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A&R, Record Label / Company, Music Publishing, Artist Ma... http://www.hitquarters.com/index.php3?page=intrview/2010/... 1 2 My Pages Renew Log Out HitTracker - Search contact person Interview with ALLAN ESHUIJS, songwriter for Cascada, Songwriters & Publishers! Taio Cruz, Wynter Gordon - September 6, 2010 Artist-reference - Complete list 203 top artists are looking for songs... “It’s important to work with people from the Type of company country where you want your tracks out. It’s a Submit your songs All strategic thing.” at SongQuarters! Genre Current Features: All Territory All Free text (more info) Interview with Chris Braide, songwriter for Pixie Lott, Clay New on HitTracker - Last 10 / 100 Aiken, Diana Vickers, JLS Help - How to search ArtistQuarters Fast rising Dutch songwriter Allan Eshuijs is capitalising on the Send your hits to the world's international success of co-write ‘Evacuate The Dancefloor’ by most successful A&Rs! Cascada (UK No.1, Top 5 Ger, Can & Fra, USA Top 30) and the current Interview with Nicole Morier, US and UK mainstream appetite for all things Euro dance by songwriter for Britney Spears, A&R panel broadening his musical horizons far beyond the lowlands. Wynter Gordon, Pixie Lott, Sky Success Stories Ferreira With writes for Wynter Gordon and Booty Luv fresh in his notebook, Create your own artist page Eshuijs talks to HitQuarters about what a songwriter needs to do to with songs, pics etc. - Free! conquer the charts in a foreign land, why he left Universal to start his own publishing company, and how a pop song doesn’t need to be Search for artist logical to be great. Artist of the Week: Interview with Brett Hestla, Euro-style pop and dance are on the rise in the US mainstream charts - producer for Framing Hanley, Intellect not least through Lady Gaga and RedOne (HQ interview) - is now Sore Eyes therefore a good time to be a songwriter-producer coming from out of Hip-Hop this background? Special Features: USA This is the best time. As Europeans we’ve had a hard time getting into the US market, because it was mainly hip-hop, urban that was dominating the charts a few years ago. And since the whole Gaga thing, Rihanna going dance influenced, and especially because of the collaborations with Songwriters Market European producers, I think this is the right time for us to make the next step and get in contact with US writers and A&Rs and build up relationships with them. Special feature – Still All The Digital Songwriter, the third About The Song? - The part of our 'Masters of Songwriting' Changing Sounds of Music Was getting a hit that broke through into the US and UK charts always book series City USA a career aim? Read The Art of Lyric Writing, the latest extract from Dennis Sinnott's new 'Masters of Songwriting' book Yeah, it was always my aim. I’ve been a member of SongQuarters for a while. I tried to get in contact with A&Rs, reading all the HitQuarters A&R 'Make Songwriting Pay' - the first articles and getting to know the people in the business - how they think and in a series of extracts from Dennis R. Sinnott's new 'Masters of what they want to hear. And it’s funny because now I meet a lot of those people I read about. Songwriting' book Special Feature – Swedes Behind The Scenes I’ve read you’ve been working with Taio Cruz, Wynter Gordon amongst VocalQuarters others, so has your involvement with Cascada’s international smash hit ‘Evacuate the Dancefloor’ already directly led to more interest and Achieve a successful vocal projects in the UK or the USA? performance and avoid making a fool out of yourself Yeah, definitely. ‘Evacuate the Dancefloor’ was my big break and is Having a vocal specialist in the changing my career and my life. Article - Is Free Music Killing studio should be standard The Industry? operating procedure. What is it that makes it hard for writers to secure cuts outside of their Are your vocal chords making you own country? feel inadequate? If you don’t have the network then it’s really hard. You should collaborate with people from the US if you want to have a cut there. Music Business Cards 1 of 6 11-9-10 7:06 A&R, Record Label / Company, Music Publishing, Artist Ma... http://www.hitquarters.com/index.php3?page=intrview/2010/... Search among 1000s of personalized It’s not always necessary, for example ‘Evacuate the Dancefloor’ was cards to find the contacts you need. coming out of Germany, but I was lucky to be part of this team - Cascada’s Category producers Yann Peifer and Manuel Reuter have their own label, they license it all over the world. HitQuarters' Primer for World Territory But I still think it’s important to work with people from the country where you Famous Songwriters want your tracks out. If you’ve got two Dutch guys writing a song you still have to cross the border somewhere - you have to get your network out in Free text the US or the UK or wherever. It’s a strategic thing. From the archives: So I’d rather write with a US writer because he has his network - maybe he’s "With Lady Gaga, I almost feel like I'm a mirror. She has closer to the next upcoming A&R or the next big artist. crazy ideas - she's like a born energy of inspiration." Post or Edit your Business Card It’s also nice to be in a different atmosphere meeting different people, Interview with RedOne, New on Business Cards - Last 20 because people in the US see songwriting more as a profession unlike producer for Lady Gaga, Holland where people tend to think, “You write songs? Yeah, my neighbour Alexandra Burke and Michael write songs ...” Jackson Much more... So why do you think ‘Evacuate the Dancefloor’ was such an "[Auto-Tune is] the one Subscribe to the newsletter international smash hit? unique thing about [T-Pain]. Label Vote That is why I signed him. What drew me to him was Music Business Links That’s hard to say. I think the timing stands out and that it’s different. Nobody would say, “Come on, let’s evacuate the dancefloor.” [laughs]. how different it was." HitQuarters Archive Search That’s the funny thing about it. We got a lot of comments about that, “Why Interview with Michael Advisory text would you say evacuate the dancefloor?” I love to be different. Blumstein, manager of T-Pain World Top 20 A&R Chart "I think [M.I.A.]’s an artist World Top 100 A&R Chart of The synth hook is also so strong - because where it starts off is so catchy - and the ohs ohs, those hooks always work - it’s like a new gimmick, who affects culture and how Songwriting & Song Pitching other people make music. everybody uses it nowadays. Service for Songwriters & Music [Her Success is] a reward for Publishers being consistently original, Where did the title phrase come from? for working hard and doing things completely her way." Yanou played these chords, and we were building on it, and the hook was Interview with Richard Russell, already in the synth, so we just had to get a nice lyric on it, we got like “nah A&R for Radiohead and M.I.A. nah nah nah nah nah, something-something-dancefloor”, because we wanted something that makes everybody want to dance. But what on the dancefloor? We wanted to say something different. So we were Googling for some nice words and weird combinations of words, and suddenly we had ‘evacuate the dancefloor’. We then built the whole story around it. How do you and the guys from Cascada usually create together? Normally I work directly with Yanou - who’s more of the writing guy and the musical guy - in a session in the studio. The other guy, Manuel Reuter, is more the sound guy, so he puts together everything we play. When I’m with Yanou we look for great titles, think of strange words or just a concept to start off with. The song has been variously compared with Lady Gaga all the way to Nickelback and Miley Cyrus’s ‘Party In The USA’ - can you tell us what the actual inspirations for the song were, as sonic-wise it’s a significant departure from Cascada’s previous sound? Yanou and Manuel Reuter are the production team and they decide on which way they want to go, and I don’t have a lot of say in that, but this song just asked for a certain production. With the second album they noticed that sales were going down and they had to come up with something different and that was the only way they could make it. I think it worked. How did you first come to work with Cascada? I’ve known the guys from Cascada for ten years. After two years of working with them as a backing vocalist one day they asked me, “Do you write songs? We heard you had a hit song with Ch!pz ...” Ch!ps is a Dutch kid act, I wrote a song called ‘1001 Arabian Nights’ and it was huge in Holland and also developed in Germany and Switzerland – and because they knew about that success and knew I was writing, they asked me, “Do you want to write for Cascada? It’s a new dance act, and we need songs.” We did some tracks, and then eventually one track (‘Can't Stop the Rain’) got on the first album ‘Everytime We Touch’, which was a major success.