000 TAXI ads. Cheers.

[zboy2854]

Congratulations on your success, but your story kind of reenforces my point. You've had 27 submissions forwarded through the standard TAXI process, and zero of them led to anything tangible. The only TAXI related success you had was outside the normal parameters of the service, namely an employee of the service solicited your material personally to the publisher, which is not unlike a manager or attorney meeting with a publisher/label rep and doing the same. So in that respect your material was solicited to the publisher in a much more direct and personal way than TAXI normally does, and therefore gave your material much more weight. It kind of reenforces my idea that submissions forwarded by TAXI through their standard way aren't given much more priority by the labels/publishers/etc. than other unsolicited material.

[audiaudio]

Hey everybody, After reading all your interesting ideas and speculations about TAXI, I thought I'd jump in. Because I've been an active TAXI member for 7 years, I may have some useful information to contribute. I'm a writer/producer. I live and work in Colorado. My partner and I own a Pro Tools MixPlus studio where we write and produce. I joined TAXI because John Braheny, highly regarded champion of songwriters and co-founder of the Los Angeles Songwriters' Showcase--a 70s and 80s launching pad for Diane Warren, among other successful writers--recommended TAXI to me. He said, "there's this guy I know in L.A. who started this song submission service called TAXI, and he's got this idea about how competitive writers can get through the closed doors and have their stuff heard." John said that when Michael Laskow, TAXI founder and CEO, first described TAXI, he (John) was very, very skeptical. But, John said, after talking with Michael for a while, he realized that TAXI could work to the advantage of writers. This realization made a difference to John. Anyone who knows him knows that he takes the songwriter's interest very seriously. Anyway, based on John's recommendation, we joined TAXI. Over the subsequent seven years, we've made 230 submissions to TAXI, and approximately 40% of those submissions have been forwarded. I can cite these figures because we keep a detailed database that includes date submitted, date critique was received, date forwarded, forwarded to whom, listener number, etc, for every submission. As a result of those forwards, we've been offered a management contract (as writers) by a California firm that manages a very successful, high-profile, platinum-selling band. Also, a song of ours was placed and used on "Saturday Night Live." (It seems that that SNL episode is being rerun often. Every quarter, we receive an ASCAP royalty check that include payments from NBC for that particular show.) Through TAXI, we made a three-song deal with an L.A. publisher run by a legendary song guru. We've had holds placed on songs (for Vanessa Williams and Shanice) by major labels that solicited through TAXI. A song of ours was forwarded to and considered by Arista for inclusion on "Whitney Houston's Greatest Hits." Ultimately, the song was not chosen for Whitney, but that's not TAXI's fault. In that situation, TAXI did what, in my experience, TAXI always tries to do: get the song on the desk of the person who can say "yes" or "no." (BTW, ours was one of 250 songs submitted to TAXI for the Whitney listing. Of those 250 submissions, only 3 were forwarded by TAXI. Yes, the bar can be very high. It's a fact you have to accept.) Obviously, TAXI could not force Arista to use the song, but TAXI DID get the song on the desk and heard. In my mind, that's all I can expect. As you can tell from the above examples (and there are more), TAXI has often delivered for us. One brief (I promise) anecdote about a major-label experience may be helpful: My partner and I work with an Anglo-Hispanic female pop singer, a very talented, very attractive, pop-diva type who is one-in-a-million (yes, I'm hopelessly biased, but she really IS that special). In 1999, we wrote, produced, and released a CD on this artist and FedExed copies all over the place, including one to TAXI. The guys at TAXI became very enthusiastic about what they heard and, within a few days, had played the CD for Tony Ferguson, VP of A&R at Interscope Records in L.A. Tony also became very excited, and he started calling us. Tony then took the CD to his Interscope bosses, Ted Field (Co-Chairman), Jimmy Iovine (Co-Chairman) and Tom Whalley (President). These three very powerful people flew us to Los Angeles, had a limo pick us up at LAX, and put us up in a tony Westwood hotel. They spent an afternoon sitting in their boardroom meeting with us, even going so far as to discuss material and allude to certain deal points, talking with us as if a deal were imminent. Then, two days later, they decided not to sign our artist, because (they said) they already had their quota of Hispanic females on the label, including two just brought in by Enrique Iglesius as part of his deal. As far as I'm concerned, TAXI succeeded in the Interscope episode, even though Interscope ended up not signing our artist. Why? Because TAXI got our CD through the door and on the desks of people we probably could not have reached otherwise. TAXI's efforts had three hard-working hopefuls from Colorado sitting in the room with three of the most powerful people in the music industry. This story, like the "Whitney's Greatest Hits" example above, illustrates what TAXI does best: TAXI provides access. It doesn't guarantee success, it simply provides access. I hope this information helps. I realize that different people join TAXI with different expectations and have different experiences after joining. I can say that my expectations continue to be met by TAXI. My seven-year experience with TAXI, as you can probably tell, has been better than good. Some unsolicited advice: Take a tough-minded look at your music and make it absolutely as compelling as you can make it. Sometimes we think we're writing great songs--and we're not. TAXI critiques provide an opportunity to get, and learn from, professional-level criticism. Do different TAXI listeners have conflicting opinions about the same song? Yes--but the same can be said of the music business. It is made up of different people with often conflicting opinions. How could TAXI be any different? Best of luck to everyone out there struggling to make something happen. I know how hard it is. Don't quit. This message has been edited by audiaudio on 08-27-2001 at 03:30 AM

[steviezy]

Yeah, I have to agree. Taxi's been pretty cool for me too. I like the Rally (convention). Lot's of cool panels and info. Stevie This message has been edited by steviezy on 08-27-2001 at 01:32 AM

[Bonafide]

The problem with [b]ANY[/b] A&R 'service' is that the screeners are objective only to thier own tastes. The problem with a service like TAXI is that you pay upfront to have your material 'screened'. Who's to say that your songs,image,style etc., though not acceptable to the screener, wouldn't be exactly what a record exec is looking for? I could see charging a fee [b]IF[/b] your material was sent, but a whole bunch of money has been wasted because the 'wrong' screener heard the material. The critiques I have recieved (From TAXI,and ONLY TAXI)have been [b]ALL OVER THE BOARD[/b]. The same songs recieved both ends of the spectrum from "Excellent songs, XXXXX is genuine hit" to "This arrangement shows you are inexperienced" Those are exact quotes. Hmmm... It is a crap shoot who is going to screen your stuff. So if the guy/gal is in a bad mood or decides your music is not in his tastes then you are simply denied any possible opportunity. That's not only wrong but it is flat out bogus. Excellent music here http://artists.mp3s.com/artists/295/rodney_gene.html

[steviezy]

bonafide, if you're that dissatisfied with the critiques, then maybe Taxi's not for you. I renewed about 2 months ago. I've been pretty cool with the service. The critiques help my writing. This message has been edited by steviezy on 08-27-2001 at 05:49 PM

[steviezy]

besides, Lamont Dozier at the taxi convention was worth the membership! This message has been edited by steviezy on 08-28-2001 at 06:20 AM

[Bonafide]

[quote]Originally posted by steviezy: [b]bonafide, if you're that dissatisfied with the critiques, then maybe Taxi's not for you. I renewed about 2 months ago. I've been pretty cool with the service. The critiques help my writing. This message has been edited by steviezy on 08-27-2001 at 05:49 PM [/b][/quote] I think that is pretty obvious... Dissatisified isn't it so much as unfulfilled. I have NOTHING in the way of critiques that can help my songwriting. I have gotten only WIDELY varying opinions. How is that helping? There is no focus on ANY one aspect in the critiques. If it was consistently suggested to work on lyrics, I would be working on lyrics. When some screener say's "GREAT lyrics, great story", and the next say's "Be more specific" where does that leave me? I Think my point has been beat to death, perhaps if I send my material in to be forwarded I will have better results. who knows? BTW, do you work for TAXI? Sounds like it.

[steviezy]

nope, just a songwriter. i have several critiques, only one forward. good luck to you!

[steviezy]

Make that TWO forwards. Got a postcard notice today! Stevie

[Saprissa]

Taxi has actually worked great for me. I would recomend it.

[eightyeightkeys]

Go shlep your songs to New York, to Nashville, to LA, everywhere. After spending the time and the money getting there, which would be considerable(it wouldn't be $300), let me know how many important people you actually get to see, never mind listen to your songs. If you try and send unsolicited material by mail you can forget it. Or, hire an entertainment lawyer with connections to open some doors for you. I co-arranged played keyboards for a prominent artist who had a considerable past track record and an "entertainment lawyer"(flunky) and EVERBODY passed on his first solo effort. EVERYBODY. He made some sort of deal with a small independent...eventually. Lets say you do get somebody important to listen to your song (which is very rare), how do you know they are even looking for the style of song(s) you are writing. Oh ya, I forgot, you'd research it... ya right. Yesterday's news! The last thing might be his/her critique of your song but maybe only a thanks but we're not interested and you leave. You go on to the next one. This goes on for years, perhaps, before you get a break through. What about placement in TV, FILM?....what about opportunities where music is required immediately in a TV show and you've got the perfect song for it ? but you didn't have a clue that opportunity even existed. Never mind the critiques ! You have to find as many outlets for your songs/compositions as possible. You never know where or when someone will say yes. BTW [url=http://www.songlink.com]www.songlink.com[/url] also costs $285.00 USD per year. Good Luck !

[D. Gauss]

i drove a taxi once...does that count? -d. gauss

[steviezy]

[quote]Originally posted by d gauss: [b]i drove a taxi once...does that count?[/b][/quote] It counts if you ran down an A&R guy while at the wheel.

[nursers]

bump

[schmoron13]

nursers, the problam with the current thread is that aside from out posts, this thread's been dead for 2 years, so if anyone has had RECENT experiences with said service, please share. :D

[GZsound]

I have just started a new musicians music service. It's called AX-ME and for only $5 per song, I will tell you it sucks. For multiple critiques (at $5 each) I will have my friends and neighbors tell you your song sucks. Ten responses only $50. Be the first on your block....

[Mr Darling]

I haven't noticed this is a dead thread until nurses bump... what I did notice though, which is strange (to say the least) All 3 supporter of Taxi on this thread are registered since August 2001 (when this topic started) and 2 out of them had only posted in this thread... I have no info about Taxi and also no expirence with them. I was subscribed to a similier setup for a couple of month (tonos) , but decided pretty quick that it is a waste of my energy.. Now you need to pass two A&R process, and the one on the first team, are only trying to guess what the 'real' A&R going to l ike.. Good luck