Songwriters Magazine Fall 2009 by Songwriters Association of Canada

Canadian Publications mail agreement no 40014605 (If undeliverable please return to 129 John Street, Toronto, Ontario M5V 2E2

CELEBRATING THE ART AND CRAFT OF CANADIAN SONGWRITERS

MAGAZINE

$4.95 CDN

FALL 2009, Volume 12 Number 3

SONGWRITING CONTESTS So you’re a winner … what now?

CANADA’S NASHVILLE CATS

GETTING AHEAD IN MUSIC CITY

JONI MITCHELL’S FIRST BREAK A RIVETING EXCERPT FROM JASON SCHNEIDER’S “WHISPERING PINES” 20 QUESTIONS WITH EMBER SWIFT ALSO IN THIS ISSUE: SONGWRITERS IN THE NEWS JOHN’S CAPEK: STORIES FROM THE TRENCHES S.A.C.’s BLUEBIRD NORTH GOES NATIONWIDE

PUBLISHED BY

Executive Director’s Message

Photo: COURTESY S.A.C.

Executive Director Don Quarles with International Confederation of Authors and Composers Societies (CISAC) President Robin Gibb at the Works Copyright Summit in Washington in June.

Exciting changes are taking place at the S.A.C. We have moved our offices to a wonderful house on John Street in downtown Toronto. If you plan to be in the Toronto area in the next few months, make sure you come visit for a tour of our new space. Some of you may have attended “A Day of Song”, the June 2 series of four Bluebird North songwriter showcases held in St. John’s, Ottawa, Winnipeg and Vancouver. Our thanks go to BBN producers Andrea Monro, Ana Miura, Chris Burke-Gaffney and Shari Ulrich for making this crossCanada event a huge success! With the help of singer/songwriter Ann Vriend, we are also introducing another Bluebird North in Edmonton, starting in September. Look for the upcoming dates on our web site calendar. It was great to see some of you come out to the Annual General Meeting in June, when who we were treated to the fantastic sounds of singer/songwriter Luke McMaster and elected our new Board of Directors, which now includes Chris Burke-Gaffney (Winnipeg) and Jane McGarrigle (Montreal). Special thanks to Stan Meissner, who cycled off the board this year. Stan, your leadership and guidance have been invaluable over the last several years! S.A.C. had a booth at NXNE this year and featured “Drop in - Rock out” a place where musicians and songwriters could play little snippets of music, hooks and guitar riffs on video to be available later for everyone to contribute to a larger piece of work. The objective of this initiative is to get more people collaborating and sharing music. The Songwriters.ca website is going through an overhaul. We’re hoping to allow for more information and learning tools online than ever before, using video and audio sessions to link members with their Pro mentors and peers. The summer songwriting workshop, now called Songstudio, saw a venue change this 2 SONGWRITERS MAGAZINE FALL 2009

year. The annual week-long workshop was held at Ryerson University in Toronto and more than 55 enthusiastic songwriters attended sessions by songwriting gurus Fergus Hambleton, Ember Swift, Sara Kamin and special guests Tomi Swift, Greig Nori, Stephen Page and others. The event was produced by Blair Packham and Rik Emmett, with contributions from Bill McKetrick and Allister Bradley. All of these events and activities have not slowed S.A.C. down in our continuing efforts to present real options enabling the monetization of digital music file sharing, and to influence copyright reform in Canada. The Minister of Canadian Heritage and Official Languages, James Moore and Industry Minister, Tony Clement, have been listening to interest groups regarding copyright over the summer and hope to introduce a new copyright bill in the fall. S.A.C. was invited to attend two of the “round table” discussions and two of the town hall events. There have been opportunities for public input through an online forum that the government has set up. One of the items high on the Governments list is to have Canada ratify WIPO (World Intellectual Property Organisation) treaties, so that our own legislation complies. I encourage you to engage in these online consultations. Finally, thanks to our Regional Writers Groups Coordinators, who are helping us to reach more songwriters in more places, and to S.A.C. staff, Ania, Justin and Sandra for their hard work over the last few months. Thanks also to others that have helped us off and on in the offices, including Nick, Yasmin, Alex and those who have helped us at recent events, including Steph and Marianna.

EDITOR Greg Quill MANAGING EDITOR Don Quarles DESIGN Ambrose Pottie CONTRIBUTORS Don Quarles, Nick Krewen, Christopher Ward, Dale Leung, Greg Quill All photos courtesy of S.A.C., unless otherwise stated. Canadian Publications Mail Agreement No. 40014605 Canada Post Account No. 02600951 ISSN 1481-3661 ©2002 Songwriters Association of Canada Subscriptions: Canada $16/year plus GST USA/Foreign $22

MAGAZINE FALL 2009 Volume 12 Number 3

CONTENTS

Songwriters Magazine is a publication of the Songwriters Association of Canada (S.A.C.)and is published three times a year. Members of S.A.C. receive Songwriters Magazine as part of their membership. Songwriters Magazine welcomes editorial comment. Opinions expressed in Songwriters Magazine do not necessarily represent the opinions of the S.A.C. Address submissions, inquiries and changes of address to: 129 John Street Toronto, Ontario M5V 2E2

5 20 QUESTIONS Ember Swift reveals secrets of song craft

Phone: (416) 961-1588 or: 1-866-456-7664 Fax: (416) 961-2040 E-mail: sac@songwriters.ca Web: www.songwriters.ca

ADVISORY BOARD ADVISORY BOARD Jann Arden, Randy Bachman, Tommy Banks, Liona Boyd, John Capek, Tom Cochrane, Lisa Dalbello, Richard Dodson,Rik Emmett, Micky Erbe, Roy Forbes, David Foster, Alan Frew, Dan Hill, Paul Hoffert,Paul Janz, Ron Hynes, Ron Irving, Arnold Lanni, Geddy Lee, Mike Levine, Colin Linden, Rita MacNeil, Sarah McLachlan, Murray McLauchlan, Dean McTaggart, Frank Mills, Ben Mink, Adam Mitchell, Gary O’Connor, Declan O’Doherty, Blair Packham, Dave Pickell, Raffi , Cyril Rawson, Sam Reid, Tyler J. Smith, Ian Thomas, David Tyson, Sylvia Tyson, Shari Ulrich, Valdy, Jim Vallance, Nancy White

7 NASHVILLE CATS Canadian blood continually renews itself in Nashville as newbies take their turn in the buddy system, finding a welcome, direction, and a couch to sleep on By Tracey Ducharme 9 TRUE NORTH HITS THE CONCERT TRAIL Two major tours in the West and the East this fall showcase the cream of True North’s famed crop of songwriters

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior written permission of the Songwriters Association of Canada. BOARD OF DIRECTORS President: Eddie Schwartz Vice-President: Bill Henderson Vice-President: Greg Stephens Treasurer: Jim Vallance Secretary: Greg Johnston Directors: Joan Besen, Chris Burke-Gaffney, Emm Gryner, Marc Jordan, Blair Packham, Jane McGarrigle, Christopher Ward

FEATURES:

The S.A.C. gratefully acknowledges the support of The SOCAN Foundation and the Government of Canada, through the Creators’ Assistance Component of the Canada Music Fund

10 LIFE IN THE TRENCHES Mega-hit songwriter John Capek recalls a brief and fateful collaboration 12 COVER STORY: SONGWRITING CONTESTS Tens of thousands of entries in dozens of song competitions are submitted by writers around the world every year, and Canadians win more than their fair share. What’s the deal? By Nick Krewen 15 JONI MITCHEL STEPS UP An excerpt from Jason Schneider’s fascinating history of Canadian song, Whispering Pines: The Northern Roots of American Music...From Hank Snow to the Band 18 BLUEBIRD NORTH – CANADA BOUND BY SONG Reports from S.A.C.-sponsored simultaneous workshops in four cities

Keep on writing, Don Quarles Executive Director SONGWRITERS MAGAZINE FALL 2009 3

S on G W R I T E R S I N T H E N E W S SOCAN’s Echo Songwriting Contest The fourth annual ECHO Songwriting Prize, which highlights and celebrates the songwriting talents of some of the best independent and up-and-coming songwriters in Canada, is underway. The competition, under the aegis of SOCAN (Society of Composers, Authors and Music Publishers of Canada), is adjudicated by an independent panel comprising10 of the nation’s top music community tastemakers, representing various regions of the country and a diverse collection of musical genres, which nominates a total of 30 songs. The panelists then review each of the nominated songs and, using a pointvalue system, determining the five songs that will be put to a public vote at www. echoprize.ca, where the songs may also be heard The writer(s) of the winning song will receive a $5,000 cash prize.

Songwriters score after Canadian Music Café appearances The Canadian Music Café, run at each year’s Toronto International Film Festival by Canadian music and publishing interests under the direction of Toronto-based TV and movie music supervisor Michael

The Mountains & The Trees showcased at this year’s Canadian Music Café. PHOTO SUPPLIED

Perlmutter, has become e a virtual clearing house for the work of the 15 Canadian acts that get to showcase their wares for visiting music supervisors, programmers, directors and producers. Canadian songwriters who performed at the 2008 Café scored big time with song placements in major U.S. TV programs. Toronto songwriter Jill Barber’s “Chances” was licensed for Degrassi: The Next Generation and three additional songs for The L Word. On the recommendation of a music supervisor who saw her Café performance, Barber was sought out by Chrysalis Music Publishing for a publishing contract, inked this year. Subsequently Barber also performed at the Canadian Consulate in Los Angeles for 30 music/film industry professionals, as well as for Disney/ABC executives. Toronto roots/pop artist City and Colour (Dallas Green), electronic dance duo

Thunderheist, P.E.I. rock band Two Hours Traffic and and Toronto pop composer Royal Wood also secured song placements in hit television shows as a result of being seen by visiting music supervisors at the 2008 Café. City and Colour’s “Sleeping Sickness” ended up on Degrassi: The Next Generation. Thunderheist had songs placed in The L Word and Ugly Betty. Two Hours Traffic’s “Jezebel” was picked up for Castle, and another song for The Best Years. Royal Wood’s “Mirror Without” was used in an episode of Grey’s Anatomy. Following her appearance at the Café, Kreesha Turner appeared on the hit television series Da Kink In My Hair, where two of her songs were licensed. Two other Turner songs were picked up for Ugly Betty. Final Flash secured a deal with L.A. publishing company NorthStar Media. After being previewed at his 2008 Café performance, Vancouver’s Shuyler Jansen’s songs have been loaded into SONY TV music department’s internal hard drive in Los Angeles, a pre-cleared music bank for music supervisors and editors. Artists on this year’s Café roster were Stef Lang, Spiral Beach, Emma-Lee, Winter Gloves, Jets Overhead, Jason Bajada, Saukrates, Terri Clark, Arkells, The Duhks, The Mountains & The Trees, Hawksley Workman, Ruby Jean & The Thoughtful Bees, Amy Millan, and USS.

20 QUESTIONS WITH … EMBER SWIFT

Q: What got you started writing songs? A: I’m not sure what pulled me towards songwriting exactly, but it was pretty natural. I started writing when I was about 9 and was messing around on the piano. I thought it was fun to put notes together into melodies I liked and then write words for them. The piano was magnetic. When I started doing it all the time, my mother arranged for piano lessons. Q: What comes first-- the music or the lyrics? A: Hard to say. Sometimes the music, sometimes the lyrics. Sometimes they tumble out all at once. Q: At what point do you think about the arrangement of the song?

A: I am always thinking about it. Sometimes the arrangement is what inspires the writing of it. For instance, when you land on what you can hear to be an excellent refrain, lyrically, and so you build a song that works around that structure. Other times, the arrangement is malleable and it gets jumbled about in post-production. Q: Where do the lyrics come from? A: My head, conversations, the newspaper, books I’ve been reading, movies, old poetry I uncovered while cleaning, etc. Q: Have you ever written to a pre existing lyric? A: No, but I have written around a preexisting lyrical line that came from someone else and I’ve said, “Can I use that line in a song”? (And they’ve said, “Yes!”). I’ve never been handed a lyric sheet and asked to write a song to it, though. That would be an interesting experience! Q: Have you ever written to a pre existing track? A: No, but that’s another experience I’d like to have... Q: What are your favourite themes to write about?

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4 SONGWRITERS MAGAZINE FALL 2009

A: I can’t say. There are so many themes in my work. It really chronicles the themes in my life, which change dramatically from year to year. Q: Is there a concept that you have yet to write about that you’d like to write a song about? A: Not off the top of my head... Q: Are there any rules to songwriting that you consistently adhere to? A: Well, one clear rule that I can think of is that I adhere to the “we, us” rather than the “you, they” pronoun rule when writing about global issues. Otherwise, it sounds like I’m exempt from the problem or the issue that I’m writing about – which, of course, I’m not since I, too, am a global citizen. What’s more, if I’m not part of the problem and don’t include myself, the tone of the song becomes preachy. I know I don’t like to be preached at and so I have tried really hard to make sure that my songs don’t do that to others. Q: Is there a songwriting rule that you continually ignore? A: Well I don’t really ignore rules as much as I take them with a grain of salt. I let the

Supporting musician activists since 1972. Founded by Noel Paul Stookey (Peter, Paul, and Mary).

SONGWRITERS MAGAZINE FALL 2009 5

20 QUESTIONS CONT. FROM PG.7

songs tell me how they should be written rather than squashing them into 3 ½minute time restrictions or pre-determined song structures or pre-thought-out style/ genre categories. I think letting a song breathe is more important than forcing it to behave within pre-tested rules. I mean, if everyone did it by the rules, there would never have been “Bohemian Rhapsody”! Q: Is there a genre specific “rule” that has enhanced your last couple of cuts? A: Not that I can identify, no. Q: Ever suffered from writer’s block? A: Yes, usually during big times of transition in my life or through long periods of grief. Q: Any remedies for writer’s block? A: Time. And sometimes co-writing helps – the motivation of another to push to get it done. Q: Do you work with a producer on demos or do you self produce? A: I self-produce demos but those aren’t for release; they’re just to remember my songs, really, and to translate them in advance to band members so that they can prepare for rehearsals. But, I did work with a producer on my last two albums in the recording stage. They had amazing suggestions.

Q: What was the track you least expected to place? A: I haven’t done much to work my music into placements. I did have a song on The L Word a few years ago, an obscure track from my 2004 album Disarming called “Elle est la” – the only cabaret French song I have ever written or recorded. I wouldn’t have expected them to choose that one, but it was good exposure. Q: What’s the most obscure royalty cheque you’ve ever received? A: I don’t have an obscure royalty cheque story, but in 1997 I did try to colour copy my first royalty cheque of less than $10 so that I could frame it as well as cash it (I needed every penny back then!), but the Kinko’s staff member discreetly waved over the manager who sternly refused to let me copy it because it was the equivalent of laundering. I was shocked and then immediately embarrassed and so I left quickly and pedaled my bike straight to the bank. I figured depositing it was the better investment!

record at my leisure without the stress of the ticking studio clock, not to mention a thrill to send tracks to my producer and hear them tweaked and strengthened the next day, all without having to change out of my pajamas! Q: What’s the lamest comment you’ve ever heard in response to one of your demos. A: I’ve honestly never released a demo (aside from the cassette of some songs I’d written for friends that I recorded in high school on a borrowed 4-track) and so I have no lame comment stories... but, I have had some terrible reviews (as well as some great ones) of my formally released recordings. Funny enough, most of them have come from Ontario media sources, my home province. If I let lame comments stop me from writing new songs, I’d have quit and become an actuary years ago. (No offence to the happy actuaries out there, but it was just the most boring job I could think of.)

Q: What’s your favourite studio experience?

Q: What’s the longest period you’ve gone without writing. A: Probably six months.

A: Every studio experience has been so different, but I recently really enjoyed doing my 10th album myself and with a producer across the world. It was recorded in Beijing and Montreal simultaneously thanks to amazing digital and online technology. It was a great experience to

Q: What’s the strangest co-write experience you’ve had? A: Again, I have no stories. But if I could write a song with Joni Mitchell or Bruce Cockburn, my life would probably be complete.

The Songwriters Association of Canada presents, SONGPOSIUM an intense one-day seminar for aspiring songwriters and those interested in learning more about the art, craft and business of songwriting. Learn from some of the foremost international talent in the music industry as they share their experience and knowledge to help you get your songs heard.

The S.A.C. gratefully acknowledges the financial support of the Government of Canada through the Canada Music Fund’s Creators’ Assistance Program, administered by The SOCAN Foundation.

6 SONGWRITERS MAGAZINE FALL 2009

Canada’s Nashville Cats PAYING IT FORWARD IN MUSIC CITY BY Tracey Ducharme

ashville attracts thousands of hopeful singers and songwriters every year, all with the dream of being the next big thing. During the annual Tin Pan South Songwriter festival in April, a local resident made a comment that he can’t walk more than three feet without tripping over a Canadian. Natives of every province have been migrating south for years, gaining acceptance, feeling at home and finding success. The door opener of Canuk blood continually renews itself as newbies become established and take their turn in the buddy system, offering introductions, direction, and a couch to sleep on. And many Canadian songwriters in Nashville have great stories to tell. In the late ‘80’s, Larry Wayne Clark gained recognition and accolades as a songwriter in Vancouver. Encouraged by his success at home and fortified with the knowledge that many of the top hits on the country charts were not penned by the singers, Clark was anxious to test his mettle in the big leagues. Clark recalled during a recent interview that it didn’t take many visits before he was smitten with the creative energy of Nashville. “I identified immediately with Nashville and saw endless potential and opportunities.” From his studio in Vancouver, he began sending demos to Nashville. He established an annual routine of visiting to meet with publishers, artists, A&R reps, labels and producers. “I made sure to make an appointment to see the same people each time I visited,” he said. “Perseverance is important; when you show your face repeatedly, you gain credibility.” In 1995, Clark and partner Maggie Ross decided to take the plunge and establish a second home in Nashville, opening a U.S. arm of their company, Brainchild Music. Once in town, Clark established a good friendship with another Canadian,

The Stellas: Husband-and-wife team with a big Nashville buzz. PHOTO courtesy Grand & Gee Music

Ryan LairD Took out billboard space on Music Row with an appeal to Taylor Swift. PHOTO: BEN DE RIENZO

Ron Irving. In addition to being a talented writer, Irving was an expert networker. He readily shared his knowledge, teaching the unique etiquette of Music City. In addition to co-writing with his new partner, Irving introduced Clark to other writers, shared his Rolodex, took Clark along to appointments to see pluggers, publishers, PRO’s, A&R reps and producers. Now, with more than a decade and several cuts under his belt, Clark is happy to take his turn as mentor. For Clark it’s a win-win situation. The newcomer can learn from the established writer’s experiences and expertise, and the pro can be

rejuvenated by the young writer’s energy and enthusiasm. Notes Clark: “It creates a unique energy. Jadedness tends to melt away in the face of enthusiasm.” When asked why Nashville seems to have such a high Canadian population, Clark didn’t hesitate. “Canada is good farm team territory, like a training ground. It’s fantastic in so many ways, but you really have to embrace the U.S. to truly see how far you can go. Canadians go to Nashville to see exactly how good they are – Jason McCoy, Ron Kitchener, Ryan Laird, Victoria Banks – it’s CONT. ON PG.8 SONGWRITERS MAGAZINE FALL 2009 7

STEPPING UP … CANADA’S NASHVILLE CATS CONT. FROM PG.7

the Mecca. It’s the best place to find hot co-writers and new artists. And something happens just often enough to keep the dream alive.” But with all that Nashville has to offer, Clark will never give up his ties to Canada, keeping a home base in Ontario and knowing that his success in Nashville wouldn’t have happened without his experiences in Vancouver. One Ontario artist who found his way to Larry Wayne Clark after a short time in Nashville is Ryan Laird. After doing the festival circuit for several years, Laird was ready to pit himself against the best. Having done the Toronto scene, the cross-over pop/country artist considered L.A. and New York, but after one visit to Nashville, Laird knew he had found his new home. In Canada, Laird mainly wrote alone, penning tunes for himself as a performer. Nashville opened his eyes to the power of co-writing. “It’s inspiring and intimidating at same time. The musicianship, the expertise in the craft of songwriting, is unbelievable. But by surrounding yourself with the best,

Larry Wayne Clark: After a decade in Nashville and several cuts under his belt, he’s happy to take his turn as mentor. PHOTO courtesy S.A.C.

you can only win, you can only grow and get better yourself.” Although Laird enjoys writing with as many writers as possible – of all ages, backgrounds and skill levels – he particularly enjoys pairing up with fellow Canadians. “Those who have been here a while definitely take you under their wings. Those who just got here, we can relate to each other. It’s like going home.” Laird has spent the past two years 8 SONGWRITERS MAGAZINE FALL 2009

networking, writing prolifically, and developing as an artist. The hard work is paying off, earning him a publishing deal with Cherry Lane.

Gil Grand: Co-owns a state-of-the-art recording/publishing operation on Music Row. PHOTO SUPPLIED

Laird now has a manager to assist with bookings and publicity, help he definitely needs thanks to the buzz created by his news-grabbing public appeal to Nashville star Taylor Swift. Laird took out billboard space on Music Row, Nashville’s main drag, specifically to attract Swift’s attention. The billboard, located near Swift’s record company, features a picture of Laird holding a note with the words: “Taylor — I LOVE your music. Will you produce my album?” Swift has told the Nashville media that she was impressed enough by the billboard stunt to listen to Laird’s songs. She liked what she heard. “He’s got the stuff,” she said. Although relatively new to Nashville, Laird is ready to play mentor. “Nashville is a very warm town. I think anyone who wants to make it owes it to themselves to give it a try. Make some connections through S.A.C., SOCAN and NSAI. Find other Canadians. Contact me on my Myspace page. I read all of my messages and will give advice or answer any questions artists or writers have.” Another Canadian who now calls Nashville home is taking the pay-itforward philosophy one step further. Like Larry Wayne Clark, Gil Grand made his way to Nashville after tasting success at home. Shortly after his arrival in 1996, Grand turned heads at Sony’s Monument Records, landing a record deal and releasing his

first CD Famous First Words. He enjoyed success with the label until 2000 when he returned to Calgary. Grand continued developing his career by writing, performing and producing. He was also diligent about maintaining relationships in Nashville. In 2007, an opportunity arose allowing Grand to partner with fellow Canadian musician Randy Gee, and together they opened Grand & Gee Music Group. The company is located in a historic building in the heart of Music Row and houses a stateof-the-art recording studio, offices and writing rooms for the five staff writers. Interestingly, in a town with a reputation for being hard for “outsiders” to crack and where the coveted staff writing gig is becoming more elusive, four of the five writers at Grand & Gee are Canadian. It’s no coincidence. As Grand puts it, “Canadians lead the way when it comes to being creative and original.” That’s one of the reasons that he actively seeks Canadian artists to produce. He wants to be an open door for Canadian talent. “I believe in it 100 per cent. I want to use my experience and connections to help others to grow.” Grand actively seeks artists and writers, and unlike the majority of publishers, is open to people to approaching him. The most recent addition to the Grand & Gee roster are The Stellas, a husbandand-wife duo from Ontario. Grand is genuinely excited for what the future holds for the pair. “Brad & Marylyne are a great act,” he said. “They’re creative as writers, great as performers and have a very unique sound and style.” Grand’s enthusiasm about the future of The Stellas is palpable, as he discusses their refreshing sound. “I think they may start a new trend. The nice thing is, Grand & Gee will be at the helm of that new trend.” That’s not the only trend that Grand & Gee is pioneering. Several Canadian companies now have a Nashville branch, including Louis O’Reilly’s 306 Records, which have office space in the Grand & Gee building. Add to that Larry Wayne Clark’s Brainchild Music, and the formidable ole Music Publishing, and it’s clear that Canadian artists and writers heading to Music City will be welcomed with familiar faces, friendly smiles and open arms.

TRUE NORTH CONCERTS LAUNCHES TOURS WITH LEADING CANADIAN SONGWRITERS S.A.C. Members eligible for discounts on tickets Toronto-based True North Records, now firmly helmed by Linus Entertainment’s Geoff Kulawick, is taking a big step into the concert promotions business by staging two major tours this fall featuring many key artists on the prestigious indie’s roster. Celebrating Canadian female songwriters, Sirens of Song features Juno Award winners Lynn Miles and Melanie Doane, along with the critically acclaimed Catherine MacLellan and Annabelle Chvostek, on a nine-date swing through western Canada, from Brandon, MB on Sept. 11 to Kelowna, BC on Sept. 21. And beginning Oct. 15 in Fredericton, NB, The Canadian Songbook – featuring multi-Juno Award winners Murray McLauchlan and Barney Bentall, teamed up with MacLellan and Nathan Rogers, the respective heirs of legendary Canadian troubadours Gene MacLellan and Stan Rogers – gets underway with an eight-city tour across the East Coast, winding up in Moncton, NB on Oct. 24. S.A.C. members can get in on the act with special discounted ticket prices for the both concert series at selected venues by accessing the checked discount click-through link at www.sirensofsong.ca/discountoffer, and using the password truenorth.

Lynn Miles is one of Canada’s most respected songwriters, garnering a Juno Award in 2003 for her CD Unravel, and a Canadian Folk Music Award for the CD Love Sweet Love in 2005. Miles is releasing a new double album of acoustic versions of her songs this fall, titled Black Flowers. Halifax-born Melanie Doane has ranked four top 40 radio singles, a Juno Award for Best New Artist, a Canadian Radio Award for Most Charted Artist, and performed with the likes of Jann Arden, on Sarah McLachlan’s Lilith Fair, and with Great Big Sea. Catherine MacLellan is a songwriter whose music is steeped in the Canadian folk tradition and whose songs are hauntingly intimate and powerful. MacLellan has won six PEI Music Awards and earned multiple East Coast Music award nominations in 2006 and 2007. Her new album Water in the Ground has received critical acclaim from the international press. Heading up the Canadian Songbook bill, Murray McLauchlan is a multiple Juno award winner and a member of the order of Canada. His songs have been covered by the likes of Tom Rush, Kris Kristofferson, and Waylon Jennings, and McLauchlan is considered one of the most important figures in

murray mclauchlan photo true north records

Canadian folk music. Barney Bentall is famous as the leader of Barney Bentall and the Legendary Hearts, whose hit singles “Something to Live For” and “Come Back to Me” are Canadian radio classics. With one foot planted firmly in folk music’s traditional roots and the other reaching into its dynamic future, Nathan Rogers is a singer, songwriter, guitarist, throat-chanter, percussionist, revivalist, and daring musical innovator. As vivid representations of the health and diversity of the Canadian song tradition, Sirens of Song and The Canadian Songbook should not be missed.

Tracey Ducharme is a freelance writer and songwriter based in Clarington, Ontario. She can be contacted at traceyducharme@rogers.com. SONGWRITERS MAGAZINE FALL 2009 9

SONG BUSINESS WITH JOHN CAPEK

It was the early nineties. Arriving in Los Angeles with Australian and Canadian hit song credits under my belt, I thought it would be a breeze to get into the scene. A year later and my life savings gone, I couldn’t get arrested as a songwriter, keyboard player or producer. Somehow I fell into the “B List” session scene as a keyboard player for songwriters who needed their songs demoed. I was a pretty good keyboard player; the pay was poor, but the work was consistent and the songwriters liked my playing. David Gresham (a former business partner with Mutt Lang) was making annual trips to Los Angeles from South Africa promoting artists and writers from his label in Jo-berg. He needed some demos done and someone recommended me. I worked on his stuff and we became friends. Some years later, after I graduated

to the “A List” L.A. studio musician scene, David called me from South Africa quite excited about an artist he had signed. He asked me if I would try to work with him. A few weeks later, his new artist, Byron Duplessis, arrived at my studio in North Hollywood. Imagine Terence Trent Darby, Prince, Michael Jackson and Lenny Kravitz in a male model’s physique with talent and a voice beyond anything you had heard before. That was Byron. We immediately fell into writing and demoing a song, and “Love Has the Power” was born. Without notice Byron left, and I didn’t hear back from him again for some months. “Love Has the Power” was pitched to all the labels. The response was great, but we consistently heard the same comment: “We can’t sign an artist based on only one song.” David called me again from South Af-

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DID YOU KNOW … S.A.C. membership entitles you to one free classified ad per year in Songwriters magazine? WHAT’S HOLDING YOU BACK? Do you have a new CD release to announce, a tour coming up, a website launch, musical or computer skills to share? Are you looking for collaborators, instruments or equipment to buy, sell or trade, an A-List castanet virtuoso for your band or recording …ADVERTISE HERE! VOCAL TECHNIQUE COACHING Imagine Powerful, Healthy, Unique Vocals sung in any style. Based in Montreal QC. www.panthea.ca - freedom@panthea.ca Looking forward to hearing your voice. 10 SONGWRITERS MAGAZINE FALL 2009

Jean-Michel Byron’s South African roots inspired a brilliant if brief songwriting partnership. PHOTO SUPPLIED

the Toto shows in Paris can be seen on YouTube at http://www.youtube.com/ watch?v=NyY5EBuHHiA. I was deeply disappointed with the loss of Byron as my songwriting partner and production client. I felt that he and our songs could have been huge. But, I did get some compensation in getting a Toto cut. I had a strong feeling that Byron had been badly miscast as a member of Toto, and this feeling turned out to be the truth, with some unfortunate results for both Byron and the band. His amazing talent is still yet to be fully expressed. After that, there was a certain lack of creative and artistic fulfillment for me. The music in South Africa had affected me so profoundly that I had to find my way back there and make more music – at any cost. David Gresham and I stayed in touch, bemoaning our loss, and plotted to find some way to recoup. As a result, I returned to the “veldt” with David’s help and set to recording my own album. Paul Simon’s Graceland had just come out. To me it was a revelation and an epiphany, albeit a little too smooth for my taste. I wanted to get down to the root of the matter.

Imagine Terence Trent Darby, Prince, Michael Jackson and Lenny Kravitz in a male model’s physique, with talent and a voice beyond anything you had heard before. That was Byron Duplessis, soon to be recast, and miscast in Toto, as Jean-Michel Byron. Indaba, my album, was recorded in Johannesburg, exactly at the time that Nelson Mandela was released from prison. I had had the profound experience of being in South Africa during “the time of starvation,” which is what apartheid was sometimes called, as well as afterwards, when the system collapsed. Freedom reigned. Indaba was a musical photograph of that moment in time. One of the songs on Indaba ultimately created its own challenges creatively, geographically, financially, legally, digitally and business-wise, and with Joe Cocker... and much more. I’ll get into that another time, as well

as more discussion about songwriting, its craft and its art.

PHOTO: V. KrumpL

Stories from the Trenches: The Life and Struggles of a Pro Songwriter, Part 16

rica asking what could be done. I had an idea. If I worked with Byron in L.A., he would be just like any other R&B act, however if I went to South Africa to work with him, we might be able to come up with something interesting and unique. The idea was to combine

JOHN CAPEK is a Toronto-based composer, multi-hit songwriter, keyboard player, arranger, teacher and composer/ scorer of music for feature films and television. This essay, reprinted with permission, is one of an irregular series of newsletters published by Capek under the title Song Business. Capek’s popular instruction book, How to Write a Hit Song without Really Trying, is available at www.johncapek.com.

contemporary pop with Byron’s African roots. So, I packed my bags and went off on safari. I was right. The music that we made was great and different. Back in L.A., the labels jumped at it. We had record companies in a bidding war for Byron. I thought I had it made. One day, our combined demo/masters were being played in the offices of Columbia Records in New York. Coincidentally, the band Toto was next door wondering what they were going to do about a lead singer for their next recording and tour. Someone made the connection. In an instant I lost my artist. Byron Duplessis became JeanMichel Byron and the new lead singer for Toto. Almost immediately, they put a “best of” album together. “Love Has the Power” made it to that album and is forever cast in stone (or vinyl or whatever CDs are made of) on the Toto album Past to Present. These were the best rock musicians in the world at the time, playing my song. A live performance of my song from one of SONGWRITERS MAGAZINE FALL 2009 11

Tens of thousands of entries in dozens of song competitions are submitted by writers around the world every year, and Canadians have traditionally won more than their

COMPETITIONS THE BIG BREAK OR A SHORTCUT TO NOWHERE?

fair share.

By Nick Krewen

hink you have the write stuff? Wondering about your song’s potential? Then maybe you should consider entering a songwriting competition. Whether it’s something as internationally far-reaching as the John Lennon Songwriting Contest and The International Songwriting Competition – or something closer to home like the SOCAN-sponsored annual Echo Prize, the Ontario Council Of Folk Festival’s Songs From The Heart or Canadian Radio Star, there are dozens of opportunities to test your tunesmith’s mettle and help you decide whether you’re on the right creative path. After all, everyone could use a little reassurance. “It definitely gave me a lot more confidence,” says Samantha King, a John Lennon Songwriting Contest (JLSC) Grand Prize winner in 2006 for her country song “The All Overs,” co-written with Ted Hewitt. “It gave a shout out to a few people to know that I’m not just a singer, but that I also write songs and that I’m interested in a lasting career. “Songwriting is very important in making a name for yourself and keeping it – and winning a competition gave me the confidence to convince me that maybe I should keep writing.” Multiple songwriting contest victor Greg Sczebel says establishing a winning streak in these friendly assessments can establish credibility. “Especially when people see that you have consecutive wins and it’s not just a lucky break,” says Sczebel, a Salmon

12 SONGWRITERS MAGAZINE FALL 2009

Greg Sczebel Arm, B.C. native who is a two-time JLSC Grand Prize Winner (2004 and 2007) in the Gospel/Christian category, a two-time JLSC finalist (2005 and 2006) in the R&B category and placed third in the Gospel category of the 2007 International Songwriting Competition (ISC). “You are obviously doing something that the judges are liking, and I think that looks good on the résumé.” Compared with six or seven years ago, entering is painless these days. The Internet has cut down – if not eliminated – a lot of the previously cumbersome costs, especially for mailing entries. Delivering an MP3 of your song to your desired contest destination is as easy as pushing “Enter” on your computer – specifically, through Sonicbids. “Sonicbids is set up so that it’s a touch of a button – that’s what’s dangerous about it,” chuckles David Leask, a Mississaugabased singer, songwriter, recording artist and serial songwriting contest winner. “You get an e-mail and you click your link. If you have that song in your EPK, you just submit that song – Ba-da-bing! Ba-da-boom! – and the next thing you know it debits your credit card for $30 (for the contest entry fee). “It’s pretty quick.” That’s another appealing aspect: the costs to enter these competitions are nominal, with the scope of fees ranging from “free” (Canadian Radio Star, Echo Prize) to $35 per entry (USA Songwriting Competition). Unfortunately, critical feedback is rarely offered, although some will include it for an additional cost ($10-$15 U.S.,

samantha king Unisong International Songwriting Contest). Others offer discounts for multiple or additional entries (Unisong, ISC). There are also fab prizes, too, ranging from songwriting retreats, scholarships, cash, gear, software and showcases to, services, certificates, magazine subscriptions and cool sunglasses. “Some of the sponsoring companies are very generous to the winners,” notes Gordie Sampson, the Nova Scotia songwriter, producer and recording artist best known for co-writing the 2006 GrammyAward winning Carrie Underwood smash, “Jesus, Take The Wheel.” The Nashville-based Sampson has amassed an impressive track record: his “Davey Jones” – co-written with Michael Logen – won first place in the Folk/SingerSongwriter category of the 2008 ISC and honourable mention in the Great American Song Contest. Sampson also captured first place in the Performance category of the 2004 ISC for “Paris,” co-written with Blair Daly and Troy Verges, as well as honourable mentions in the 2002 and 2003 ISC events for “Don’t Shoot The Messenger” and “Afterglow” (with Damhnait Doyle), respectively. As a result, the majority of his prizes have included thousands of dollars worth of gear, including instruments, microphones and software. “I’ve never won the big category – the overall song – but I think for guys especially starting out in that business, a lot of that gear can change your life,” Sampson states. “It can make you just sort of kick the whole thing up a notch. You can make

GORDIE SAMPSON

macgregors

better demos. All the prizes are geared toward the songwriter so that he or she can better themselves, which is pretty cool.” For Rachel MacGregor, winning the 2003 ISC Teen category for her song “Wounded Spirit” led to the experience of a lifetime: a berth in the five-week summer performance program at Boston’s prestigious Berklee School of Music. “It was amazing,” recalls MacGregor. “It included room, board and tuition. I won that when I was 15, so living in Boston at a music college where you’re fully submersed all day every day with music that’s amazing. “It was a huge learning experience.” Ironically, her sister Alisha would follow in her footsteps two years later, getting her own all-expenses-paid scholarship for winning the 2005 ISC Teen category with “Well of Pain.” Since then, the Kelowna, BC-based MacGregors have individually and collectively finished impressively in a few competitions: the duo combined their talents as 2005 JLSC Folk finalists for “Dark Beauty,” the same year Rachel placed third in the Teen category for “I Can Hardly Breathe.” Alisha received a 2003 honourable mention for “Let Your Waterfall” and was a 2005 Unisong finalist for “Trees.” The sisters also got to appear at NAMM – the annual National Association of Music Merchants’ trade show, that’s held twice a year – thanks to their JLSC placement. “We performed on the John Lennon Songwriting Stage in Anaheim,” recalls Rachel. “We got to meet Randy Bachman, and attended a little private Eddie Van

joel Plaskett

Halen concert in one of the hotel conference rooms.” The allure of celebrity judges can figure prominently in different songwriting competitions, as the prospect of such respected musical luminaries as Tom Waits, Lamont Dozier, Elton John, Jeff Beck, Jeffrey Steele, Stacey “Fergie” Ferguson, Natasha Beding-

“IT’S A WAY OF CREATING SOMETHING FOR PEOPLE TO TALK ABOUT, AND TO GIVE THE PRES SOMETHING TO ASK YOU ABOUT. A WIN GIVES YOU SOME WEIGHT, AND IT ADDS CREDIBILITY.” – JOEL PLASKETT field, Diane Warren, Desmond Child and Mike Stoller fawning over your melody and lyric may prove tempting. Joel Plaskett – on a roll lately with 1st place finishes in the Billboard World Song Contest for “Fashionable People” (2008 Pop) and the Great American Song Contest for “Face Of The Earth” (2008 Rock/Alt.) – says although he didn’t initially weigh the superstar factor when manager Sheri Jones first entered him for consideration, the opportunity to be heard by one of his chief musical influences was intriguing. “I remember seeing one year that Ray

Davies was going to be a judge, and I thought, ‘That’s cool…if he hears my tune, that’s kind of cool,’” Plaskett recalls. “It’s great to be acknowledged by other songwriters, so with a contest like that, presumably you’re being judged by a lot of people who spend a lot of time writing songs. “If Ray Davies is one of them, that’s great. Because the thing I’m always scratching my head about as a writer is, ‘How do you get heard by some of the people that you admire?’” David Leask is just happy that songwriting competitions offer an outlet of getting your work heard, period. “As songwriters, we’re always looking to get our songs out there and be accepted,” he explains. “You can go the route of trying to pitch songs and get people to cut them – which I do – or play the singer-songwriter role where you take your songs and play them to a live audience – which I do – but this is another way to do it with some carrots dangling at the end of a stick. “I like to use the horseracing analogy: it’s like you have a new horse and you train it for so long, put it in the race and see how it fares. Then you acquire another horse, which happens to be a new song you’ve written, and you wonder how that one is going to go over, so you put that one out. “It might not do so well, or it might win. So it’s a bit of fun and it can definitely pay off. “In fact, if I was to look at my gambling record, it would be up.” Since he first dominated the Unisong Country/Folk category in 2003 by CONT. ON PG. 14 SONGWRITERS MAGAZINE FALL 2009 13

SONGWRITING CONTEST CONT. FROM PG. 13

achieving first and second place results for “Five Minutes,” (co-written with Kristi Magraw and Robert Davis) and “Can You Cry” (written with Debra Alexander) respectively, Leask has become the most consistent Canadian songwriting competition winner. Many have been repeat champions: Leask’s “Strong in Broken Places” (with wife Mary Ellen Beatty) won in the 2006 ISC Gospel/Christian Music category, reached the finals in the 2008 JLSC Session II and USA Songwriting Competitions, and earned an ISC

BILL COLGATE

“I just plug away. I don’t expect it to change my life. It’s almost a pastime.” Bill Colgate, a Toronto-based actor, singer/songwriter and Second Grand Prize winner of the 2002 USA Songwriting Competition for his gospel composition “Let It Be There,” says, aside from an opportunity to showcase at Nashville’s renowned Bluebird Café, the impact of his victory has also been minimal. “It gives you bragging rights – that’s about it,” he laughs, later conceding that it certainly helps you when you’re searching for a gig, “and you say, ‘Here’s what I won ...’”

DAVID LEASK

Contests give some songwriters “a professional edge”, while others score “bragging rights … that’s about it.” 2003 honourable mention. There was also a 2006 JLSC Gospel/ Inspirational honourable mention for “Everybody Sing,” but he hasn’t restricted his wins to one genre. Leask captured a 2004 ISC first-place Blues Prize for the Suzie Vinnick/Liz Tansey co-write, “The Honey I Want,” which also captured third place in the 2005 Unisong contest for Jazz/Blues. And let’s not forget his 2005 honourable mention at Unisong and JLSC 2006 Session I Finalist stature for “Undo”, his jazz cowrite with Debra Nesbitt. Throw in 2005 ISC Country Finalist honours for “You Can Cry,” co-written with Debra Alexander – and more recently, a 2008 UniSong Rock/Alt. first prize for “Freedom by the Barrel,” co-written with Alec Steinwall – and you may wonder why Leask’s Midas touch hasn’t translated into either a higher profile or substantial career break. Leask is the first to admit he hasn’t gotten a lot of mileage out of his victories. “There are stories where people that have won contests have got publishing deals out of it, but they’re very much in the minority,” says Leask. “I put out a few press releases that we’d won, but it didn’t really do much in that respect. 14 SONGWRITERS MAGAZINE FALL 2009

Juno Award-winner Greg Sczebel, whose songs “Homeland,” “In The Pocket,” “You’ve Got It” and “Here To Stay” have brought him repeated JLSC and ISC acclaim – as well as more than $10,000 worth of prizes – says exposure through both contests has certainly helped broaden awareness of him and his music. “I can’t say that I’ve seen any huge breaks come from it as a songwriter,” he says. “But these contests are far-reaching and well-known and well-regarded, and I’ve definitely had e-mails from around the world from people saying, ‘I’ve stumbled across your song on the John Lennon Songwriting Contest website and I love your stuff.’” “These contests have broadened my reach as a songwriter in terms of the global songwriting community. That’s an advantage.” On the other hand, Gordie Sampson swears his victories have given him a considerable professional edge. “We have a history of having really good luck with these competitions,” he notes. “It was one of the ways we were able to build a career way back almost 10 years ago. We entered the JLSC and placed first in that. This is a really cool way to get us through the door. It helped us obtain

a publishing deal. It’s helped everything along the way.” There’s also been the resonating impact of using the wins to help publicly hype your career, says Plaskett. “To me it’s essentially a way of creating something for people to talk about and to give the press something to ask you about: ‘Oh my God, you won the Billboard Song Contest!’” Plaskett observes. “That gives you some weight. A degree of recognition in the United States certainly holds some weight in Canada, and adds some credibility.” Website exposure and showcase opportunities aren’t the only tools that songwriting contests offer: some also record and distribute promotional CD compilations. However, in order to participate, you must waive your mechanical rights for compensation for that compilation. Rachel MacGregor views it as a worthy trade-off. “You don’t give up any other rights in your copyright,” MacGregor notes. “You keep everything else. And it definitely gets your name out to a lot of places you definitely wouldn’t get it out to. “If they did pay us money, it wouldn’t be very much anyways. So it’s better to build your name because that’s a better investment. We’ve been able to get some shows and do some extra traveling through songwriting competitions.” If you’re worried about the odds, there’s some good news: even though you’re competing against tens of thousands of entries submitted by fellow writers around the world, Canadians have traditionally shone in terms of placement in all the major songwriting contests. In the past two years, 16 homegrown solo and collaborative talents placed first, second or third in the International Songwriting Competition alone. And that’s excluding the 97 honourable mentions: an impressive stat considering the sheer numbers of aspiring and professional songwriters that submit their creations. But it’s not necessarily about winning, right? It’s about experience. “It’s definitely been worth it,” says Leask. “Besides a whole bunch of certificates, some decent gear and a little boost in the bank balance, I think more than anything what it does for me as a writer is that it fuels my creativity. “Going right back to 2003, there’s an element of validation there and it makes me feel I should keep going, so I think it’s a good thing.”

JONI: Whispering Pines (ECW Press, $28.95) is Toronto music writer/critic Jason Schneider’s vivid exploration of the littleknown Canadian origins of some of the 20th century’s most popular music. With The Band’s Last Waltz as both a metaphorical and historical framework, Schneider takes us through 50 years of the development of a unique and distinctive Canadian narrative song form, from first-generation country singers Hank Snow and Wilf Carter to the great surge of Canadian songwriters who broke internationally in the 1970s and beyond. In this excerpt, reprinted with the permission of ECW Press, Schneider reveals some fascinating details about Joni Mitchell’s first tentative steps in the burgeoning Toronto folk music scene in the 1960s.

he task of studying art came easily, although Joni was unable to completely adjust to the college environment. As she explained, “I found out that I was an honour student at art school for the same reason that I was a bad student [in general] — because I had developed a lot of technical ability. As a result, in the free classes, where I was really uninspired, my marks remained the same, whereas people who were great in free class, who were original and loose [but] didn’t have the chops in a technical class, would receive a mark that was pretty similar to their technical ability. The first year was like a time to decide whether you wanted to be a commercial artist or a fine artist, so I became pretty disillusioned with art college, even though I enjoyed being near the head of my class for the first time in my life.” Part of her disillusionment stemmed from the fact that soon after arriving in Calgary she heard of a new coffee house about to open called the Depression, allowing her a chance to build on her Louis Riel experience. Upon meeting Joni, one of the owners, Peter Elbling, was sufficiently charmed by her looks and personality that he insisted she appear at the club’s opening night on September 13. Joni continued to regularly perform three nightly sets at the

A NEW VOICE

Joni Mitchell: Lived in a hippie flophouse on Huron St. and worked as a sales clerk in SimpsonsSears to earn her Musicians Union membership fee. PHOTO SUPPLIED

Depression until the end of 1963, which led to gigs at Edmonton’s coffee house, the Yardbird Suite, and at various ski lodges in northern Alberta. The following February 14, Joni hit the airwaves again as part of a University of Alberta–sponsored hootenanny broadcast by a local television station, and, on April 16, she was on the bill for a major hootenanny staged at Calgary’s prestigious Jubilee Auditorium. This was followed in short order with a long trip to Winnipeg to play the Fourth Dimension club, a performance that was cut short because of a thunderstorm. At Joni’s side for all of these events was a fellow art student, Brad MacMath. Their relationship had blossomed faster than any she had experienced up to then, and even before the end of the school year they were making plans to travel east in search of better gigs for Joni, and also to attend the Mariposa Folk Festival that August. Yet, by the time they boarded the train, shortly after Joni performed two shows as part of a Calgary Stampede hootenanny on July 9, 1964, she knew something was physically wrong with her. Joni was pregnant, and, aside from MacMath, no one could know. Bearing a child out of wedlock in the early sixties, as Joni would later describe, “was

Fresh and green as her Saskatchewan home, a pregnant Mitchell stumbled trying to get a foothold in the Toronto folk scene, writer Jason Schneider recounts in Whispering Pines. like you killed somebody.” The couple did manage to make it to Mariposa, although Joni’s excitement about witnessing Buffy Sainte-Marie’s debut was dampened by last-minute scheduling chaos that forced the festival to take place in Toronto at the behest of an Orillia town council that was besieged by protests from angry residents. Joni and Brad did not return to Calgary for the fall term; the pregnancy was too much to bear for both of them, with MacMath’s response being to leave his girlfriend to cope as well as she could on her own. Joni’s situation grew even more dire when she discovered that the coffee house scene in Toronto was much more difficult to break into than those in the west. The majority of Yorkville clubs required performers to be members of the musicians’ union, and Joni could not scrape up the $160 needed to join. She took a job as a sales clerk in the women’s fashion department of the Simpson-Sears department store, but her minimum-wage salary was barely enough to pay for lodging at the hippie flophouse she had found at 504 Huron Street. As her desperation grew, Joni managed to land some non-union gigs that autumn, mostly in ymca clubs, and, specifically, a “scab club,” the Half Beat on Avenue Road, where she appeared consistently throughout October and November. Now playing a standard acoustic guitar and writing her own songs — she came up with the first, “Day After Day,” on the train to Toronto — Joni realized that her own voice was emerging. “I began as a [traditional] folk singer,” she said. “Once I began to write, my vocal style changed. My Baez/Judy Collins influence disappeared.” Still, the stress of the pregnancy increased in the first two months of 1965, as Joni came to term. Single and unable to work, she moved in with Vicky Taylor, a fellow singer she had befriended, who had a small apartment near Yorkville. Joni gave birth on February 19, to a daughter she named Kelly Dale Anderson. Caring for the child completely drained their already limited resources a month CONT. ON PG.16 SONGWRITERS MAGAZINE FALL 2009 15

MY VOCAL STYLE CHANGED.” – JONI MITCHELL

accepted. The wedding took place on June 19, in Mitchell’s hometown of Rochester, Michigan. At the reception afterward, the newlyweds marked the occasion by singing a few songs together. Three days later, they were on stage together at the Folk Cellar in Port Huron, and on July 20 they began an engagement at Chuck’s regular haunt, the Chess Mate in Detroit. Their shared musical ambition soon took precedence over family life, and it became evident that Chuck was not about to live up to his commitment to raise the baby. Joni had already considered giving her daughter up for adoption before she

On June 2, Bluebird North celebrated Canadian songcraft in four cities on the same day. The first-time nationwide showcase was a resounding success, as you can see in the reports and pictures here … Vancouver On June 2, the 66th Bluebird North show in Vancouver featured Ivan Boudreau, Angela Harris, Paul Hyde (Payola$) and Bruce Miller. Having produced the show for much of its 14 years in Vancouver, I have long been a passionate supporter of the in-the-round setting for presenting the work of songwriters. So it was an unprecedented thrill for me to be able to announce that evening that on that very

*Kelly Anderson was adopted by a Toronto couple and renamed Kilauren Gibb. She would not learn her mother’s identity until 1997, after initial inquiries about a “folk singer from Saskatchewan who has moved to the United States” eventually led to a much-publicized reunion.

Angela Harris

Paul Hyde

Costa Rica ClaudeLaferriere Jordan Mutasem Hattar Manitoba George Belanger Heather Bishop Will Peters John Samson NewfoundlandLabrador Mark Bragg Barry Whalen

16 SONGWRITERS MAGAZINE FALL 2009

Nova Scotia Yassamine Abboud Don Barkhouse Daniel Bevin Daniel Cormier Caroline “CJ” Fraser Norma MacDonald Hector (Gerry) McDaniel Arta Rexhepi Marjorie Sleep Ontario Derek Altmann Roderick Anson Bryan Arndt SandraBisson Stephen Bowes John Brimson Derek Brin Sarah Calvert Mike Campbell Alex Ciccone Alex Cobbett Anne Cobham Neil Cotton Matthew Diamante Chattrisse Dolabaille Dennis Dolloff

Kevin Downs Christophe Elie Darryl Erickson Karina Eskandary Nicholas Fedor Isaac Fraser John Grace Ashley Grafe Laura-Beth Gray Benjamin Green Graham Greer Donna Guerra Vincent Halfhide Kenneth Michael Harris Lori Hirst Nadia Hosko Isabelle Ingles StaceyKaniuk Sharron Katz Shirley Anne Kennedy Carol Kline Svetlana Kukushkina Tim Kwiatkowski Lise Larocque Bernadette Lavoie Gerald Lavoie Patrick Lawton Liam Ledgerwood

Matthew Leverty Jane Lewis Raymond W Lodge Kim Logue Will Matthews Betty May Margo McLean Brett McNaueal John Medland Luke Metzler Isaac Mitchell Josie Moncada Joann Murr Colin Neilson Brian O’Connell Anthony Panepinto Maddy Rodriguez Daniel Rosen Paddy Savage Stephanie Savage Laska Sawade JP Saxe Carver Milton Scobie Devin Signer Marissa Soragnese Leslie Stahl Susan Stevenson Ryan Tay Marijan Vranic Ann Vriend

Arthur Wachnik Gary Wiebe Peter Andrew Williams Randy Young Leandra Zappacosta Jennifer Zentner Quebec GeorgeAzzi Marty Clarke Francois Dufault John Fuoco Wendy-Marie Lewis-Lappos Roberto Marrone Gabrielle Papillon Strasfeld Saskatchewan Bill Land TrevorRoss USA Max McVey Eugene Ianham Mindem Yukon Steve Slade

night, S.A.C. was presenting the Bluebird North in Winnipeg, Ottawa and St. John’s as well. Finally, other great cities in Canada would get to experience this wonderful event! Since appearing on the very first Bluebird North stage in Toronto in 1994, produced by Marc Jordan and Amy Sky, I have loved the unique concert experience that sharing a stage with a collection of diverse songwriters can provide, for both the performers and the audience. There is a spontaneity and camaraderie that is created

PHOTO:DALE LEUNG

Eliane Hamel British Columbia Deanna Cartea Hamilton Paul Hyde Tone Indbryn Ita Yee Ping Jong Stephen LesterSmith Gary Nichols Katie Ormiston Alan Robertson Mark Stefanuk Jay Thomson

PHOTO:DALE LEUNG

Alberta Kirk Baldwin Matt Burgener Oscar Coronado Adrian Emond William Fielder Mike Gunn Tara Harbaruk Sean Harley Anthony Hoffmann Wendy Jensen Adam Palmer Verlin Rau Karen Romanchuk Tanya Ryan Lucie Sauvageau Bryan Simms Kelly Simon DebbieSpence Taryn Stauffer Geoff Stupar Will White Sandra Young Neil Bischoff Jenny Breukelman WallieBurke PatrickChen Jason Cohen Bruce Coughlan Nathaniel Epp

PHOTO:DALE LEUNG

Welcome New Members!

The S.A.C. welcomes the following new members who have joined since APRIL, 2009

GOES NATIONWIDE almost instantly. And by now, Vancouver audiences have come to learn that, regardless of whether they have heard of all the songwriters appearing, they are in for a highly entertaining evening of great songs, stories, and colourful characters. Most often, folks come to hear one specific writer and leave new fans of all the others. For me the evening was particularly poignant with presence of Bruce Miller and a legion of his friends and fans from his reign in Vancouver in the early 70’s. He has since gone on to write songs for dozens of artists, including The Dixie Chicks, Rascal Flatts, Reba McEntire, Bryan White, and Pure Prairie League. As one of my first friends in music in Vancouver, to hear the fruits of his recent creative surge was particularly inspiring. To experience the wisdom and fine song crafting of veteran writers and the fresh and exciting voices of burgeoning writers, and all in between, in one evening, is the hallmark of Bluebird North. I am so proud of S.A.C for growing this event in this fertile country of songwriters. Onward! – BBN Vancouver producer Shari Ulrich Winnipeg Hosted by popular radio deejay Howard Mandshein, the Winnipeg Bluebird North was a virtual love-in.

Sierra Noble

Host Howard Mandshein and Bluebird North event producer Chris Burke-Gaffney

PHOTO:LISA SAUNDERS

BEGAN TO WRITE,

Heather Bishop Shari Ulrich

Bruce Miller

Harlequin’s George Belanger and guitarist Derrick Gottfried wow the crowd

The audience loved the performers, the performers loved each other and sound, ambience and music CONT. ON PG.18 SONGWRITERS MAGAZINE FALL 2009 17

PHOTO:LISA SAUNDERS

SINGER. ONCE I

blue bird north

PHOTO:LISA SAUNDERS

“I BEGAN AS A FOLK

met Chuck, but, as more travelling loomed on the horizon, she came to the painful conclusion that the child would be better off in a more traditional family.* As Joni recovered from the trauma of giving up her child, Estelle Klein, head of the Toronto Folk Guild, offered her a last-minute invitation to play the 1965 Mariposa Folk Festival. Now relocated to the Innis Lake campground, in the rural community of Caledon, northwest of Toronto, she was billed as Joni Anderson, and performed to her largest audience yet, alongside Gordon Lightfoot, Ian & Sylvia, Buffy Sainte-Marie, Phil Ochs, and blues legend Son House. In some ways, the weekend was Joni’s first real test to see if she belonged in the same league as the established artists. And, at least in Klein’s view, she failed. Afterward, Klein told Joni in plain terms that she was timid and unoriginal.

PHOTO:LISA SAUNDERS

later, so Taylor came up with the idea for them to perform as a duo called Day & Night, a highly appropriate name given that Taylor’s long, straight black hair contrasted sharply with Joni’s. “Vicky was the only one on the folk scene who was nice to me,” Joni said. “Every time she went to an audition, Vicky would insist on dragging me along.” The pair made the rounds of the usual Yorkville open stages, until Joni was able to land her own gig at the Penny Farthing, a new venue started by the Half Beat’s founders, John and Marilyn McHugh, which reserved its downstairs room for unproven local acts. After a respectable opening, Joni appeared there on an almost nightly basis throughout most of April. During one of these nights, a visiting folk singer from Detroit named Chuck Mitchell, who was playing upstairs, caught some of Joni’s set and was instantly smitten. Her emotional vulnerability left her with little defense against Mitchell’s advances, but over the course of the next few days he professed his true love for her, newborn baby and all. Mitchell lived up to his words by proposing to Joni as he was about to return to Detroit, and she, undoubtedly seeing no better options,

PHOTO:DALE LEUNG

WHISPERING PINES CONT. FROM PG. 14

BLUEBIRD NORTH CONT. FROM PG. 17

made for an inspiring evening. Howard described the importance of song in our culture and the huge role that writers play in it. As the lead singer of classic rock band Harlequin, George Belanger knows a bit about constructing a song. He’s responsible for a string of Canadian hits in the 1980s and two platinum records. He spoke about his renewed love of songwriting. Keith MacPherson performed songs he has written for The Keats, as well as new Keith & Rene material. The former Canadian Idol finalist is a natural on stage and owns one the best pop voices in the business. Sierra Noble, fresh off her hit “Possibility”, which was in heavy rotation on CMT and MuchMoreMusic this summer, wowed the crowd with her sensitive songs and vocals. The 19-year-old songwriter recently opened for Paul McCartney in Halifax Order of Canada recipient Heather Bishop, one of Canada’s leading rights and environmental activists and a champion of independent arts, also paints, performs, and writes clever songs. The crowd and the other musicians were in awe of her amazing talent and insights. – BBN Winnipeg producer Chris Burke-Gaffney St. John’s A grand time was had by all who attended the Bluebird North, St. John’s show on June 2. A sold out crowd arrived early (a rare thing in this town!), and a few lucky stragglers found standing room in the back of the beautiful downtown Masonic Temple Hall. With the stellar line up of Newfoundland songwriters Ron Hynes, Maureen Ennis, Mark Bragg and Amelia Curran, the audience sat enthralled through two inspiring sets of love, loss, hilarity and history. Hynes was at his very best as host and literally had the crowd laughing and crying during the course of the show with his stand up wit and beautifully heart-wrenching songs. Maureen Ennis, known and loved by so many here for her gorgeous voice and ability to interpret a tune, showed her songwriting skill is her best asset. Mark Bragg was a special treat, acoustic and solo, winning new fans and inspiring those who have loved him for years. Of course, the St. John’s crowd was especially enamored with the return and performance of the unbelievably prodigal Amelia Curran. All in all it was a perfect night. Special thanks go out to Spirit of Newfoundland 18 SONGWRITERS MAGAZINE FALL 2009

Productions for the venue and their excitement towards the event. – BBN St. John’s Producer Andrea Monro Ottawa Ottawa’s Bluebird North show began with a beautiful June evening and ended with laughter. Fans lined up and waited patiently for the doors of the 4th stage at the National Arts Centre to open, some clutching their favourite artists for the evening like their tickets, some open for a completely new musical adventure. As our MC, Lynn Miles led the musicians out on stage and got right to business, cracking jokes while bringing the audience into the songwriters’ circle. Her characteristic dry humour intact, Lynn reminded us of what great songs are all about with her heartbreakingly graceful melodies. Getting in his own quick one-liners, as well as earnest stories about his craft and career, S.A.C. president Eddie Schwartz offered several familiar tunes in which other performers joined. Also inspiring a singalong was talented singer/

Kellie Lee Evans

Eddie Schwartz

Peter Katz

Lynn Miles

songwriter Peter Katz. His ardent performances were mirrored in Kellie Lee Evans’ smiling, pure deliveries and soaring vocals. Clearly this audience got much more than expected while waiting in line. Many clearly found some great new music. The evening ended with performers and crew heading to a local pub for drinks, stories and of course, laughter – the same way the evening had begun. – BBN Ottawa producer Ana Miura