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SUMMER 2006 Valdy, Jim Vallance, Nancy White Contents SUMMER 2006 Volume 9 Number 2 COVER PHOTO: ANTHONY MANDLER PHOTO: MUCHMUSIC Features

SUMMER 2006 Valdy, Jim Vallance, Nancy White Contents SUMMER 2006 Volume 9 Number 2 COVER PHOTO: ANTHONY MANDLER PHOTO: MUCHMUSIC Features

President’s Message

EDITOR Nick Krewen The 50% Solution MANAGING EDITOR Beverly Hardy LAYOUT Lori Veljkovic ix years ago, when I first sion to allow two American satellite addressed the S.A.C. annual gen- services into Canada and letting them Canadian Publications Mail Agreement eral meeting as President, I get away with playing as little as 15% No. 40014605 S Canada Post Account No. 02600951 CanCon was devastating. We hope began by mentioning the ancient ISSN 1481-3661 ©2002 Chinese curse, "May you live in inter- that the CRTC may have sharpened Association of Canada esting times." their focus this time out. Subscriptions: Canada $16/year plus Well curse or not, things have cer- Looking forward, there are many GST; USA/Foreign $22 tainly been interesting. Perhaps the changes afoot here at the S.A.C.. First Songwriters Magazine is a publication of the last six years have seen the most music of all, I am very pleased to announce Songwriters Association of Canada (S.A.C.) industry upheaval since the advent of the appointment of our new and is published four times a year. Members radio when the industry, then thriv- Executive Director, Don Quarles. of S.A.C. receive Songwriters Magazine as Don comes to us with vast experience part of their membership. Songwriters ing on the sales of rolls and 78s, Magazine welcomes editorial comment. cried "The sky is falling!" because as a coordinator and planner of Opinions expressed in Songwriters Magazine music was being played free for any- entertainment events, working both do not necessarily represent the opinions of one who owned a radio. Of course independently and through his many the S.A.C. Address submissions, inquiries license fees and public performance years at the Hummingbird Centre. As and changes of address to: royalties were created and a vibrant well, Don is the mentor co-ordinator 26 Soho Street songwriting industry was born. of a great songwriters-in-the-schools Suite 340 In our current world, I’m sure program that allows students from , there will also be solutions grade school to high Canada M5T 1Z7 school the opportunity to to the problems we face; Phone: (416) 961-1588 it’s just a matter of what learn and grow as song- or: 1-866-456-7664 and when. writers. Don’s for Fax: (416) 961-2040 Lately, we seem to be songwriting is evident to E-mail: [email protected] the target of everyone us on our board and Web: www.songwriters.ca who has an interest in our we’re sure that it will be as All rights reserved. No part of this publica- music. Fans want to get it exciting to our members tion may be reproduced, stored in a retrieval for free; record compa- as it is for us. Welcome system or transmitted in any form or by any nies want to hold us to Don. means without the prior written permission deals at the same or worse Also looking ahead, I of the Songwriters Association of Canada. mechanical rates for paid have decided that after downloads compared with devoting six years of STAFF CDs that no longer need to be blood, sweat and tears into the S.A.C. Executive Director Don Quarles pressed; radio wants to play it and pay as President, I will be stepping aside. Manager of Operations Beverly Hardy less money for the right; satellite During our recent S.A.C. Board meet- BOARD OF DIRECTORS radio gets to play less Canadian con- ing, we elected Haydain Neale to be President Haydain Neale tent than broadcast radio and broad- the next S.A.C. president. We’re sure First Vice-President Shari Ulrich cast radio wants to play less CanCon that Haydain will bring his unique Second Vice-President Eddie Schwartz than they do now. Interesting times energy to the position and we look Secretary Christopher Ward for sure. forward to the fine work that will be Treasurer Sean Hosein Recently I was in speaking done during his tenure. For my part, Past President Stan Meissner at the CRTC radio hearings of the on I’m sure I won’t be bored in my new Directors Erin Benjamin, John Capek, behalf of the S.A.C. We had several life as Past-President as I have recent- Lisa Dalbello, Lennie Gallant, points to make clear, most notably, ly been elected to be the President of Bill Henderson, Marc Jordan, increasing levels of CanCon on radio. the SOCAN Foundation Board, which Dan Kershaw Our position at the S.A.C. is that will offer me great new challenges CanCon should be increased to 50%, and certainly be keeping me busy. ADVISORY BOARD Jann Arden, Randy giving Canadians a level playing field All in all, great things ahead. Bachman, Tommy Banks, Liona Boyd, on our own airwaves. We feel that Stan Meissner Tom Cochrane, Richard Dodson, Rik both songwriters and radio broadcast- Emmett, Micky Erbe, Roy Forbes, David ers have and will continue to prosper, Foster, Alan Frew, Dan Hill, Paul given fair legislation of the appropri- Hoffert, Paul Janz, Ron Hynes, Ron ate amount of mandated Canadian Irving, Arnold Lanni, Geddy Lee, Mike music. Levine, , Rita MacNeil, We should hear sometime this fall Sarah McLachlan, Murray McLauchlan, what the results of this radio review Dean McTaggart, Frank Mills, Ben will yield. We’re keeping our fingers Mink, Adam Mitchell, Gerald O’Brien, crossed that the news will be good. Gary O’Connor, Declan O’Doherty, Blair Last summer’s satellite radio deci- Packham, Dave Pickell, Raffi, Cyril Rawson, Sam Reid, Tyler J. Smith, Ian Thomas, David Tyson, Sylvia Tyson, 2 Songwriters Magazine SUMMER 2006 Valdy, Jim Vallance, Nancy White Contents SUMMER 2006 Volume 9 Number 2 COVER PHOTO: ANTHONY MANDLER PHOTO: MUCHMUSIC Features

4 MEET THE NEW (S.A.C.) TEAM Executive Director Don Quarles and President Haydain Neale 5 SINGING CSHF PRAISES New President Eddie Schwartz Takes Hall Of Fame Into The Future By Nick Krewen 6 HOME ADVANTAGE: MAKING THE RIGHT DECISION When Should You Let Go of Your Publishing? By Paul Sanderson

7 THE WAY ROXANNE FEELS Impresses Messrs. Hiatt, Cockburn and Lanois By Nick Krewen 8 FURTADO FEVER Teaming Up With For Nelly’s Hot Summer Sounds By Nick Krewen

11 FACTORING IN CHANGES Recording Industry Funding Program Gets 17 Streamlined By Nick Krewen

12 HEY TONY: WHAT MAKES MUSICALS TICK Creators Of , and The Hunchback of Notre Dame Reveal All By Nick Krewen PHOTO: ANDREW MACNAUGHTON 16 WELCOME NEW MEMBERS

17 URBAN MYTH Saukrates Addresses The State of Rap, R&B and Canadian Publishing By Haydain Neale 8 19 BLUEBIRD NORTH 7

PHOTO: JOAN MARCUS LISA LAMBERT 12 Cast of Drowsy Chaperone The Don Of A New Era: Meet Our New Executive Director

ere I sit at the writing talents, as well as allowing for Executive Director’s more networking opportunities for all perch at the national members from beginner writers to Hhead office on Soho pros. HStreet in Toronto, Having had the satisfaction of excited about what the future holds for attending, hosting and facilitating the Songwriters Association Of Canada many songwriting workshops over the (S.A.C.) and the Canadian music indus- years (some of which I have seen many try in general. If the next few years are of you at) and having also had the as exciting as the last several, we are in pleasure of attending numerous S.A.C. for some interesting times. events, I hope to bring programs and Although I saw some of you at the services to you that are both meaning- July 4th annual general meeting in ful and beneficial. Toronto, I wanted to say hello and With the guidance of our new In the meantime, I welcome you to introduce myself to those of you I have President Haydain Neale and new contact me if you would like to share not met. As a fellow , I have Board members and armed with the your ideas and thoughts on what you an expectation that the S.A.C. will con- experience of Operations Manager Bev have enjoyed and benefited from with tinue to play a key role in advocating Hardy and Past President Stan past S.A.C. programs as well as any songwriter rights as well as strengthen- Meissner, I am excited about the future areas you feel the S.A.C. could serve ing our community as creators and direction of the S.A.C. I encourage you you better as a member. Better yet, feel allowing opportunities to further devel- to take a look at the S.A.C.’s new website free to come by the Toronto office op our craft through educational work- and suggest after you check out its new when you’re in town and we can meet shops. features and visit the new board, you face to face. As one who comes from a career of bookmark the page for regular visits. In a profession (or pastime) that can planning and producing events of all We plan to have some great surprises be often “solitary,” it’s nice to know we shapes and sizes, I hope to use that for you in the near future. have a community of like-minded folks experience to help develop and Also, tell your friends about to count on for support and advocate improve on current S.A.C. programs www.songwriters.ca… before you know for our rights as creators! and ensure that we continue to offer they’ll tell two friends – and so on. You Thanks for making me feel welcome everything from workshops on the craft can let them know that with our new in the S.A.C neighbourhood. and business of songwriting, special online registration feature, they are just showcases of S.A.C. members and other a few clicks away from reaping the ben- Don Quarles great Canadian and international song- efits of a great membership opportunity. Executive Director NEALENEALE APPEAL:APPEAL: Meet Our New President will see the fulfillment of many of those on all the community events and industry goals, including an updated website at news that you've come to expect. www.songwriters.ca to build a stronger We will also be including more genre community of S.A.C. members from coast specific articles than ever before so that we to coast; a national outreach program to can tell many more sides of the song- high schools to encourage creativity and a writer's story, from pop tales to hip-hop passion for creating, and the establishment diaries, from country confessions to musi- of the S.A.C. Pro Members Committee to cal theatre musings. HAYDAIN HAYDAIN specifically facilitate the particular goals of After all, we may sing in various voices ello, my friends. Welcome to a the full-time songwriters among us. and keep folks grooving with different new year for the Songwriters In short, what songwriters have been beats, but in the end, we're all songwriters HAssociation of Canada. The next asking for, your S.A.C Board of Directors trying to grow creatively and professional- 12 months will see some exciting initia- has been methodically, steadily, working to ly one tune at a time. tives underway in terms of advocacy, edu- deliver -- and on behalf of that same hard- Take care, be well and keep on doing cation and even community for S.A.C. working Board, I'd like to thank you for your thing. members. your continued inquiries, suggestions, sup- Haydain Neale Over the years the S.A.C. has evolved port and enthusiasm as we move forward. President, Songwriters Association of Canada along with the needs and goals of the song- Now, as far as our Songwriters Magazine, Board Member, Canadian Songwriter's Hall of Fame writers that created it. This upcoming year S.A.C. will continue to keep you updated Singer/Songwriter, jacksoul

4 Songwriters Magazine SUMMER 2006 CSHF NAMES SCHWARTZ PRESIDENT ANNOUNCES JANUARY 28 AS THE 2007 GALA DATE he Canadian Songwriters Hall "I think my first task is to help Of Fame (CSHF) has hit you secure the future of the organiza- Twith their best shot: Eddie tion," says Schwartz. "It's not inex- Schwartz is their new president. pensive to put on a show like that The Toronto songwriter, producer and once a year. Sponsorships are huge recording artist known for such interna- and the support of the music indus- tional hits as Pat Benatar's "Hit Me With try and of businesses large and small Your Best Shot," Paul Carrack's "Don't outside the music industry is also very Shed A Tear," and hundreds of others important. that have factored in the sales of some 30 "We don't have a secure financial million , has plenty of executive future at this point, so I think that's experience, serving as a vice-president of my first task. The Songwriters Association Of Canada "The other thing is we still don't "bolster the music scene" and benefit (S.A.C.) and sitting on the boards of The have the exposure -- particularly in CSHF partners The S.A.C. and The Society Of Canadian Authors, Francophone -- that we need to Canadian Music Publishers Association and Music Publishers of Canada (SOCAN), have. That's something that we're working (CMPA) as well as the Société profes- the Canadian Academy Of Recording Arts on so it becomes a truly national event. sionnelle des auteurs et des composi- "Those are the two immediate goals." And Sciences (CARAS), as well as the CSHF. teurs du Québec (SPACQ). Schwartz, a graduate of Nashville's Schwartz says both the CSHF and the "In terms of getting a real sense of prestigious Leadership Music program gala present significant opportunities to and recipient of SOCAN's esteemed unite Canada through the universal lan- what we've achieved culturally, it's a William Harold Moon Award, said he guages of music and song. tremendous confidence boost to the cre- attended last year's CSHF gala inducting "Because of its bilingual and bicultural ative community." Leonard Cohen and Gilles Vigneault character, there's a leadership role that In the meantime, the CSHF has among others and experienced an the Canadian Songwriters Hall Of Fame announced January 28, 2007, as the date epiphany. has taken in terms of the Pan-Canadian of its 4th Annual Gala. Tickets for the "It was a religious experience for me," experience and in terms of educational show, which will be held at the Toronto declares Schwartz, who will serve concur- and cultural opportunities, and reaching Convention Centre, will go on sale in rently as S.A.C. second vice-president. out across our two solitudes," Schwartz early November, with prices, inductees "I didn't know some of those early explains. and performers still to be determined. "There are so many places we can go composers. I didn't know how much Founded in 1998 by noted publisher internationally famous music Canadians with that -- schools, musical institutions - Frank Davies, the CSHF is a national, have written over the last century. - and we can also develop a multi-media bilingual and apolitical non-profit organ- "It was a revelation." resource out of this in the future. We're Schwartz says the annual CSHF gala is building up libraries of interviews and ization dedicated to preserving Canada's an amazing opportunity to honour comments and musical performances, so rich songwriting heritage. national Canadian pride and accom- I think we'll look at ways of getting those The CSHF held its first annual gala in plishment -- and he views his role as rais- things out to people in the future." 2003, and to date has inducted 53 songs, ing the profile of both the show and Not surprisingly, Schwartz also feels 17 songwriters and eight Legacy Award organization. future editions of the CSHF Gala will recipients. Presenting your 2006/2007 S.A.C. Board L-R: Dan Kershaw, Beverly Hardy, Haydain Neale, Shari Ulrich, Don Quarles, Sean Hosein, Lennie Gallant, Christopher Ward, John Capek. Front Row: Stan Meissner, Marc Jordan, Bill Henderson, Eddie Schwartz (Missing: Lisa Dalbello and Erin Benjamin)

SUMMER 2006 Songwriters Magazine 5 Should I Keep My Publishing? By PAUL SANDERSON

hould you keep your own publishing? It depends on the What are the terms of some standard publishing agreements? facts of each situation. While you do retain a larger per- A publishing agreement might be structured on a 50/50 net Scentage of the revenue generated from your music when basis, which means that the writer would be entitled to the you hold on to all or a portion of your publishing, you will not writer’s share, that is 50% of the revenue and the publisher have a publisher's expertise in placing your material or devel- would be entitled to the publisher’s share, that is 50% of the oping your music and your talent and therefore not necessari- revenue. This type of agreement is still referred to as a standard ly actually receive more revenue without a publisher. songwriter- publisher agreement and under such an agreement the copyright is owned by the publisher. In a typical co-pub- For some songwriters, there is a time and a place that a pub- lishing agreement, which is the more common agreement lishing agreement may be advantageous. A publishing agree- these days, the writer/co-publisher retains half of the copy- ment may be entered into for example, for the purpose of rights and half of the publisher’s share, that is 25% of the pub- obtaining a publishing advance which may allow you to com- lisher’s share of revenue, plus the writer’s share, that is 50% of plete a record. Without such an advance, some the revenue, for a total of 75% of the revenue. The other co- Songwriter/Artists never find a record deal and therefore gen- publisher is entitled to 25 % of the revenue and obtains half of erate no revenue from their music. There are many other rea- the copyrights. sons why you might want to give up all or a portion of your pub- lishing, that is, enter in to a publishing or co-publishing con- The timing of the decision whether to enter into a publishing tract with a publisher, the above noted reason is not the only agreement is also important and is subject to the facts of each reason, nor it is necessarily the most definitive. You may also case. A songwriter may enter into a publishing agreement after choose, for example, to enter into an agreement with a pub- their music has gained some value. For example, the songwriter lishing , with or without a nominal advance against may have achieved critical acclaim or released records which royalties, with the expectation of getting a cover version of your have achieved gold or platinum sales status and thereby the song. If the cover version does not happen within a reasonable value of their publishing catalogue has increased. This certain- period of time from entering into the agreement, within ly places the songwriter in a more favourable negotiating posi- twelve, eighteen or twenty-four months, for example, you could tion. The decision to enter into a publishing agreement will then contract to have the publishing rights revert to you. depend upon the specific set of circumstances and in every case, skilled legal advice should be obtained prior to making Clearly, one should not “give up” one’s publishing for no com- such decision and prior entering into any publishing agree- pensation or consideration. Generally, you want to be reason- ment. ably compensated for your publishing rights and/or have some means of getting them back after a period of time. It is impor- tant to note that a writer customarily never receives less than the writers' share, that is 50% of net income, in any publishing agreement.

6 Songwriters Magazine SUMMER 2006 Roxanne Rolls! BEATING THE SOPHOMORE SLUMP By NICK KREWEN "I was entering unknown territory. I had "At the same time though, I need to o you're a relatively never done anything other than . But I express myself musically and not just copy unknown but prom- trusted my gut feeling." whatever was done before. So I'm trying to On The Way It Feels -- which offers eight express myself in a contemporary setting." ising young blues Potvin originals and four covers -- the However. it wasn't Washington or King S apprentice submits her muse to the slight that set Potvin on her career path: It was belter from , country feel of the ballad "Hurting Child;" someone much younger...and hunkier. Quebec. the aforementioned folk texture of "La "Jonny Lang opened the door," reveals Merveille;" the nostalgic throwback Potvin, almost timidly. You've built a significant buzz with your of "Sweet Thoughts Of You" and the ballsy "There was a guy who was making music first and your producer suggests ask- rock 'n roll shuffle "Caught Up." that was completely different from what ing a few high profile guests to lend a hand Each is soulful, and although the blues is everybody else my age was doing at the time, with your second effort. often and ably anchored by the potent "A so that drew me in. He was also really cute To your great surprise, they say all yes. and he sang really well. I was 15, so he was my Their names: John Hiatt, and God!" . While Jonny made Roxanne Potvin excel No wonder Roxanne Potvin is still pinch- on the guitar, awakened the ing herself whenever she listens to the play- songwriter within. back of The Way It Feels, the Colin Linden- "I was obsessed with the Beatles," Potvin produced album that boasts Hiatt singing admits. "I got my very first guitar when I was background on the buoyant chorus of "A 14, a classical acoustic guitar to noodle Love That's Simple;" Lanois adding his own around on. I wanted to learn how to play voice to the folksy Francophone charm of Beatles songs and sing them." "La Merveille" and Cockburn's tasteful, jazzy Surprisingly, Potvin's songwriting method- guitar solo weaving its way through "While I ology rarely begins with melody. Wait For You." "What I do almost every time is write the "It's more than a compliment," proclaims lyrics first," explains Potvin, who sometimes Potvin, an intoxicating summer presence in a relies on a portable MP3 recorder to capture pink-and-white summer dress and stylishly her ideas. cropped hair. "Usually I'll read off a section or a verse. "I was just blown away that those guys With the words there's a rhythm and the would agree to work with me on some of my melody will flow. I'll look at it and just sing it, songs. I have a hard time talking about it then figure it out on guitar and build it because I can barely believe it myself. around that. "Those are obviously musicians who know "I always feel that when the words are writ- their craft so well and have been around so ten, the song is basically written, you just

long and they are admired -- worshiped -- by so PHOTO: ANDREW McNAUGHTON have to wrench it out of the words." many people, including myself, that it's kind Speaking of words, "La Merveille" is the of hard to believe. At the same time I feel it's Love That's Simple" and the solo piano sere- first French language song that Potvin has almost too good to be true. Like, why me?" nade of "Don't Pay Attention," Potvin says written and she's hoping to do many more in Why not her? As Potvin amply proves she's been castigated in some circles for her the future. throughout The Way It Feels, she possesses the choices. "When I write in French, I tend to be a lit- pipes to launch small sailing vessels across a "I've been criticized for not really having tle more poetic, probably because my vocab- bay by sheer lung power alone. And while 'my sound,'" she says nonchalantly. "But you ulary is a little better," she admits. "I haven't she's not yet a master of her Telecaster, her know what? This is my process. This is how written as many French songs as I would like, musical chops are earnest, dedicated and I'm finding out what my sound is. mainly because I was so influenced by definitely heading towards ascertaining an "This album is where I was at the time and English music that it just felt more natural to identifiable sound of her own. that's okay with me, because I couldn't have write. done anything else. The next one will be dif- The Regina-born daughter of a CBC jour- "But I consider being bilingual a blessing." ferent." Currently Potvin is attempting to create nalist is the first to admit she's still on the While the anchor of this project may be songs about topics outside her personal prowl for a definitive sound, even to the modern day blues, there is also an old-time experience. point of worrying that some of the directions feel that reveals the singer and songwriter's "At first it was just easier to write about she's explored on The Way It Feels are moving and influ- me, because me is what I knew best," she away from the solid blues credentials she ences. laughs. "Now I'm trying to go further and established on her 2003 independent album "It's more like an obsession," she chuckles. play with words a little more: Not so straight- Careless Loving. "Ninety-five percent of the music I listen to ahead like a diary but make it a little more "That was a really scary thing for me," says was recorded prior to 1965. It's been like that poetic. Potvin candidly between sips of soup at a for over 10 years now -- I just can't help it! "I just want to get to the core of what I'm downtown Toronto cafe. "That influence always creeps up because expressing musically and write great songs "When I started thinking about this album that's so much of what I listen to: old blues, eventually that really mean something and I knew that I wanted to stretch out beyond jazz, rock 'n roll, country, bluegrass, Latin touch people." blues. I had to take myself out of the box and music -- just give me anything old. I'm a If that's the way Roxanne Potvin feels, you go, 'Okay, so what are people going to think?' junkie that way. know she'll get there.

SUMMER 2006 Songwriters Magazine 7 By NICK KREWEN s there anything more exhilarat- about 20 or 30 tracks before I hooked up with ing than throwing caution to Tim. Then when I started with Tim, it felt so magical I the wind? and so unique that I just kept with it." Not in 's world. Furtado says their destiny to complete Loose together Driven by big, booming Timbaland was sealed by an unusual incident at the Miami Hit Factory beats that thunder in your temples and shake you studio where they were in the midst of recording the singer's down to your socks, Loose is Furtado uninhibited: an album recent U.K. chart-topper, "Maneater." designed to let the body lead while the mind follows. "The first day we Bold, brash and sexy, Furtado's third effort flaunts its sense started jamming with of freedom through insidious, irresistible urban R&B and a bunch of people in dance grooves that coalesce the carnal with the carnivale and the room, the music parties the night away with its festive celebration of inde- was real loud -- plus- pendence. 11 I call it -- and we "It's a definite change," acknowledges Furtado, interrupting were burning this up a morning of mothering her two-year-old daughter Nevis intense vibe, almost to squeeze in an interview. "It's me just making a conscious like a voodoo energy. decision to really let go of over-thinking and just do whatever "Then we smelled was fun, spew it out and make a bunch of tracks that were smoke and a flame really reflective of some of my earlier influences." shot out of the speak- It was a destination, however, that the Victoria, B.C.-born er because the volume songwriter admits took a while to reach. was so loud it had "I had already recorded in Los Angeles (The Chill Building), burnt the rubber!" she Toronto (The Orange Lounge) and London, England (Home laughs. "We'd never Recording) with different producers: Nellee Hooper, Track seen anything like it. It And Field (the Toronto tandem of and Brian felt significant." West), Lester Mendez (the duet "Te Busque") and Rick No wonder Furtado Nowels (the pop ballad "In God's Hands"). felt so enthusiastic: "In Miami I'd worked with Pharrell (Williams) and Scott The ten tracks produced Storch, although that didn't make the album. From all these and programmed by producers, I learned a Timbaland and his lot about writing and right-hand man, Nate production, as well as "Danga" Hills, are intri- about feel and atti- cate, exceptional and tude towards life." sonically innovative. Ultimately, her "Timbaland is all search led back to a about interwoven collaborator who had melodies," Furtado previously paired her concurs. " His beats are really three-dimensional -- like with rapper Surroundsound -- because he has one beat going while he's got for a remix of "Get Ur a counter beat going and a bunch of melodies in the back- Freak On" and one ground. That's the thing that's making your body move when who offered his you listen to a Timbaland beat: It's really rich. It's really lush. He's own spin on a like a sound archeologist -- he digs into CDs and he finds sounds scintillating Whoa, and he tweaks them -- he's always searching for the next sonic Nelly! remix of "Turn interest and to put your ear in a place it's never been before. Off The Light:" influen- "We mixed the album as we went along so the energy of tial Norfolk, Virginia the song would retain the energy of the jam. We kept a lot of producer Tim "Timbaland" that warmth and I'm really happy, because I really think the Mosley (Busta Rhymes, album sonically sounds different and that's important to me." Justin Timberlake, Jay-Z). Also undoubtedly helping to the deal was Timbaland's "Tim and I hooked up and knack for cutting to the chase musically. we were just going to do "Timbaland has such a low attention span that if he's not four songs," Furtado feeling it, he just walks out of the room," laughs Furtado, 28. reveals. "We ended up "So if you don't come up with something that's catchy and doing ten songs because sounds good to him right away, he's already moved on to the we had so much fun next beat. and we were on "I love that because I have a low attention span, too, so the same page. I we're a perfect match. I have so many thoughts coming into had already my brain at lightning speed that it's like ping-pong. I love to recorded be challenged in the studio, and I felt that I had to impress

8 Songwriters Magazine SUMMER 2006 PHOTOS COURTESY: MUCHMUSIC Tim, step up my game and show everybody what I got." Behind the jutting hip-shaking rhythms and floating synthe- Furtado felt she had something to prove. After the mega- sizers is a message about insecurity, wrapped in the rap-and- million-selling Whoa, Nelly! had introduced the multilingual chorus refrain of "So afraid of what people might say" that Grammy-and-Juno-winning West Coast warbler to the global builds to an exciting acapella crescendo. masses through the soaring "I'm Like A Bird" and the crossover "I wrote the chorus to 'Afraid' in my hotel room and the appeal of "," her second album Folklore -- verses in the studio," says Furtado. "It's about that inner thing packed with such gripping sing-a-longs as "Powerless (Say where we always want to be the person receiving the stand- What You Want)," the forceful "Explode" and the rousing soc- ing ovation from the crowd, but our inner fear prevents us cer anthem "Força" -- faltered at retail. from going for it. But the album was no less important to its creator. Recorded "'Afraid' reminds me of that 14-year-old teenager in the hall- while she was five months pregnant, Folklore -- which still way of my high school by my locker. I was always concerned racked up an impres- about what people thought about me, being self-conscious, sive million-plus units in something that every young person goes through." North America alone -- Furtado discovered her newfound confidence in part was, in Furtado's through her daughter. words, "real intimate "Nevis is so spontaneous that she doesn't think twice about and really from the what people are going to think, so I got more into that place heart." in my mind," Furtado explains. "I was feeling really "I decided I was going to make an R&B and club album just vulnerable," she admits. because I felt like it." "It was a special time in Early indications conclude that the effervescent Furtado my life." made the smart choice, as receptive mainstream pop and The arrival of Nevis crossover audiences have readily embraced her sassy and siz- and Furtado's adjust- zling Timbaland duet "Promiscuous" by placing it at No. 1 on ment to motherhood Billboard's Hot 100, concurrent with the album's release, for ultimately laid the six straight weeks. groundwork for Loose. The sentiment is echoed in the U.K., where that territory's "Having a child was single -- the relentless romp "Maneater" -- sat atop their retail big-time, because all of charts upon its debut. For those keeping count, that's two a sudden, it's not really chart-topping singles making an impressive splash as Loose about you anymore, cannon-balled to the top of the Billboard 200 retail album you know," she con- chart its first week out, sparking sales of 250,000 units. cedes. "You have a Furtado began writing songs half her lifetime ago, initially child and all of a sud- influenced by pioneering female rappers, den you feel this over- crossover artists like whelming, universal Salt-N-Pepa, TLC, Yo- love that leaves you Yo, MC Lyte and really vulnerable. And Queen Latifah — and vulnerability -- ka-ching! representing the men -- wins you the song- — innovators Ice-T., writing lottery. KRS-One, L.L. Cool J., "After I had Nevis, I felt more sensitive." The Pharcyde and Del There were other changes that fueled Furtado creatively, Tha Funkee Homosapien. including self-honesty, self-forgiveness and a startling candour "For awhile I even wrote that parenting unearthed from within. rhymes, a 14-year-old "When you're a Mom, there's no time for indecision and girl in my bed- sometimes no room for politeness," says Furtado. "Your child is room," she says. throwing soup at you in the restaurant and you need to clean That apprecia- it up with a napkin. You need that napkin now, you know?" tion also extend- She laughs. ed itself to the soul- "There's not as much time for niceties. I think the new truth ful harmonies of I have with people is more like the honest me. As a person BoyzIIMen, New Edition you've got to really stay true to yourself and do what you and Hi-Five. By the time want. From trying to please yourself and being more assertive, Mariah Carey had entered the music is that more assertive. I think that's what the major the picture, Furtado had change might be. added melody to the "It's also only been in the past two years that I've started equation. really being open to making mistakes. Before I was really "When I first started obsessed with being perfect. And now, as part of letting my writing songs, I wrote fans into the other side of my life with this album, there's con- lyrics and melodies tent I didn't have before: I talk about sex. I talk about rela- that were very tionships and love in a more candid way. I think it shows that Mariah Carey- I'm real." esque," she "Afraid," the leadoff song on Loose, is one such admission. explains.

SUMMER 2006 Songwriters Magazine 9 of not thinking," she laughs. The impulsiveness suits her even to the point of distraction. "('s) Chris Martin had come in and written part of the chorus and another little B-section of 'All Good Things (Come To An End’)," recalls Furtado of the Loose sessions. "It was up to me to write the verses a couple days later because he had already left. Some Cuban musicians had come in to play on this other song, and while I listened to one play guitar I wrote the lyrics to 'All Good Things.' "I just have to be in a nice flow and state of mind to write lyrics and feel inspired. "A lot of times I write lyrics off the top of my head and they come attached to a melody, like ':' The melody just kind of came to me as I was grabbing the microphone, free- styling and jamming in the tracking room instead of the vocal booth. "We would just put everything on the speakers, and we would write in the tracking room. We'd use vocal effects and record after midnight, so you'd get like a spooky mood going, and a lot of the lyrics would come from that place." Listening to songs like the electronic jungle rhythms of

PHOTO: ALBUM COVER COURTESY OF UNIVERSAL MUSIC CANADA "Afraid;" the pounding rock of "Maneater;" the chock block "It was very R&B-oriented and that's all I would do day and beats of "Promiscuous" and the molten, cutting grooves of night." "Glow," it's evident that there's another stimulus playing a cen- Mastering the art of reading and writing music allowed her tral role in the realization of Loose: the tanned torso haven of to channel spontaneity. Miami, . "A lyric and melody would always come to me at the same "I just love the vibe in Miami," Furtado agrees. "Everybody's time," she admits. "So I would write it all down on a couple of so happy in the sunshine. People are barely wearing any sheets of paper from start to finish -- including the bridge, pre- clothes. I love speaking Spanish there and I love turning on chorus, chorus -- and I would always make my parents buy the radio and hearing . whatever gadget was out, like a Casio keyboard with a built- "In South Beach alone there's a nice and warm vibe." in scratch effect -- and I'd produce it in my room." Furtado said that the good vibes filtered into the studio. Driven by her love of urban music, Furtado says she began "In in Miami, because there is so much going her career in hip-hop and graduated to trip-hop. on, it's all about all the rappers coming by looking for beats, "I would spend late nights hanging out with my trance DJ sometimes with briefcases full of cash," she laughs. friend in Victoria," she recalls. "We would get out all the key- "It's very, very different for a girl from Victoria. It was a lot boards and drum machines and have a live techno-jam for a of fun." couple of hours with three or four friends. Feeling rightfully victorious with Loose, Nelly Furtado "It was part of my musical hard drive, you know? I always feels that motherhood has allowed her to reclaim some loved singing over beats. Beats always inspired me." artistic license while Miami and Timbaland have opened Meeting Track And Field's Gerald Eaton and new horizons. brought forth her R&B chops, and by the time she'd recorded "There's something about Whoa, Nelly! Furtado had also absorbed the music of being around my daughter Radiohead, The Verve and other "serious songwriter" rock 'n that has brought me back roll philosophers. to writing songs from an The multilingual aspect of her writing -- something that she innocent, naive place," flexes in Loose with her Spanish renditions of the joyful reg- Furtado explains. "I gaeton-influenced "No Hay Igual" and the tender Juanes duet think that's a pre- "Te Busque" -- is second nature. cious gift because it's "The first language I ever sang in was Portuguese," Furtado hard to get that asserts. "When I was four years old, I did a duet with my Mom back once you've about her and her people and it was Portuguese, so Latin lan- been in this busi- guages are close to my heart. ness for a little bit "I speak really straight Mexican Spanish that I learned in and get kind of school as a teenager, but I didn't realize I could also sing in jaded. Spanish until Juanes invited me to record the song 'Fotografia' "Now I've opened with him (on Juanes' 2001 album Un Día Normal.) up as an artist, I "Singing in Spanish, again, I don't have to think about it -- in could write songs all particular my Spanish rap on the album. When I perform that, day. You always want it doesn't get any better for me, cause I'm -- and I'm to write a song better rapping in a Latin language, which just feels liberating and than your last one." really easy. That's all Nelly needs -- "A lot of this album's like that: All the best things come out another excuse to cut loose.

PHOTO COURTESY: MUCHMUSIC 10 Songwriters Magazine SUMMER 2006 FACTOR OPENS RESOURCE CENTRE RESTRUCTURES FUNDING PROGRAMS By NICK KREWEN he newly renamed Foundation offstage or through downloads and any "You can use that basic marketing money Assisting Canadian Talent On combination of those will qualify you having for whatever approach you want to try to get TRecordings (FACTOR), which has FACTOR-recognized distribution." your project launched." granted over $112 million in funding to In terms of digital sales, Ostertag says Another big change: Although certain assist developing homegrown talent and the program floors and ceilings have been read- domestic independent music industry since justed to reflect realistic economics, in most its inception 24 years ago, has undergone programs FACTOR will fund up to 75 per some changes. cent of your proposed budget, an increase As of July 1, the number of programs from the previous 50 per cent maximum. available for funding has been reduced Heather Ostertag "Our new agreement with Canadian from 22 to 12. However, according to Heritage is allowing us to afford that level of Heather Ostertag, FACTOR president and support," says Ostertag. "We've been lobby- CEO, that doesn't mean her organization is ing for this probably since 1990. It's been a offering any fewer subsidies: they're just long time coming." modifying the process. In the meantime, the payback terms from "We're offering the same support, but the loans remain extremely reasonable. what we've done is streamlined and stopped "It's $.50 per unit or $.05 per download the insanity," Ostertag explains. "We've had to the point where we would be 100 per far too many programs which has resulted cent recouped," says Ostertag. "Or for two in confusion. So now we have one sound years following the domestic release we get recording program and you apply depend- repaid on all units sold worldwide. At the ing on the criteria you need: either you're end of the two years we close the file and getting an independent recording loan or a walk away from any outstanding money." FACTOR recording loan." Aside from financial career assistance, Ostertag says while the newly simplified FACTOR will treat "three downloaded there's an additional incentive to stop in at process means applicants will fill out fewer tracks as the equivalent of an album sale." FACTOR's Toronto headquarters in during forms, there are some other significant "We have really opened it up to embrace regular business hours: the FACTOR changes to the program. technology," she declares. Resource Centre. "Our approach to distribution is probably FACTOR has also increased the flexibility Visitors will have access to a computer as well the biggest change that we've made," notes and range of its marketing and promotion as numerous trade magazines such as Billboard Ostertag, a member of the Order Of Canada programs. and other industry-related directories. who was promoted by the FACTOR Board in "In the past, you could use funding for "FACTOR staff came up with the con- June to add the CEO designation to her title. very traditional marketing: putting your cept," says Ostertag. "It's a place for people "We're always tweaking our programs, but press kit together, getting it distributed to to come in and find out where to go next." distribution has been an anchor for deter- radio and possibly hiring a radio tracker," Since its 1982 inception, FACTOR sup- mining what funding you could get. says Ostertag. "Now it's going to expand to ported recordings have sold over 30.2 mil- "On the distribution side, we're now rec- include showcasing, a tour or you could be lion copies worldwide with a retail value of ognizing a number of options for having putting a video together." more than $680 million. FACTOR-recognized distribution. You've Fund allocation is still subject to eligibility: For more program info, including down- got your bricks-and-mortar-type distribution for example, you must sell 2000 copies of loadable application forms, deadlines and agreement with a distribution company or a your album in order to qualify for a mini- contact information, visit the FACTOR major label; you can have sold 2000 units mum video funding of $12,000. website at www.factor.ca. HUMBER SONGWRITING WORKSHOP By LEAH ERBE COOLER THAN BASEBALL FANTASY CAMP nited in our desire to write bet- ulty members, all awesome songwriters, gerous high-speed projectiles: Instead, ter songs, approximately 60 were approachable, caring and devoted we put aside our day-to-day lives for one Usongwriters with wildly varying teachers whose extraordinary rapport week and became full-time songwriters. musical styles and backgrounds gath- helped put everyone else at ease and Students spent half the day in small ered this past June at the Humber gave the workshop a casual, friendly and workshops led by a faculty member and Songwriting Workshop. very amusing feel. the other half attending panels with spe- It’s an incredibly intense and support- The Humber Songwriting Workshop is cial guests from all corners of the music way cooler than baseball fantasy camp ive environment that fosters creativity, business. After a full day’s activities, stu- collaboration, and confidence. The fac- and there are no itchy uniforms or dan- dents retreated to the lounge -- for what cont’d on page 15 SUMMER 2006 Songwriters Magazine 11 DeYoung, presented by The S.A.C. earlier this year at Canada Music Week, decided to try his hand at composing a musical after recording a Broadway album for Atlantic Records called 10 On Broadway and playing Pontius Pilate in a revival of the - musical By Nick Krewen . "I played Pontius Pilate for six months, sitting there cru- cifying every night of the week, and I started to think, 'I'd like to write one of these rather than schlep out on the stage," he explains. "So I sat down and wrote The Hunchback." So far, a full production of The Hunchback Of Notre Dame has only been staged once -- back in 1997 for a limited run at the Tennessee Performing Arts Center -- and shortly before DeYoung became inflicted with a rare disease that made him light- sensitive and forced him to take a two-year hiatus. But he says The Hunchback could be return- ing to the public eye in the next few years. H: "In the last six months I have had four ITC offers to do it," reveals DeYoung. "But I haven't decided what the next best step is. You can't mistakes over and over again EVEN YEAR with this. You have to make sure you THE S have all the right people in place, and WRITE A MUSICAL I've sat on it, rather than trying to just do it." DeYoung isn't the only successful HOW TO on The Great White Way -- it's pop figure to tackle this intriguing art form. teamed up In June there was an occasion almost as rare as the passing of Halley's Comet: A with frequent Andrew Lloyd Canadian musical -- already theThe toastDrowsy of BroadwayChaperone -- captured a handful of Tony Webber lyricist Tim Rice and Awards, including Best Original Score (Music And/Or Lyrics) Written For The knocked a home run out of the Theatre and Best Book Of A Musical. park with The Lion King and The sleeper success of later did decent business with grossed more than $14.5 million U.S. since previewing in April and opening in May ; ABBA's Bjorn Ulvaeus -- may be the ultimateIf you feather think inwriting the"It cap was a ofthree-minute tremendous score composers labour,"song Lisa is saystough Lambert Morrison, -- orand even Greg reached an Morrison, but thealbum's journey worth it took --with justto get histry therecollaboratorwriting was a musical.long Lambert and arduous. in and Benny Andersson also just 48 hours after their inspiring victory. joined Rice for a triumphant As Lambert explains, what begins simply soon run with and most evolves into a complicated process. recently "There are all sorts of different stages," adds joined playwright for the original Lambert. "When you first start working on it, there's off-Broadway musical your pure creative part and the broad strokes before production. Spring Awakening. you start assembling people, which is quite fun. Once However, you actually get to the point whereSecond your showCity is about DeYoung notes that to be produced, there's the tinkering and changing writing for musical things - it's a whole different process." theatre involves a "And it continually evolves," interjects Morrison, who large adjustment met Lambert through a Toronto for songwriters or "It depends on the scenario - what cast you have, what self-contained theatre you're doing it for - it's this ongoing process that artists used to never ends." having few Dennis DeYoung, formerly of Chicago rock band Styx, restrictions. knows of what they speak: compared to writing a hit song, the "The musi- cal theatre is musical is a "Iwhole make other the animal.comparison that if you're assembling songs for an album, it's like filling in a nice three- a collabora- bedroom tri-level," says DeYoung,The Hunchback author ofOf some Notre tive effort, of Styx's biggest hits ("Lady," "Babe," "Come Sail as people Away," and "Mr. Roboto" among others), and creator ‘collabo- of the 17-song musical rate’ Dame. each "If you're doing it for a musical, it's like building The Grand Hotel: You have to worry about so many different things. "The only criterion you usually have for writing a song is the way it relates to itself and others within a three-or-four minute period. In writing a musical, there are so many dif- other ferent considerations, in terms of, 'Does this song propelwith stones and bats and pitch- action forward?' 'Does it tell the character's thoughts?' 'Is it a forks," he says, half-jokingly. song between two characters, or three or four characters?' "It really is a completely different"This way is ofwhy writing people music in andpop music often have a harder time when they come like more challenging."a Paul Simon or myself or Barry Manilow or Elton

12 Songwriters Magazine SUMMER 2006 PHOTOS: JOAN MARCUS John. You have been spoiled by the fact that you are a law onto what the song needs to be and who is going to be singing it. It's very yourself: What you create is yours and nobody can damn well tell you structural. We work from often a title." what to do. They also work from a book, or libretto, which in the case of The "But in theatre, you maybe have to work with the book writer and Drowsy Chaperone, billed as "A Musical Within A Comedy," was even- definitely work with a director, a producer, a choreographer, and a tually co-written by with Don McKellar. writing guy and they all have input. Everyone has their own fiefdom, as I like to put it. When you work in a musical, there will be a lot of opin- ions. As a writer of the music you have to learn patience. You have to THE BOOK learn to listen to find out what you don't know." "For those people who don't understand what a book is, it's a the- atrical term, a screenplay, like in a movie — what the actors are saying and how it changes," explains Hunchback's Dennis DeYoung. THE IDEA Usually constructed to include two acts separated by an intermis- So where do you start? For the creators of The Drowsy sion, DeYoung adds one other undeniable fact about musicals. Chaperone, a tale about a coddled Broadway starlet who wants to "The book will change," he promises. "And when the book changes as it inevitably will, a song that made sense will some- times no longer make sense. Then the song must be scrapped or the lyrical content changed, because the charac- ters will change and their motivations will change. "Even a simple thing like changing time and place in one moment of the show can change the syntax of lyrics later on." THE WORKSHOP The next step is the work- shop, the litmus test for the performance of both the book and the music and inte- gral for snagging potential producer and investor inter- est. "What you do in a work- shop, where people imagine everything, is perform the give up her career for marriage, it began before Bob Martin -- who plays The Man In Chair -- walked down the aisle with fellow Second City comedian Janet Van De Graaff (who, incidentally, is also the name of a character in the musical.) "Initially there was no Man In Chair," recalls Chaperone's Lambert. "We were premiering a mini-musical - a first draft. The theme of the musical we were doing was a wedding theme, because we had always wanted to do something that was a 1920s-style thing, but the show itself was a musical that got premiered at a bachelor party and the proceeds that we made from that helped with the wedding. "It was just 40 minutes of a 1920s pastiche musical with no expla- nation, except that everybody in the audience knew who had written the musical so they kind of knew where we were coming from." Inspired by Fred Astaire and Ginger Rogers films and the 1932 Maurice Chevalier/Jeannette MacDonald musical romance Love Me Tonight, Lambert says she and Morrison had a number of archetypes in mind for Chaperone development. "We had all these archetypes that we knew and we began select- ing, 'We need this character and this character and this character and so on,' and then we started giving them each songs and working out the plot," Lambert explains. "This all happens kind of around the same time: little snippets of plot, little snippets of dialogue and working around each of the characters and what they'd sing, then filling in the blanks. "It almost feels like you're working on a puzzle backwards. But a lot of it had to do with our performers that we wanted to work with and what we knew they'd be playing." When it comes to individual songs, Greg Morrison says it all comes down to careful planning. "You picture the concept of the song first," he says. "You sort out a function and work from a concept of how the song's going to work,

SUMMER 2006 Songwriters Magazine 13 story, sing 'em a song, and allow people to envision the rest," says DeYoung. "It is a living, moving thing. Sets have to move. People have to move. Lights have to change." But the workshop fulfils another function that is much more critical for the composers. "It isn't until you see these things in action, no matter how you visualize them, that you understand what it is that you need and what you don't need," DeYoung explains. "Musical theatre is the most difficult artform in entertainment, because it has story, dancing, fighting, acting -- all in real time. "There is nothing more difficult than the musical theatre: that's why there are so few good ones. It's really very difficult to pull these things off." THE PRODUCTION The most important thing about staging a production is finding people who share your vision, says Chaperone's Morrison. "You build a community," he explains. "You connect with other peo- ple by producing the show, you find other like-minded people: singers and writers and musicians and people who are really interested in the same thing so you have that at least to share with, because that's such a huge part of it." Ideally, producers and backers with big wallets and grand ambition will covet your musical. But Lisa Lambert says economics need not be a restriction -- reminding us that before The Drowsy Chaperone hit Broadway, it evolved through runs at Toronto's Fringe Theatre, Theatre Passe Muraille and Mirvish Productions' Wintergarden Theatre. "We used to work at the Rivoli and Big City Improv (small clubs in Toronto) and at the smaller room at the Tim Sims Playhouse and Second City," Lambert recalls. "You can literally produce something for very little, work scenes, call the press and get them out and get all

PHOTOS: JOAN MARCUS your people to come out and see it." OTHER IMPORTANT TIPS

1) THINK SMALL "When we were working on this show, a Broadway production was not an issue off the top," remembers Lambert. "We worked incre- mentally. Whatever production we were working on was usually something that was attainable."

2) FOCUS AND DEFINE YOUR CONCEPT "It's all about focusing," says Lambert. "Focus the concept until you have a title that you can just zero in on it. Because the song is this spe- cific thing -- You have to be that focused with your concept."

3) BE PATIENT "Because how else is he going to earn any money? They want to On average, a musical takes seven years from gestation to comple- put their stamp on the work. They're going to come in and say, 'I think tion -- and that's before it consistently sees the stage. Quasimodo should have a pink Mohawk.' "Be prepared for the long haul," says DeYoung. "It took The Color "Yes, somebody told me that." Purple, which was a pretty big motion picture, 17 years to become a For the record, DeYoung cut two numbers from The Hunchback Of musical. I think the gestation on these things is minimally seven years Notre Dame and since the initial workshop, has added five more. - it's more like 10 to 12 years. Lambert says eight songs "have come and gone" leading to The "I started to write a second one, and then I started thinking, 'Okay, Drowsy Chaperone's current 13-song score. I'll be 104 when..." 5) GET IT SEEN 4) FLEXIBILITY IS THE KEY Lambert and Morrison insist that previewing your work-in-progress "Be prepared to change your work to suit the needs of others, some to an audience is crucial. of whom you'll think are certifiably insane," advises DeYoung. "But you "When you get it out in front of people, it informs you so much," have to understand what it is that you are doing: you are getting into note Morrison. "And working in comedy, the most essential element an artistic process that relies on the kindness of strangers. is the audience and how it's landing. You really do need that, often "People are always reworking and reinventing and changing things when you're doing your own writing." with Broadway musicals. This is my firm belief: If you had the most perfect book and musical score finished, whoever comes in to direct is Lisa Lambert, Greg Morrison and Dennis DeYoung: three people going to change it. I guarantee it. who really know the score when it comes to writing musicals.

14 Songwriters Magazine SUMMER 2006 HAIR REVISITED: MAGIC FROM 'S MUSICAL MAESTRO By Nick he Drowsy Chaperone may be the greatest purely Canadian suc- MacDermot says he has to be inspired by the lyric to Krewen Tcess story to hit Broadway, but it wasn't the first. make it work. In 1967, the radical musical Hair put Montreal's Galt "You have to hear something," MacDermot explains. MacDermot on the global musical theatre map. Written from "Writing songs is not hard: Either you do it or you don't. If I a book and lyrics by and with the hadn't liked the lyrics and hadn't heard anything right away, score provided by MacDermot, the musical about the hippie I would have said, 'I can't do it.' But the lyrics were very nice – movement in the '60s was a smash success, logging over 3900 I thought they were clever – and also hip. performances in New York and London before closing in "What I do is I read the lyric and usually a tune gets into my 1973. head. But with Hair, I specifically wanted a certain style, Hair won MacDermot a Grammy in 1968 for Best but that was more or less the style I was interested in Score For An Original Cast Album and yielded four anyway at the time. We use the word 'rock 'n roll,' huge hits ('s ";" but it's really a rhythm and blues idiom -- flat 7ths Oliver's ";" The Cowsills' and flat 3rds -- the bluesy type of thing. So I gold "Hair;" and the million-selling Grammy- pushed for that a little bit more than I might winning 1969 Record Of The Year, have with something else." "Aquarius/Let The Sunshine In" by The 5th Hair also required minimal revision. Dimension, which spent six weeks at No. 1 atop "The only change was when they brought the .) me 'Aquarius,' which they had sort of discov- But according to MacDermot, who had won ered in the New York Times, the news about two Grammies in 1961 for his "African Waltz," 'The Age of Aquarius," MacDermot recalls. it was only because he was interested in rock 'n "I thought they wanted a spacey, far-out roll that he took on the assignment. thing, so I tried that but I didn't really like it as "I had been involved with the theatre a little a song, nor did they. I thought I could do bet- bit in Canada. I did a show called My Fur Lady ter, so I rewrote that tune." back in my McGill days," recalls MacDermot, 77, In 1979, Milos Forman adapted Hair into a from his Staten Island home. movie and in the '90s, the musical was revived to "I played in a few operas when I was in the the point where it's still being performed all orchestra, but when I came to New York I was totally around the world today. involved in doing rock 'n roll demo records for pub- Hair wasn't MacDermot's last foray into musicals: In lishers. Rock 'n roll was all that I was interested in at the 1972 he followed it up with the Tony-winning Two time. So probably if it hadn't been Hair, I wouldn't have done Gentlemen Of Verona, which ran for 18 months and garnered it." MacDermot a 1972 Drama Desk Award for Outstanding Rado and Ragni provided the lyrics, and MacDermot esti- Music...and he's still writing them. mates it took him three weeks to complete the music. "Lately I've been writing a thing called The Tinderbox which is "I've always written shows in about three weeks," he states. an old Hans Christian Andersen folk tale, or nursery rhyme, "You may add some stuff later, but you get the basic thing that's set in Iraq," says MacDermot. pretty quick." "That could be controversial."

HUMBER SONGWRITING WORKSHOP CONTINUED FROM PAGE 11

else – more music. Jams, performances and recording ses- challenge of making our point quickly and memorably. sions often lasted well until the early hours. Here are a few words of wisdom as heard in workshops, Seminars and panels gave us clear information and straight panels and in the hallways: answers about the business of music. Also covered were dif- “You know the term ‘don’t bore us, get to the chorus?’ I think that’s ferent ways to get our music out to the world and some alter- appropriate here.” natives to “the big record deal;" from ’s experi- “You have to re-examine every word in every line to be sure that ences coordinating huge charity benefit concerts to music it’s supporting and furthering your message.” supervisor Chris Robinson’s guide to the business of placing “That chorus needs to be bigger!” songs in TV shows or ads. “Get rid of those 'just' words – those words that are just there just In addition, guest singer/songwriters , to fill up space. They’re just weakening your point.” Danny Michel and Bob Snider came by to discuss their expe- “Cut that intro in half, and get to your chorus sooner.” riences and perform several of their songs, giving us a fasci- At the end of that week everyone left with a renewed sense of nating look at their career paths and writing processes. purpose and faith in their abilities. I can’t wait for next year to One of the major lessons of the week was that we each need- see how the returning students have used this new knowledge. ed to develop our own unique voice and self-understanding, Meanwhile, I’ll be hard at work on my own songs, cutting so that our songs could make a clear point honestly and with- the slack, strengthening the message and making my chorus out resorting to clichés. From there we tackled the constant so big it’s visible from space.

SUMMER 2006 Songwriters Magazine 15 Welcome New Members! The S.A.C. welcomes the following new members who have joined since April, 2006

AB Lloyd Beaule BC Joanne Shaw ON Andy Creeggan ON Steve Payne AB Wayne Churchill MB Russell Strutt ON Jim Creeggan ON Rose Perry AB John Czerniak NB Devin Cooke ON Marco D’Amico ON Marcus Piscaer AB Robert Donaldson NB Angela Curran ON Enrico De Matteo ON Braedon Quarles AB Nathaniel Harper NB Richard Cyr ON Joseph DeBenedictis ON Robert Reid AB Steve Kolar NB April Holder ON Chrystal Donbrath-Zinga ON FeliciaRichards AB Douglas Leece NF Sean Panting ON Germaine Dwyer ON Zameer Rizvi AB Ellen Mably NF Kirk Penney ON Roberto Esposito ON Daniel Robichaud AB Becki O’Hern NS Renee Babineau ON Mike Evin ON Danny Robichaud AB Norman Riley NS Susan Brownie ON Barry Fochuk ON Jim Robinson AB Kristilyn Robertson NS Cheryl Canning ON Emilio Fuentes ON Bianca Rollo AB Gail Sartorius NS Monette Comeau ON Paolo Gerardi ON Mark Rosenbauer AB Darlene Sutley NS Alexander Doyle ON ON Andrew Ross Geladaris AB Terrence Weatherbe NS Christopher Godwin ON Tetyron Hourtovenko ON Peter Ruptash AB Peter Willis NS Stacie Lynn Hatt ON Steve Hyde ON Ray Scott BC Garry Ager NS Randy Matthews ON Ryan Johnston ON Sam Signer BC Gail Bauman NS Bruce Mills ON Richard Jones ON Erin Southwell BC Ridley Bent NS Emily Saunders ON Eric King ON Gersan Soza BC Dustin Bentall NS Percy Kinney ON Rivka Kletski ON Harry Stein BC Michael Booth Palmer ON Bunmi Adeoye ON Pankaj Kohli ON Fred Steuart BC Ivan Boudreau ON Didier Bampili ON Hillary Kourkoutis ON John Thomas BC Joy Chapman ON James Battiston ON Wayne Krawchuk ON Mike Trebilcock BC Jesse Cornes ON Ryan Mitchell Boch ON Andrew Lang ON Richard Vella BC Richard Grant ON Michael Bonter ON Kelly Laughton ON Ellen Weiser BC Francoise Jomphe ON Victor Bortolon ON Stephen Litvack ON Ronald Weiss BC Rodante Jovillar ON Corinne Branigan ON Dick Lochan ON Lianne Zitzelsberger BC Marion Lindsay ON Neville Bryan ON Jason Manara PE Catherine Ann Dickson BC Shayne McGreal ON Sarah Calvert ON Matthew Marren QC Thorn Curtain BC Aleksandar Milojkovic ON Ron Cameron ON Dave Martin QC Timothy Smith BC Kevin Nakanishi ON Colvin Chambers ON Brian McCausland QC Eric Stam BC Mark Perry ON John Christensen ON Samuel McDermott QC Yves St-Laurent BC Michael Reeve ON Kim Cole ON Sheri McLaughlin QC Peter Wheeler BC Kate Reid ON William Cottrell ON Ambre McLean SK Kent Bailey BC Crystal Sackett ON Lee Coulter ON Mario Panacci SK Robert King BC Ian Savage ON Patrick Couture ON Melissa Paxton

www.countrysongcrafters.com “Jay And The Canadians” is expanding its ros- ter. Jay Aymar: singer/songwriter/guitar. Already Full band demos as low as $35.00 US Classifieds accompanied by Mandolin/Lap Steel, Lead Guitar/Keyboard: seeking BASS and PERCUS- PROGRESSIVE/HARD ROCK/METAL BAND Each S.A.C. member is entitled to one free per year. SION for pub/theatre gigs. Country-Folk-Grass! SEEKS DRUMS. Additional ads may be purchased for $25 per 25 words. Contact www.jayandthecanadians.com Original band needs drummer: Megadeth, us at 1-866-456-7664 or [email protected] [email protected] Zeppelin, Dream Theater, Pantera, Opeth, (416) 519-1687. Songwriter with over 85 songs, excellent commercial AC/DC, GN’R, Iron Maiden, Judas Priest and value, needs to sell the lyrics. If you have a theme I can more. Original material; shows booked. SONGWRITING & PIANO LESSONS prepare a song for you as well. Rehearse often, looking to do this as career. Eclectic, fun, engaging non-classical lessons [email protected] – 647-271-8685. Demos available. 416-725-0129 with Toronto singer/songwriter Michael [email protected] Johnston, a vibrant performer with 12 years Leanne Hynd – soulfully crafted album, ultiMATE teaching experience and Honours B.A. in piano PARAdox (Rockin’ Rod Records) – available Sept. 29th – Do you want lyrics? I have some or can co- write! Contact: K. Millette, 26 Neelands St., performance. All ages / levels welcome. release concerts: Fri. Nov. 3, The Odeon, Saskatoon & Sat. www.michaeljohnston.ca Nov. 4, The Exchange, Regina – www.leannehynd.com , ON L4N 7A1 – [email protected] Todd Butler’s Idle Canadian wins three NEW CD RELEASE December 2006 Female songwriter seeks professionally minded M/F co- Island Music Awards! Album of the Artist/Writer LiANA writers in Vancouver. Goal: To hone songwriting skills in Year, Song of the Year – “Home” Male CD Title: I See No Rain various genres – pop, soft rock, country, etc. Email: Songwriter of the Year. Check it out at Independent Release: www.liana.biz [email protected] www.toddbutler.com www.cdbaby.com/liana

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16 Songwriters Magazine SUMMER 2006 SAUKRATES: GIVING THE RAP ON PUBLISHING

ulti-faceted Scarborough rap pioneer rapping for eight years successfully, and they're connected. These boys will get MAmani "Saukrates" Wailoo knows the they're looking for full songs. On this list their publishing deals if they want 'em. role of survivor only too well. A char- that you get, if you're privileged to it, These songwriters are 19 and 20 years ter member of The Circle, the Toronto hip- your publisher will send you a five-page old... their attitude is incredible, they're hop collective that also introduced list of artists around the world who are not in a rush, they're eager to learn and , and looking for tracks. Some of these people able to take some leadership. to the masses back in the mid-90s, you would figure were doing their shit all Some kids approach me and they want Saukrates has taken his innovative T-Dot by themselves and they're looking for full leadership but their attitude is in the songs with "with hooks and verses" men- sounds from "Father Time" to international wrong place. Or they have to work a little tioned in brackets. ears, recording such influential albums as harder to get their writing and produc- HN: The Underground Tapes and producing Are you currently signed to a pub- tion skills up to be creative, cause it is a tracks for worldwide faves Nelly Furtado lisher? creative job. It's not just "I can be there and Wu-Tang Clansmen and SAUKRATES: Yeah, I've been with Warner on time"... You have to shine. But can . Chappell since 1998. you shine on cue? Five, four, three, two, Nor has he ignored the home front, co- HN: one... SHINE TIME! [laughs] founding Capitol Hill Music with Chase Now what are the instances of Parsons and building a three-act label ros- Canadian publishers in general picking up hip- PHOTO: STEVE CARTY ter that includes his solo artistry, Andreena hop writers, urban writers Mills, and the super collective known as Big since then? Is that grow- Black Lincoln that includes Ro-Dolla, ing or is that the excep- Brassmunk's Ajile, IRS' T.R.A.C.K.S. and tion and not the rule? Big Sox himself. SAUKRATES: In celebration of the recent Sony BMG-dis- No, no. It's not tributed Capitol Hill Music release of Big growing at all. I think Black Lincoln's Heaven's Caught On Fire, when we got in there, S.A.C. president Haydain Neale caught up there was definitely some- with Saukrates to get the 4-1-1 on the thing going on in Toronto Canadian urban music publishing scene. that had a lot of North America starting to pay HAYDAIN NEALE: Can you talk a bit about attention. We had a strong ghost writing -- writing rhymes for other connection with Anne- rap artists with no official credit -- in hip- Marie Smith who was hop? working with Warner SAUKRATES: You know, ghost writing was Chappell at the time. frowned upon in the rap game. It's Four of us got picked up always been happening in the R&B over at Warner Chappell world, but in the rap game as an MC, at the same time... myself, everyone figures what you're rapping is Jully Black, Kardinal yours. That's just the culture of hip-hop. Offishall and Glenn HN: Lewis. Since then I Is the hip-hop lyricist writer becom- haven't seen too many ing more legitimate as a co-writer or a people come through total writer for another artist? them Warner Chappell SAUKRATES: Big time! 's rap suc- walls from the same angle. cess and his return is owed to a couple of HN: Do you think it's com- great writers -- and Sauce Money -- ing around again? Or is combined with his marketability and his the pool of talent not self-marketing, which is a great thing what it was? that he's done. Of course, in rap, dudes SAUKRATES: What we had when we got our HN: are gonna call you out if you're not spit- You have committed to educating opportunities was somewhat of an infra- ting your own rhymes and you're on youth about the industry through your structure, an older energy, a more expe- more of that street feel. work with the S.A.C. this year through rienced energy around us. We were HN: various workshops and seminars. What's Like the pop, R&B and country artists, but around us, folks had assumed worlds, you can now be become a suc- your vision for impacting these kids? their positions as management or public- SAUKRATES: cessful writer without having to exclu- ity, so we could respond to what was Out of 100, two or three of sively record your own material. Is the being asked of us by the labels and pub- them will have their head in the stars, method of pitching publishers for cuts lishers. And now our experience has but 20 to 30 of them you can touch in a similar in hip-hop? been able to help some of the younger different way. They would want to fill in SAUKRATES: I was actually surprised to get a . In the next year or two year, it'll other gaps in the industry, which is hugely lot of e-mail lists of groups coming out, happen. It won't be just because of the needed to build an infrastructure here in especially out of the U.S. who have been talent and experience, but because Canada.

SUMMER 2006 Songwriters Magazine 17 METALWORKS HOSTS SASS SONGWRITING ADVENTURE

ustin Gray, Damnhait Doyle, Region, Guelph, Peterborough and Stan Meissner and Haydain Vancouver -- the latter thanks to the JNeale were the mentors for efforts of SASS one dozen talented student song- representative Don McLeod -- have writers at the premiere School enrolled in the program, including Alliance Of Student Songwriters one post-secondary participant, (SASS)/ Metalworks Songwriting Trent University. Adventure held for four days in The 12 students who attended this April. session -- Sarah Nadeau, A.J. Sponsored in part by the S.A.C., Ottaway, Laila Darwish, Joey the RBC Foundation, Melodyman MacDonald, Lindsay Broughton, Productions, SOCAN, SongU.com Tony Ranalli, Samara Van Leeuwen, and Masterwriter software and Ian Lennox, Lindsay Regan, Tafari spearheaded by Don Quarles and Davis (Durham Region); Braedon The Mississauga-based Metalworks Quarles (York Region) and Sonny Institute's Craig Titus, the event enabled the students to co-write and Parmish (New Westminster. B.C.) -- record 12 songs with their mentors. were selected from a field of 1500 in Co-founded by songwriter and recognition of their excellent song- schoolteacher Artemis Chartier and writing skills, and each received an ex-Guess Who member, producer S.A.C. membership at the conclu- and songwriter Dale Russell, SASS is sion of the event. a Durham Region-based not-for- Not only was the “Songwriting profit organization designed to Adventure” event a grand success, bring songwriting into Canadian ele- but organizers have already been mentary and secondary schools. discussing plans for multiple sequels So far 50 schools in Durham for 2006-2007!

18 Songwriters Magazine SUMMER 2006 SPOTLIGHT

Dustin Bentall Colleen Ecclestone

Ida Nilsen

BBN No. 49 , APRIL 24, GRACE Veda Hille MEMORIAL CHURCH, VANCOUVER

Rowland Salley

Ron Hynes - Shari Ulrich

Ron Hynes

PHOTOS BY DALE LEUNG

BBN No. 101 , May 6, HUGH’S ROOM, TORONTO PHOTOS: PIERRE MILLETTE

Bobby David Garry Greg Hobbs Cameron Gillis Jackson

L-R: Andy Stochansky, Greg Hobbs, Nelly Shin, Lori Lori Nelly Shin Cullen, David Gillis, Garry Jackson, Bobby Cameron Cullen

Andy Stochansky

SUMMER 2006 Songwriters Magazine 19

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