SUZAN KOC
suzankoc.com
Suzan Koc coaches, develops and nurtures songwriters. Some call her “the song whisperer.” She is also an international publisher who started her career at Warner/Chappell in Paris, where she signed the Swedish pop band Ace of Base. Later, she was hired by English publishing company Hit & Run Music to work in their New York office. Eventually, Koc was transferred to Los Angeles where she was instrumental in developing the careers of many songwriters (including Shelly Peiken), placing songs with a variety of stars, such as Christina Aguilera, Brandy, and Jessie J, among others. She currently teaches Music Publishing at the Musicians Institute in Hollywood.
What should an artist look for in a publisher?
Somebody who connects with them. Someone who is going to push them, encourage them and inspire them.
What advice do you have for aspiring songwriters?
Listen to a lot of music. Read poetry, pick up things by ear. Do it because you have to––like it’s a terminal disease. And, most important, do not give yourself a deadline.
What do you look for in a song?
I look for the truth. I need to believe it. I want to be touched and hear things I haven’t heard before. I listen for fresh sounds, syncopation, the musical note and the emotional note. It all has to come together.
Where is the revenue for songwriters today?
It used to be radio airplay and album cuts. Now, it’s more about placements in film, television and commercials.
What do you consider to be the most important issues in publishing deals?
The MDRC (Minimum Delivery and Release Commitment). That’s a certain number of songs you have to release. Not just anywhere, but through major distribution. That logic is 30 years old and still hasn’t changed. There are a lot more indie labels doing quite well. And, co-writes could be affected if the MDRC is based on 100% of a song. Lately, they’re making it even more difficult by putting minimum sales numbers as a condition of the MDRC.
Additionally, make sure there is a clear “reversion” clause so you can get your songs back after a certain period of time. And, be sure to have a good attorney negotiate the conditions under which reversion will occur, and how your MDRC will be applied.
Many artists are multi-talented––songwriters, performers, producers, even actors. Is that an advantage?
You should always write songs. But, if you do other things as well, don’t try to do it all at the same time. Something will almost always get lost when you do that.
Many songwriters feel that royalty rates (paid by Performing Rights Organizations, i.e. ASCAP and BMI) are too low and unfair.
They’re right. It’s no different than when songwriters got screwed with player pianos. It’s all based on something called the “Consent Decree” that established rates and regulated who can negotiate them. But that Decree is over 70 years old. It’s time for a change. Songwriters, artists and publishers should work together to correct this problem. It’s horrible.•
